The Well-Tempered Ear
Meet the Met’s’Mighty Mouse’ — Yannick Nézet-Ségiun
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By Jacob Stockinger
You might think you already know the famous, high-profile musician and conductor Yannick Nézet-Séguin (below).
The Ear certainly did.
But then I saw the profile and comprehensive interview with the 48-year-old on CBS’ “60 Minutes” last Sunday. And I learned many new things, including how enjoyable and humorous the native French-Canadian can be as well as how he plans to breathe new life and bring new audience into the Met.
I learned how extremely busy he is being the music director of three major artistic organizations: the Metropolitan Opera in New York; the Philadelphia Orchestra; and the Metropolitan Orchestra of Montreal. In addition, he is a prolific recording artist.
I also learned much about his personal life (below, on vacation) and his professional career. You meet his parents and his longtime violist husband.
Not for nothing has the renowned mezzo-soprano Joyce DiDonato affectionately dubbed this openly gay man with the nickname of the cartoon character Mighty Mouse (below) because of his small size but muscular physique, his cheerful and expressive face, and his ambitious rescue mission as the third music director of the Metropolitan Opera in New York City.
Here is a link to the wide-ranging and candid interview, both amusingly serious and seriously amusing, which you can read it or watch and listen to it:
What do you think of Yannick Nézet-Séguin and his plans to revitalize the Metropolitan Opera with contemporary works and younger audiences?
What did you think of the “60 Minutes” interview?
The Ear wants to hear.
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YOU MUST HEAR THIS: No piece captures the mixed emotions of Memorial Day better than Charles Ives’ “Decoration Day”
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By Jacob Stockinger
Today is Memorial Day, 2022.
It is the annual holiday to remember those who died in military service to the country. (Below are flags placed each year at the tombstones in Arlington National Cemetery in Virginia.)
If you want to honor survivors and current service members, that would be Veterans Day on Nov. 11.
All weekend long the radio has been playing music and the television has been showing war movies.
A lot of the music is familiar and repeated every year: Sousa marches and Morton Gould suites, elegies by Gustav Mahler, Samuel Barber, Aaron Copland and Leonard Bernstein; requiems by Mozart and Fauré; a hymn by John Williams and other movie scores. This year has also seen the playlist include rediscovered works of homage by African-American composers such as William Grant Still.
But only this year did The Ear finally hear — thanks to Wisconsin Public Radio — the one piece that, to his mind, best captures Memorial Day with its blending of consonance and dissonance, its mix of major and major keys, of familiar or “found” music and original music.
It is called, simply, “Decoration Day” and it was composed in 1912 — but not published until 1989 — by the 20th-century iconoclastic and early modernist American composer Charles Ives (below, 1874-1954). It ended up as part of a work the composer called “A Symphony: New England Hollidays.”
See if you agree with The Ear.
Listen to the 8-minute performance by “The President’s Own” United States Marine Band in the YouTube video at the bottom.
Listen to the deep anguish and and sense of loss conveyed in the opening, when a solemn remembrance procession goes to a cemetery to plant flags and lay flowers and wreaths to “decorate” the graves of the fallen.
Listen carefully and you will hear a faint version of “Taps” and ringing church bells in the atmospheric music.
Then as so often happens in reality, life suddenly intrudes in the form of a celebration by a loud marching brass band as it leaves the cemetery for the celebratory marches, picnics and fireworks.
But at the end, the darkness briefly returns. The sense of loss lingers long after the actual death and long after the holiday has been celebrated.
There is no closure.
Just resignation.
Just living with loss.
Here is the background from Wikipedia about how the holiday started as Decoration Day after the Civil War and when it evolved into Memorial Day in 1970: https://en.wikipedia.org/wiki/Memorial_Day
And here is biographical background, with the actual sources and depictions of “Decoration Day” — just go down the page to compositions and click — about Charles Ives: https://en.wikipedia.org/wiki/Charles_Ives
Did you know and like Charles Ives’ music?
Does “Decoration Day” impress or move you?
What music most embodies Memorial Day for you?
The Ear wants to hear.
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Too bad the Wisconsin Union Theater didn’t book a great pianist for next season
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By Jacob Stockinger
“We are living in a Golden Age of pianists,” famed concert pianist, Juilliard teacher and frequent Madison performer Emanuel Ax (below) has said.
He should know. But you would never guess that from the recently announced next season at the Wisconsin Union Theater (below).
The WUT has not booked a solo pianist for the 2022-23 season.
Here is a link to the lineup for the next season:
https://union.wisc.edu/visit/wisconsin-union-theater/seasonevents/
Is The Ear the only one who has noticed and is disappointed?
Who else feels bad about it?
