By Jacob Stockinger
A friend and reviewer for this blog – his specialty is opera but he also is very experienced with the symphonic repertoire — sent in the following opinion piece.
It is being posted in the wake of the announcement by the Madison Symphony Orchestra of its 2017-18 season.
For reference, here is a link to the lineup of the next season’s concerts that was posted yesterday:
By Larry Wells
I received my subscription renewal package for the Madison Symphony Orchestra (below, in a photo by Greg Anderson) a couple of weeks ago, and I was struck then by how conservative and prosaic most of the offerings are.
I’ve mentioned my feelings to acquaintances, and one of the prevailing arguments is that they have to fill the seats.
The assumption seems to be that the patrons will only tolerate music written before 1850.
I’m 70 and I grew up with Stravinsky. I can recall the world premieres of Shostakovich’s final three symphonies. I once eagerly awaited recordings of Britten’s latest works. And I heard the first performances of several works by John Adams (below) while living in San Francisco in the 1980s.
If the assumption is that most reliable patrons are in their 70s and 80s, this seems like a dead-end (pardon the pun). There will be no audience in 20 years.
I believe that audiences can tolerate music of the 20th century — look at the glowing reviews of and enthusiastic ovations for last week’s performances of Witold Lutoslawski’s “Concerto for Orchestra’’ — and attracting younger patrons with bolder musical choices seems an economic necessity.
How can the MSO not be commemorating the centenary of Leonard Bernstein (below, in a photo by Jack Mitchell)? The Milwaukee Symphony Orchestra is performing several of his pieces in its upcoming season.
On a positive note, I was heartened to see that Benjamin Britten’s “Sinfonia da Requiem” is scheduled next season since that has been on my wish list for years. Likewise, Leos Janacek’s “Glagolitic Mass” is a nice surprise.
However, when will we hear Britten’s “War Requiem,” Bernstein’s “Mass” or “‘Songfest,” a symphony by Walter Piston (below top) or William Schuman (below middle) or Alan Hovhannes (below bottom)?
I’m really tired of going to concerts where only one of the works is of interest to me and the others are historic artifacts. I’d like to see a reversal wherein Brahms, Mozart and Beethoven are brought out occasionally, but the bulk of the music performed comes from the rich source of the 20th century.
What do you think?
Leave word in the COMMENT section.
By Jacob Stockinger
Has March’s proverbial lion finally yielded to the lamb?
Here is Madison there is still some snow on the ground. But it should all be gone by the end of today, which, like yesterday, will reach into the 50s.
Just in time.
Today is the Vernal Equinox, bringing the first day of spring. It arrives at 5:29 a.m. this morning.
Spring has been an inspiration to many composers. So there is a lot of music to choose from when you want to celebrate season musically.
The Ear is fickle and his choice changes from year to year.
But lately, his favorite has been the “Spring” Sonata in F Major for violin and piano by Ludwig van Beethoven. (You can hear the opening of the famously tuneful and upbeat sonata, performed by violinist Itzhak Perlman and pianist Vladimir Ashkenazy, in the YouTube video at the bottom.)
Of course there are violin concertos by Antonio Vivaldi and Arcangelo Corelli; choral works by Johann Sebastian Bach and Franz Joseph Haydn; chamber music by Wolfgang Amadeus Mozart; orchestral music by Robert Schumann, Peter Tchaikovsky and Igor Stravinsky; piano pieces by Felix Mendelssohn and Edvard Grieg; songs by Franz Schubert and Johannes Brahms. And there is more, so much more.
Yesterday, Wisconsin Public Radio programmed a lot of spring music, and The Ear expects the same for today’s programming.
But you can be your own DJ if you want. Here is a list of almost two hours of spring-related music:
And here is a springtime puzzler, or quiz, about flowers in opera from NPR or National Public Radio:
Plus, there are plenty of other guides and anthologies to music for spring that you can find online.
So here is what The Ear wants to know: What is your favorite piece of music to greet spring with?
Leave words in the COMMENT section along with a link to a YouTube performance if possible.
And a Happy Spring to you!
By Jacob Stockinger
Over the years, The Ear has heard quite a few child prodigies, many of them impressive.
But he has heard only one Julian Rhee (below).
Rhee, from Brookfield, is a young Milwaukee area violinist who has won numerous awards from and has performed with the Madison Symphony Orchestra, the Wisconsin Chamber Orchestra and the Milwaukee Symphony Orchestra.