After all, this is the same presenting organization that brought to Madison such legendary pianists as Sergei Rachmaninoff, Ignaz Jan Paderewski, Percy Grainger, Arthur Rubinstein, Vladimir Horowitz, Dame Myra Hess, Guiomar Novaes, Egon Petri, Robert Casadesus, William Kapell, Claudio Arrau, Alexander Brailowsky, Gary Graffman, Glenn Gould, Rosalyn Tureck, Byron Janis, Misha Dichter, Peter Serkin, André Watts, Lili Kraus and Garrick Ohlsson
It is the same hall (below) in which The Ear has heard Rudolf Serkin, Vladimir Ashkenazy, Angela Hewitt, Alfred Brendel, Murray Perahia, Valentina Lisitsa, Andras Schiff, Joyce Yang, Yefim Bronfman, Jeremy Denk, Ingrid Fliter, Richard Goode, Leon Fleisher, Simone Dinnerstein, Wu Han and so many other great and memorable names including, of course, Emanuel Ax.
What a history!
As you can see and as The Ear likes to say, the Wisconsin Union Theater is “The Carnegie Hall of Madison.” For over 100 years, it is where the great ones play.
One irony is that many of those former bookings of pianists took place when the University of Wisconsin School of Music had many more pianists on the faculty and provided a major alternative venue for piano recitals.
Another irony is that so many young people take piano lessons (below) and are apt to want to attend, probably with their parents, to hear a live professional concert piano recital. You would think the WUT would also see the advantages of having such community outreach links to the public and to music education, especially since the WUT has hosted Open Piano Day for the public. (See the YouTube video of a Channel 3000 story in February 2020 at the bottom.)
From what The Ear reads, there are lots of up-and-coming pianists, many affordable names of various winners of national and international competitions. They should be affordable as well as worthy of being introduced to the Madison public.
But that seems a mission now largely left to the Salon Piano Series.
Plus, so many of the new pianists are young Asians who have never appeared here, which should be another draw for the socially responsible and diversity-minded WUT.
But that is another story for another day.
What do you think of the WUT not presenting a solo pianist next season?
Maybe there will be a pianist booked for the 2023-24 season.
What pianists would you like see booked by the WUT student programming committee?
The Ear wants to hear.
Tags: #AlexanderBrailowsky, #AlfredBrendel, #AndrasSchiff, #AndréWatts, #AngelaHewitt, #ArthurRubinstein, #BlogPost, #BlogPosting, #ByronJanis, #CarnegieHall, #Channel3000, #CommunityOutreach, #ConcertHall, #ConcertPianist, #EgonPetri, #EmanuelAx, #FacebookPost, #FacebookPosting, #GarrickOhlsson, #GaryGraffman, #GlennGould, #GoldenAge, #GuiomarNovaes, #IgnazJanPaderewski, #IngridFliter, #JacobStockinger, #JeremyDenk, #JoyceYang, #JuilliardSchool, #LatinAmericanmusic, #LeonFleisher, #LiliKraus, #MeadWitterSchoolofMusic, #MishaDichter, #MurrayPerahia, #MusicalOrganization, #Musicfaculty, #MyraHess, #OpenPianoDay, #PercyGrainger, #PeterSerkin, #PIanoRecital, #PIanoTeacher, #RichardGoode, #RobertCasadesus, #RosalynTureck, #RudolfSerkin, #SalonPIanoSeries, #SergeiRachmaninoff, #SergeiRachmaninov, #ShannonHall, #SimoneDinnerstein, #TheEar, #TheUW, #TheUW-Madison, #TooBad, #Up-and-Coming, #ValentinaLisitsa, #VladimirAskenazy, #VladimirHorowitz, #WilliamKapell, #WisconsinUnionTheater, #WuHan, #YefimBronfman, #YouTubevideo, advantage, affordable, Alexander Brailowsky, Alfred Brendel, alternative, András Schiff, André Watts, Angela Hewitt, announce, appear, Arrau, Arthur Rubinstein, Arts, Ashkenazy, Asia, asian, audience, bad, Baroque, Beethoven, blog, Blog post, Book, Brendel, Byron Janis, Carnegie Hall, Chamber music, Channel 3000, China, Chinese, Classical music, Claudio Arrau, committee, community, Competition, composer, Concert, concert hall, concert pianist, diversity, Education, Egon Petri, Emanuel Ax, Facebook, Facebook post, faculty, fame, famed, famous, female, Garrick Ohlsson, Gary Graffman, Glenn Gould, Golden Age, great, guess, Guiomar Novaes, hall, he, hear, her, here, History, Horowitz, Ingrid Fliter, international, irony, Jacob Stockinger, Japan, Japanese, Jeremy Denk, Joyce Yang, Juilliard, know, Korea, Korean, legendary, Leon Fleisher, Lili Kraus, lineup, link, live, living, Madison, male, Mead Witter School of Music, memorable, men, Misha Dichter, mission, Murray Perahia, Music, music student, Myra Hess, name, national, new, Open Piano Day, organization, outreach, Paderewski, Parent, Percy Grainger, performer, Peter Serkin, Pianist, Piano, piano recital, piano student, piano teacher, play, post, posting, presenter, professional, program, programming, public, Rachmaninoff, Rachmaninov, read, recent, recital, Richard Goode, Robert Casadesus, Rosalyn Tureck, Rubinstein, Rudolf Serkin, Salon Piano Series, say, Season, see, Sergei Rachmaninoff, Sergei Rachmaninov, Shannon Hall, share, Simone Dinnerstein, socially responsible, solo, Sonata, South Korea, South Korean, Student, tag, Taiwan, Taiwanese, Teacher, Television, The Ear, think, too bad, TV, United States, University of Wisconsin-Madison School of Music, University of Wisconsin–Madison, UW-Madison, Valentina Lisitsa, venue, video, Vladimir Ashkenazy, Vladimir Horowitz, who, William Kapell, winner, WISC-TV, Wisconsin, Wisconsin Union Theater, women, worth, worthy, Wu Han, WUT, year, Yefim Bronfman, you, young, YouTube
Should the 1812 Overture be played this Fourth of July?