Rhee will perform again with the WCO (below), playing the complete Brahms Violin Concerto — not just separate movements or excerpts — this Friday night at 7:30 p.m. in the Capitol Theater of the Overture Center.
What makes Rhee so outstanding is that the level of his musicality matches his high technical mastery.
When he performed some of the Brahms concerto in the Madison Symphony Orchestra’s Final Forte competition, which he won two years ago, all eyes and ears popped open with the first notes. You just knew right away who was going to win.
(You can hear the Final Forte introduction to Julian Rhee, which aired on Wisconsin Public Televisi0n, in the YouTube video at the bottom.)
Rhee’s playing exuded a maturity that even seasoned listeners did not expect. And the Brahms is a perfect vehicle to display his interpretive maturity as well as his technical virtuosity. Surely Rhee still has room to grow musically. But his mastery is already something to behold.
If you enjoy being able to say “I heard him when …,” this concert has all the hallmarks of being a must-hear, do-not-miss event.
But there are other attractions on the program, to be played under music director Andrew Sewell, who has again combined works from the 18th, 19th and 20th centuries.
Igor Stravinsky’s “L’histoire du soldat” (The Soldier’s Tale) will be performed with guest narrator Jim DeVita (below) of American Players Theatre in Spring Green. The story involves a soldier who sells his soul to the devil.
And there will also be the Symphony No. 102 in B-Flat Major by Franz Joseph Haydn, a composer whose style brings out the best in WCO music director and conductor Sewell (below), an accomplished interpreter of music from the Classical era.
To read Julian Rhee’s complete and impressive biography, and to find out more information about the program, the performers and tickets, go to:
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.)
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:
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:
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.
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.
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.
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.
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.
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.
By Jacob Stockinger
Here is a special posting, a review written by frequent guest critic and writer for this blog, John W. Barker. Barker (below) is an emeritus professor of Medieval history at the University of Wisconsin-Madison. He also is a well-known classical music critic who writes for Isthmus and the American Record Guide, and who hosts an early music show once a month on Sunday morning on WORT FM 89.9 FM. For years, he served on the Board of Advisors for the Madison Early Music Festival and frequently gives pre-concert lectures in Madison. He also took the performance photos.
By John W. Barker
Eschewing any seasonal or holiday connections, the UW-Madison Choral Union (below) gave its December concert last Friday night with a program of three “B’s”.
Well, two of the B’s are familiar ones. But in place of Bach, we got Leonard Bernstein, taking first place in reverse chronological order — his Chichester Psalms, dating from 1965.
This three-movement work probably represents Bernstein’s most important choral score. It sets texts in the original Hebrew, the middle movement calling for a boy treble to represent the young David in the rendering of Psalm 131 — a function here filled bravely by young Simon Johnson (below, front left) of the Madison Youth Choirs.
The platoon of percussionists in the first two movements confirms the composer’s flashy “modernism.” To be sure, there are some characteristic melodic twists that proclaim the composer familiar to us, and the swaying melodic tune of the third movement is really lovely.
But Bernstein (below) did not know what to do with it besides repeating it obsessively. Bernstein simply was not a savvy master of choral writing, and I firmly believe that this work—a trivial cross between Igor Stravinsky’s Symphony of Psalms and Bernstein’s own Broadway musical West Side Story—would not merit much attention were it not for Bernstein’s name on it.
(EDITOR’S NOTE: You can decide on the work’s merits for yourself by listening to the live performance, conducted by the composer himself, in the YouTube video at the bottom.)
Just how inadequate Bernstein’s choral sense was emerged clearly with the next work, the short ode for chorus and orchestra by Johannes Brahms, Nänie, Op. 82.
The title adapts a Greek word for a lament, and Friedrich Schiller’s German text evokes the death of beauty in the death of Achilles. Brahms was among the supreme choral masters, and this particular example is one of several of his “minor” choral works that we hear too rarely.
The second half of the program was devoted to Ludwig van Beethoven’s Mass in C major, Op. 86. No, not the monumental Missa solemnis of the composer’s last years when (as with the Ninth Symphony’s finale) he had transcended the realities of choral writing. This earlier Mass setting, dating from 1807, was in the direct line of Mass settings for the Esterházy family composed by the aged Haydn.
But to Haydn’s incorporation of symphonic structure into Mass composition, Beethoven (below) brought his own strongly progressive personality, and a remarkable quality of melodic and thematic invention. This is a lovely work, and choirs who fling themselves doggedly against the Missa solemnis ought sometimes to revel in this beautiful work instead.