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By Jacob Stockinger
The Ear recently noticed that the Wisconsin Chamber Orchestra has once again scheduled the 1812 Overture by Tchaikovsky (below) as part of the finale of its Fourth of July concert on the evening of July 6, 2022.
The performance is part of this summer’s FREE Concerts on the Square (COS) by the WCO that run on six consecutive Wednesday nights from June 29 through Aug. 3. Concerts start at 7 p.m. on the King Street corner of the Capitol Square in downtown Madison, and will be conducted by Andrew Sewell.
For more information about the series and individual performers and programs, go to: https://wcoconcerts.org/concerts-tickets/concerts-on-the-square
An asterisk says programs are subject to change.
Which got The Ear to thinking: Should Tchaikovsky’s perennial favorite, the flashy and loud 1812 Overture, be played again this year?
It is a tradition that was started on Independence Day in 1974 by Arthur Fielder and the Boston Pops, according to reputable sources.
But this year might be a very different case because of a quandary that might cause organizers, including PBS’ “A Capitol Fourth,” to rethink the program.
It is a choice that will confront many musical groups across the U.S., given the current unprovoked brutality and and war crimes being committed by Russia against Ukraine.
After all, many music groups, including the Metropolitan Opera, have already banned Russian performers who support Russian President Vladimir Putin and his unjustified war in Ukraine (below).
So here’s the question: Is it appropriate to play a favorite work celebrating a Russian military victory while Ukraine, the United States and Western allies, including NATO, are desperately trying to defeat Russian forces?
As you may recall, the overture was inspired by Russia’s victory over the invading forces of Napoleon who was attempting go conquer Russia. Like Hitler and the Nazis, Napoleon failed and the Russians prevailed. That is why, in the work, you hear the French national anthem “La Marseillaise” overcome by the chimes and cannons of the Russian victory hymn. (There was no Russian national anthem until 1815.)
Here is a link to more background in Wikipedia: https://en.wikipedia.org/wiki/1812_Overture
Will the Wisconsin Chamber Orchestra or other orchestras as well as radio and TV stations around the U.S. find a substitute piece? Perhaps it could be the Ukrainian national anthem that is performed (as in the BBC Proms concert in the YouTube video at the bottom and as many other orchestras around the world, including the Madison Symphony Orchestra and John DeMain, have done).
What else could the WCO and other groups play — especially since Sousa marches are already usually featured on The Fourth?
Do you have a suggestion?
The Ear will be interested to see how the quandary is solved — with explanations and excuses, or with alternative music?
Meanwhile, as comedian Stephen Colbert likes to say: What do you think?
Should the “1812 Overture” be played on this Fourth of July?
Why?
Or why not?
The Ear wants to hear.
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This Saturday night the Wisconsin Chamber Choir and Grammy winner Sarah Brailey perform a free live-streamed concert of music by women
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By Jacob Stockinger
The Ear has received the following announcement to post:
The Wisconsin Chamber Choir (WCC, below) with a special guest — Grammy Award-winning soprano and UW-Madison graduate Sarah Brailey – will perform this Saturday, May 15, at 7 p.m.
“Music She Wrote” is a celebration of music composed by a highly diverse group of women from many ages.
Choir members will sing from their individual cars using wireless microphones, listening to the sound of the whole choir via their car radios.
The audience is invited to listen in live on YouTube and to let us know they are interested by sending an RSVP to our Facebook event.