The forces arrayed included a solo quartet (below, in the front from left) are bass John Loud, tenor Jiabao Zhang and sopranos Jessica Kasinski and Anna Polum.
The UW Chamber Orchestra proved able. But the star was, of course, the Choral Union chorus itself. Its diction worked from indistinguishable Hebrew through respectable German to really lucid Latin. Above all, it made mighty, full-blooded sound that bolstered Beethoven’s lyricism with powerful projection.
Once again, conductor Beverly Taylor (below) has gone beyond stale conventions to bring us valued exposure to music outside the conventional boundaries.
By Jacob Stockinger
Recently The Ear stumbled upon a fascinating story, on a blog by Nathan Cole, about famous violin concertos.
It was NOT about the Top 10 Best Violin Concertos ranked in order.
It was NOT about the Top 10 Most Difficult Violin Concertos.
It was simply about the most difficult openings of violin concertos – about what happens when the violinist walks on stage and starts up along with the orchestra or before it or after it.
It uses the Olympics’ sports competitions as a model and awards degrees of difficulty along with explanations for the scoring.
(For a close to simultaneous start by orchestra and soloist, listen to American violinist Hillary Hahn, who played a recital last spring at the Wisconsin Union Theater, and conductor Paavo Jarvi in the opening of the popular Violin Concerto in E Minor by Felix Mendelssohn in the YouTube video at the bottom. It has over 8 million hits and it is very relevant to the story.)
The story reminds The Ear of famous literary critic Frank Kermode’s classic book “The Sense of an Ending” — only now it would be “The Sense of a Beginning,” a subject the late literary critic, cultural analyst and Palestinian activist Edward Said wrote about in his book “Beginnings: Intention and Method.”
The musical discussion features accessible and informative analysis by an accomplished violinist as well as terrific audio-visual clips of each concerto and the openings in question.
It’s a long piece – good for weekend reading, perhaps because it can be done in different segments at different times.
But even if you read only a part of it, it certainly imparts a sense of the challenges that a soloist faces. You vicariously experience the thrill and intimidation of walking out on stage and starting to play.
And it enhances your appreciation of some famous violin concertos and of what it takes to pull them off in live performance.
Like The Ear, you will come away with a new appreciation of the challenges that any concerto soloist – violinist, pianist, cellist, brass player, wind player, whatever — faces.
Here is a link:
The Ear also hopes the website violinist.com follows up with a listing or ranking of the most difficult ENDINGS of violin concertos and a discussion of what makes them so difficult.
In the meantime, The Ears asks:
Do violinists out there agree or disagree with the scoring and reasons?
Do they care to leave a comment one way or the other?
The Ear wants to hear.
By Jacob Stockinger
The Ear certainly was.
And so was the New York Times critic David Allen.
But rather than wait to go hear van Zweden live, Allen plunged into van Zweden’s discography. The many recordings gave him a very good idea of what the conductor’s strengths and weaknesses are.
It took Allen some 52 hours of listening to do his due diligence and get a comprehensive background and preparation.
But the conclusions he reaches about van Zweden (below, in a photo by Washington of The New York Times) in contemporary repertoire as well as in classic works by Franz Joseph Haydn, Ludwig van Beethoven, Johannes Brahms, Wolfgang Amadeus Mozart, Peter Tchaikovsky, Igor Stravinsky, Richard Wagner, Gustav Mahler and Anton Bruckner, among others, are illuminating.
You can hear Jaap van Sweden conducting the Berlin Philharmonic in what seems to The Ear an energetic and forceful interpretation of the Symphony No. 1 by Brahms in the YouTube video at the bottom.
Here is a link. You can judge for yourself what the public can look forward to:
What do you think of Allen’s assessment?
Does it seem fair? Biased?
Does it make you look forward to hearing van Zweden?
The Ear wants to hear.
By Jacob Stockinger
The Wisconsin Chamber Choir (below) will present “Songs In a New Land” on this Friday, April 15, at 7:30 p.m. in Bethel Lutheran Church, 312 Wisconsin Ave., in Madison and on Sunday, April 17 at 3 p.m. at Cargill United Methodist Church, 2000 Wesley Ave., in Janesville.
Admission is $15 for adults and $10 for students.
Advance tickets are available from www.wisconsinchamberchoir.org. They are also available at the door.
The WCC’s concert will celebrate composers who were immigrants from the 15th century to the present, including emigres to the United States from China, Russia, Syria, Germany, Mexico, Argentina, Venezuela and the Dominican Republic.
At a time when immigration has become a burning issue in national politics, the WCC’s program highlights composers who emigrated from the country of their birth to make new homes elsewhere. They imported traditions from their homelands and enriched the cultural life of their adopted countries in innumerable ways.
Their reasons for leaving home were varied-some moved voluntarily but many were forced to emigrate for political, economic or religious reasons or, often, a combination of all of these.
While the experience of leaving behind all that is familiar and making a new life in a foreign country was rarely easy, the interaction of old and new influences resulted in some of the most lasting and unique artistic creations in history.
Most of the featured composers were or are immigrants to the United States, but the program opens with a set of Renaissance motets—“Stabat Mater” by Josquin des Prez (below top) and “Domine, Convertere” by Orlando di Lasso (below bottom) — demonstrating that migrant composers have played a major role throughout history.
Some of the more recent composers represented are: Kurt Weill, whose Kiddush was composed for Park Avenue Synagogue in New York City; Chen Yi (below top), represented by “A Set of Chinese Folksongs”; Osvaldo Golijov (below bottom), with an excerpt from his “Pasion segun San Marcos” (Passion According to St. Mark); and 20th-century giants Arnold Schoenberg and Igor Stravinsky.
Although Schoenberg and Stravinsky were known for their dissonant, modernist works, much of the music they composed in the U.S. was tempered by an effort to communicate with audiences here. During the 1940s, both men ended up settling in Hollywood, along with countless other exiled European artists fleeing totalitarian regimes and persecution at home.
In the case of Schoenberg (below), even though he is known as “the father of atonality,” and the originator of “12-tone” music, he continued to compose tonal music throughout his life, and often wrote in a more accessible style for amateur musicians. The WCC will present two such tonal works by Schoenberg: “Verbundenheit” (Solidarity) for male chorus, and the folksong arrangement, “Mein Herz in steten treuen” (My Heart, Forever Faithful).
In the American works of Stravinsky (below), the Credo movement of his 1947 Mass was subtly influenced by American Jazz.
Joining the WCC will be Madison organist Mark Brampton Smith, who will accompany several pieces at the organ as well as perform solo organ works by Paul Hindemith and Joaquin Nin-Culmell (two additional mid-century immigrants to the U.S.).
The movements from Stravinsky’s Mass will be performed with Brampton Smith at organ and guest trombonist Michael Dugan (below), who will also enhance Josquin des Prez’s “Stabat Mater” by playing sackbut, the Renaissance ancestor of the trombone.
Guest percussionist Stephen Cherek will enliven several of the Latin American selections, playing a variety of instruments.
Here are some YouTube links to sample performances:
Josquin des Prez, “Stabat Mater”
Orlando di Lasso, “Domine Convertere”
Kurt Weill, “Kiddush”
Chen Yi, “Mo Li Hwa” (“Jasmine Flower” from A Set of Chinese Folksongs)
Osvaldo Golijov, “Demos Gracias” (from La Pasion segun San Marcos)
Arnold Schoenberg, “Verbundenheit” (from Six Pieces for Male Chorus)
Arnold Schoenberg, “Mein Herz in steten Treuen”
Igor Stravinsky, Credo (from Mass)
By Jacob Stockinger
You might remember that at holiday time, The Ear offered a series of roundups of the best recordings and classical music gifts of the past year. The idea is to use them as holiday gift guides.
One of those days was Grammy Day.
This past Monday night, the winners of the 58th annual Grammy were announced.
The Ear notes that there were a few items of special local and regional interest.
The late Twin Cities composer Stephen Paulus, whose works were often commissioned and premiered in Madison by the Festival Choir of Madison, the Wisconsin Chamber Choir and groups at the University of Wisconsin-Madison School of Music, was nominated for several works. And he won in two categories.
In addition, producer Judith Sherman, who already has several Grammys to her credit, was nominated again and won again. She is also the producer to the two recordings of the six centennial commissions by the Pro Arte Quartet at the University of Wisconsin-Madison. The last one – with the String Quartet No. 3 by Belgian composer Benoit Mernier and a Clarinet Quintet by Canadian composer Pierre Jalbert – will be released this spring.
In addition, violinist Augustin Hadelich (below), who has turned in outstanding and memorable performances with the Madison Symphony Orchestra, received his first Grammy for a recording of the late French composer Henri Dutilleux.
Plus, the critically acclaimed Chicago-based record company Çedille (below top), which has celebrated its 25th anniversary and which specializes in Midwest artists as well as unusual repertoire of both old and new music, had several nominations and won a Grammy for a recording of the new music group Eighth Blackbird. Two other superb artists who record for Çedille and have performed in Madison with the Wisconsin Chamber Orchestra are violinists Rachel Barton Pine and Jennifer Koh.
Here are all the winners in classical music for the 2016 Grammys. All the nominees are listed and the winners are noted with three asterisks (***):
***Ask Your Mama (below): Leslie Ann Jones, John Kilgore, Nora Kroll-Rosenbaum & Justin Merrill, engineers; Patricia Sullivan, mastering engineer (George Manahan & San Francisco Ballet Orchestra) Label: Avie Records
Dutilleux: Métaboles; L’Arbre Des Songes (Tree of Dreams); Symphony No. 2, ‘Le Double’: Dmitriy Lipay, engineer; Alexander Lipay, mastering engineer (Ludovic Morlot, Augustin Hadelich & Seattle Symphony) Label: Seattle Symphony Media
Rachmaninoff: All-Night Vigil: Beyong Joon Hwang & John Newton, engineers; Mark Donahue, mastering engineer (Charles Bruffy, Phoenix Chorale and Kansas City Chorale) Label: Chandos
Saint-Saëns: Symphony No. 3, ‘Organ’: Keith O. Johnson and Sean Royce Martin, engineers; Keith O. Johnson, mastering engineer (Michael Stern and Kansas City Symphony) Label: Reference Recordings
73. PRODUCER OF THE YEAR, CLASSICAL
Blanton Alspaugh: • Hill: Symphony No. 4; Concertino Nos. 1 & 2; Divertimento (Peter Bay, Anton Nel & Austin Symphony Orchestra) • Rachmaninoff: All-Night Vigil (Charles Bruffy, Phoenix Chorale & Kansas City Chorale) • Sacred Songs Of Life & Love (Brian A. Schmidt & South Dakota Chorale) • Spirit Of The American Range (Carlos Kalmar & The Oregon Symphony) • Tower: Violin Concerto; Stroke; Chamber Dance (Giancarlo Guerrero, Cho-Liang Lin & Nashville Symphony)
Manfred Eicher: • Franz Schubert (András Schiff) • Galina Ustvolskaya (Patricia Kopatchinskaja, Markus Hinterhäuser & Reto Bieri) • Moore: Dances & Canons (Saskia Lankhoorn) • Rihm: Et Lux (Paul Van Nevel, Minguet Quartet & Huelgas Ensemble) • Visions Fugitives (Anna Gourari)
Marina A. Ledin, Victor Ledin: • Dances For Piano & Orchestra (Joel Fan, Christophe Chagnard & Northwest Sinfonietta) • Tempo Do Brasil (Marc Regnier) • Woman At The New Piano (Nadia Shpachenko)
Dan Merceruio: • Chapí: String Quartets 1 & 2 (Cuarteto Latinoamericano) • From Whence We Came (Ensemble Galilei) • Gregson: Touch (Peter Gregson) • In The Light Of Air – ICE Performs Anna Thorvaldsdottir (International Contemporary Ensemble) • Schumann (Ying Quartet) • Scrapyard Exotica (Del Sol String Quartet) • Stravinsky: Petrushka (Richard Scerbo & Inscape Chamber Orchestra) • What Artemisia Heard (El Mundo) • ZOFO Plays Terry Riley (ZOFO)
***Judith Sherman: • Ask Your Mama (George Manahan & San Francisco Ballet Orchestra) • Fields: Double Cluster; Space Sciences (Jan Kučera, Gloria Chuang & Moravian Philharmonic Orchestra) • Liaisons – Re-Imagining Sondheim From The Piano (Anthony de Mare) • Montage – Great Film Composers & The Piano (Gloria Cheng) • Multitude, Solitude (Momenta Quartet) • Of Color Braided All Desire – Music Of Eric Moe (Christine Brandes, Brentano String Quartet, Dominic Donato, Jessica Meyer, Karen Ouzounian, Manhattan String Quartet & Talujon) • Rzewski: The People United Will Never Be Defeated! (Ursula Oppens) • Sirota: Parting The Veil – Works For Violin & Piano (David Friend, Hyeyung Julie Yoon, Laurie Carney & Soyeon Kate Lee) • Turina: Chamber Music For Strings & Piano (Lincoln Trio)
Bruckner: Symphony No. 4: Manfred Honeck, conductor (Pittsburgh Symphony Orchestra) Label: Reference Recordings
Dutilleux: Métaboles; L’Arbre Des Songes; Symphony No. 2, ‘Le Double’: Ludovic Morlot, conductor (Seattle Symphony) Label: Seattle Symphony Media
***Shostakovich: Under Stalin’s Shadow – Symphony No. 10 (below): Andris Nelsons, conductor (Boston Symphony Orchestra) Label: Deutsche Grammophon
Spirit Of The American Range: Carlos Kalmar, conductor (The Oregon Symphony) Label: Pentatone
Zhou Long and Chen Yi: Symphony ‘Humen 1839’: Darrell Ang, conductor (New Zealand Symphony Orchestra) Label: Naxos
Janáček: Jenůfa: Donald Runnicles, conductor; Will Hartmann, Michaela Kaune & Jennifer Larmore; Magdalena Herbst, producer (Orchestra Of The Deutsche Oper Berlin; Chorus Of The Deutsche Oper Berlin) Label: Arthaus
Monteverdi: Il Ritorno D’Ulisse In Patria: Martin Pearlman, conductor; Fernando Guimarães & Jennifer Rivera; Thomas C. Moore, producer (Boston Baroque) Label: Linn Records
Mozart: Die Entführung Aus Dem Serail: Yannick Nézet-Séguin, conductor; Diana Damrau, Paul Schweinester & Rolando Villazón; Sid McLauchlan, producer (Chamber Orchestra Of Europe) Label: Deutsche Grammophon
***Ravel: L’Enfant Et Les Sortilèges; Shéhérazade (belw): Seiji Ozawa, conductor; Isabel Leonard; Dominic Fyfe, producer (Saito Kinen Orchestra; SKF Matsumoto Chorus & SKF Matsumoto Children’s Chorus) Label: Decca
Steffani: Niobe, Regina Di Tebe: Paul O’Dette & Stephen Stubbs, conductors; Karina Gauvin & Philippe Jaroussky; Renate Wolter-Seevers, producer (Boston Early Music Festival Orchestra) Label: Erato
Beethoven: Missa Solemnis: Bernard Haitink, conductor; Peter Dijkstra, chorus master (Anton Barachovsky, Genia Kühmeier, Elisabeth Kulman, Hanno Müller-Brachmann & Mark Padmore; Symphonieorchester Des Bayerischen Rundfunks; Chor Des Bayerischen Rundfunks) Label: BR Klassik
Monteverdi: Vespers Of 1610: Harry Christophers, conductor (Jeremy Budd, Grace Davidson, Ben Davies, Mark Dobell, Eamonn Dougan & Charlotte Mobbs; The Sixteen) Label: Coro
Pablo Neruda – The Poet Sings: Craig Hella Johnson, conductor (James K. Bass, Laura Mercado-Wright, Eric Neuville & Lauren Snouffer; Faith DeBow & Stephen Redfield; Conspirare) Label: Harmonia Mundi
Paulus: Far In The Heavens: Eric Holtan, conductor (Sara Fraker, Matthew Goinz, Thea Lobo, Owen McIntosh, Kathryn Mueller & Christine Vivona; True Concord Orchestra; True Concord Voices) Label: Reference Recordings
***Rachmaninoff: All-Night Vigil (below): Charles Bruffy, conductor (Paul Davidson, Frank Fleschner, Toby Vaughn Kidd, Bryan Pinkall, Julia Scozzafava, Bryan Taylor & Joseph Warner; Kansas City Chorale & Phoenix Chorale) Label: Chandos
Brahms: The Piano Trios: Tanja Tetzlaff, Christian Tetzlaff & Lars Vogt. Label: Ondine
***Filament (below and in a YouTube video at the bottom): Eighth Blackbird. Label: Cedille Records
Flaherty: Airdancing For Toy Piano, Piano & Electronics: Nadia Shpachenko & Genevieve Feiwen Lee. Track from: Woman At The New Piano. Label: Reference Recordings
Render: Brad Wells & Roomful Of Teeth. Label: New Amsterdam Records
Shostakovich: Piano Quintet & String Quartet No. 2: Takács Quartet & Marc-André Hamelin. Label: Hyperion
***Dutilleux: Violin Concerto, L’Arbre Des Songes (below): Augustin Hadelich; Ludovic Morlot, conductor (Seattle Symphony) Track from: Dutilleux: Métaboles; L’Arbre Des Songes; Symphony No. 2, ‘Le Double’ Label: Seattle Symphony Media
Grieg & Moszkowski: Piano Concertos: Joseph Moog; Nicholas Milton, conductor (Deutsche Radio Philharmonie Saarbrücken Kaiserslautern) Label: Onyx Classics
Mozart: Keyboard Music, Vol. 7: Kristian Bezuidenhout. Label: Harmonia Mundi
Rachmaninov Variations: Daniil Trifonov (The Philadelphia Orchestra) Label: Deutsche Grammophon
Rzewski: The People United Will Never Be Defeated! Ursula Oppens (Jerome Lowenthal). Label: Cedille Records
Beethoven: An Die Ferne Geliebte; Haydn: English Songs; Mozart: Masonic Cantata: Mark Padmore; Kristian Bezuidenhout, accompanist. Label: Harmonia Mundi
***Joyce & Tony – Live From Wigmore Hall: Joyce DiDonato; Antonio Pappano, accompanist. Label: Erato
Nessun Dorma – The Puccini Album. Jonas Kaufmann; Antonio Pappano, conductor (Kristīne Opolais, Antonio Pirozzi & Massimo Simeoli; Coro Dell’Accademia Nazionale Di Santa Cecilia; Orchestra Dell’Accademia Nazionale Di Santa Cecilia) Label: Sony Classical
Rouse: Seeing; Kabir Padavali: Talise Trevigne; David Alan Miller, conductor (Orion Weiss; Albany Symphony) Label: Naxos
St. Petersburg: Cecilia Bartoli; Diego Fasolis, conductor (I Barocchisti) Label: Decca
As Dreams Fall Apart – The Golden Age Of Jewish Stage And Film Music (1925-1955): New Budapest Orpheum Society; Jim Ginsburg, producer. Label: Cedille Records
Ask Your Mama: George Manahan, conductor; Judith Sherman, producer. Label: Avie Records
Handel: L’Allegro, Il Penseroso Ed Il Moderato, 1740: Paul McCreesh, conductor; Nicholas Parker, producer. Label: Signum Classics
***Paulus: Three Places Of Enlightenment; Veil Of Tears & Grand Concerto (below): Giancarlo Guerrero, conductor; Tim Handley, producer. Label: Naxos
Woman At The New Piano: Nadia Shpachenko; Marina A. Ledin & Victor Ledin, producers. Label: Reference Recordings
Barry: The Importance Of Being Earnest: Gerald Barry, composer (Thomas Adès, Barbara Hannigan, Katalin Károlyi, Hilary Summers, Peter Tantsits & Birmingham Contemporary Music Group) Label: NMC Recordings
Norman: Play: Andrew Norman, composer (Gil Rose & Boston Modern Orchestra Project) Track from: Norman: Play. Label: BMOP/Sound
***Paulus: Prayers & Remembrances (below): Stephen Paulus, composer (Eric Holtan, True Concord Voices & Orchestra). Track from: Paulus: Far In The Heavens. Label: Reference Recordings
Tower: Stroke: Joan Tower, composer (Giancarlo Guerrero, Cho-Liang Lin & Nashville Symphony). Track from: Tower: Violin Concerto; Stroke; Chamber Dance. Label: Naxos
Wolfe: Anthracite Fields: Julia Wolfe, composer (Julian Wachner, The Choir Of Trinity Wall Street & Bang On A Can All-Stars) Label: Cantaloupe Music
By Jacob Stockinger
It will be a busy week in Madison and especially at the University of Wisconsin-Madison School of Music. Here is a list to help you decide what you want to attend.
At 7:30 p.m. in Mills Hall, the UW-Madison Chamber Orchestra will give a FREE concert under its music director James Smith.
The program is: Rumanian Folk Dances by Béla Bartók; the “Holberg” Suite by Edvard Grieg; and Symphony for Strings, Opus 118a, by Dmitri Shostakovich (arranged by Russian violist Rudolf Barshai and based on Shostakovich’s well known String Quartet No. 8.)
UW-Madison professor of chamber music and cellist Parry Karp, who performs in the Pro Arte Quartet, is a newly elected member of the Wisconsin Academy of Sciences, Arts and Letters.
On Friday night at 8 p.m. he will give a FREE recital in Mills Hall.
The program features: the Partita in A Minor for Solo Flute, BWV 1013 (1723?) by Johann Sebastian Bach, as transcribed for solo cello in C Minor by Parry Karp.
Sonata No. 1 in D Major Piano and Violin, Op. 12 No. 1 (1798) by Ludwig van Beethoven, as transcribed for piano and cello by Parry Karp. He will perform with pianist mother Frances Karp.
“Märchenbilder” (Fairy Tales) for Piano and Viola, Op. 113 (1851) by Robert Schumann, as transcribed for piano and cello by Robert Hausmann. With pianist Frances Karp.
Sonata in A Minor for Piano and Cello, D. 821, “Arpeggione,” (1824) by Franz Schubert. Pianist Bill Lutes will perform with Karp.
SATURDAY AFTERNOON AND NIGHT
Attention all pianists and especially those with smaller hands!
UW pianist and pedagogue Jessica Johnson (below) will give an afternoon workshop and evening concert on “The Joy of Downsizing.”
All events are FREE and OPEN TO THE PUBLIC and take place in Morphy Recital Hall.
WORKSHOP — 2:30-3:45: “All Hands on Keys: Strategies for Teaching Students with Small Hands”
MASTERCLASS — 4:15-5:45 p.m.
TRY THE PIANO — 5:45-6:45 p.m.
FACULTY CONCERT — 8 p.m. Performed on a Steinbuhler DS 5.5™ (“7/8”) Size Piano; Tentative program includes: Thee Piano Pieces, D. 946, by Franz Schubert (played by Alfred Brendel in a YouTube video at the bottom); Ballad, Op. 6, by Amy Beach; Concert sans Orchestre in f minor, Op. 14, by Robert Schumann.
Here is a statement about the workshops and concert from Jessica Johnson:
“The hands of great pianists come in all shapes and sizes. Spending literally thousands of hours at the piano, we develop time-tested, proven strategies for learning repertoire in a way that suits our unique physiology. We know best that which we have experienced within our own bodies.
“How does this impact our ability to work with students with different hand sizes than our own?
“As a small-handed pianist, I have spent my entire professional career seeking creative strategies to adapt to playing conventional-sized piano keyboards.
“I have become a guru of innovative fingerings and have learned how to employ ergonomic movements and compensatory gestures in order to perform technically challenging repertoire on the conventional piano.
“Since the life-changing moment when I started practicing on an alternatively sized keyboard, I have experienced a whole new level of artistic and technical freedom.
“Research related to the use of Ergonomically-Scaled Piano Keyboards (ESPKs) suggests similar benefits for small-handed pianists, including less pain and injury, greater technical facility and accuracy, and ease of learning.
“Using a Steinbuhler DS 5.5TM (7/8) Size Piano Keyboard insert, manufactured by Steinbuhler & Company, that was custom-made for a Steinway B piano, this workshop will demonstrate effective strategies for teaching students with small hands and ways to exploit musical and technical choices that maximize artistry and biomechanical ease.”
“I’ve spent most of my life thinking that I could not play with a big sound and that I was never going to be comfortable with large chords and octaves. Now I simply believe that I’ve been playing the wrong size piano keyboard.”
The University of Wisconsin-Madison clarinet studio will host a Clarinet Day on Saturday, Feb. 20, starting at 1:30 p.m. and running to 6 p.m. in Mills Hall at the School of Music.
Wesley Warnhoff (below), visiting assistant professor of clarinet, and the UW-Madison Clarinet studio have invited all high school clarinetists to attend.
The day includes concerts, master classes, chamber music, student performances and dinner with the UW-Madison clarinetists. It must be a popular idea because registration is now CLOSED.
But at 7:30 P.M. the group will end the day by attending a FREE concert – which is OPEN TO THE PUBLIC — by the UW Wind Ensemble (below top), conducted by Professor Scott Teeple (below bottom).
The program includes: “Spin Cycle” by Scott Lindroth; “Colonial Song” by Percy Grainger/Rogers; “Heavy Weather” by Jess Turner, featuring Tom Curry, adjunct professor of tuba; the Symphonies of Wind Instruments by Igor Stravinsky; and “Apollo Unleashed” by Frank Ticheli.
The UW-Madison Concert Band will give two FREE concerts in Mills Hall at 2 p.m. and 7 p.m. under band director Mike Leckrone (below), best known for leading the acclaimed UW Marching Band. Sorry, no word about program.