There is no charge to view the livestream, but donations will be welcome.
Here are the links to hear the performance LIVE on YouTube or Facebook:
https://youtu.be/Iaz0wZhuG18 or:
https://www.facebook.com/events/1561155960751974/
The WCC had scheduled a regular concert with an all-female cast of composers for May 2020, which fell victim to Covid-19. As it became obvious that the pandemic would last longer, the WCC started exploring new ways of making and disseminating music.
From September 2020, we resumed activity in the shape of the Parking Lot Choir, generating local media coverage from WKOW-TV and Madison Magazine, whose story was headlined “Forget tailgates, parking lots are for choir practice.”
The result of this first rehearsal run was the widely acclaimed “Car Carols” concert in December 2020, whose format is the model for “Music She Wrote.”
In addition to the Parking Lot Choir, three smaller groups from the WCC assembled at the Edgewood College Amphitheater on Saturday mornings to rehearse (below) in widely spaced formations, wearing specially designed singer masks.
Another such group, made up of our members from southeastern Wisconsin, met in Whitewater on Sunday afternoons. Recordings by those four small groups will be aired during the May 15 broadcast in addition to live singing by the Parking Lot choristers.
The program includes: the Garden Songs by Fanny Hensel, née Mendelssohn (Felix’s sister, below), which were intended for outdoor performance; and Ethel Smyth’s March of the Women, the anthem of the women’s suffrage movement in the English-speaking world.
In addition to works by African American composers Ysaÿe M. Barnwell (below top) and Rosephanye Powell and by Cuban composer Beatriz Corona (below second), the program includes samples from outside the Western tradition — Lamma Badaa Yatathannaa, sung in Arabic, by Shireen Abu-Shader (below third), who hails from Jordan but received her academic education in the U.S. and Canada; and two pieces by Japanese composer Makiko Kinoshita (below bottom).
Western early music is represented by Italian composers Raffaella Aleotti (below top) and Chiara Cozzolani (below bottom), who lived in the 16th and 17th centuries.
Finally, there is singer-songwriter Judy Collins with her Song for Sarajevo, composed for the children of the war in Bosnia in 1994 and arranged by her longtime collaborator, Russell Walden. (You can hear it in the YouTube video at the bottom.)
For more details, visit: https://www.wisconsinchamberchoir.org/music-she-wrote.
Sarah Brailey (below, in a photo by Miranda Loud), a native of Wisconsin, studied at the Eastman School of Music and the University of Wisconsin–Madison, where she has just completed her doctorate. A consummate musician and internationally acclaimed soloist, she recently won a Grammy Award in the Best Classical Vocal Solo Album category for her role as The Soul in the world premiere recording of Ethel Smyth’s The Prison.
She is familiar to Madison audiences not only as a performer and co-founder of Just Bach but also as the co-host of WORT’s Musica Antiqua show on FM 89.9 and the director of Grace Presents.
As a graduate student, she joined the WCC for two seasons from 2004 to 2006. We are thrilled to welcome her back! For more information on Sarah, see her website at https://sarahbrailey.com
Tags: #All-Female, #All-FemaleConcert, #ArabicComposer, #BaroqueMusic, #BeatrizCorona, #BlackComposer, #BlogPost, #BlogPosting, #BosnianWar, #CarCarols, #CarRadio, #ChoralMusic, #ChristianChurch, #CityofMadison, #CoronavirusPandemic, #COVID-19, #Cubancomposer, #EastmanSchoolofMusic, #EdgewoodCollege, #EthelSmyth, #FacebookPost, #FacebookPosting, #FannyMendelssohn-Hensel, #FelixMendelssohn, #GraceEpiscopalChurch, #GracePresents, #Grammy-winning, #GrammyAward, #GuestArtist, #italianComposer, #JacobStockinger, #JapaneseComposer, #JudyCollins, #JustBach, #LiveStreaming, #MadisonMagazine, #MadisonWisconsin, #MakikoKinoshita, #MeadWitterSchoolofMusic, #MusicaAntiqua, #MusicEducation, #MusicSheWrote, #NewMusic, #NoCharge, #OnlineConcert, #ParkingLotChoir, #PopMusic, #RadioHost, #RaffaellaAleotti, #RomeItaly, #RosephanyePowell, #SarahBrailey, #ShireenAbu-Shader, #SocialDistance, #SongforSarajevo, #SongWriter, #SopranoSinger, #TheEar, #TheInternet, #ThePrison, #TheU.S., #TheUW, #UnitedStates, #UniversityofWisconsin-Madison, #UniversityOpera, #VirtualConcert, #VocalMusic, #WarnerPark, #Whitewater, #WhitewaterWisconsin, #WisconsinChamberChoir, #WKOWTV, #Women'sSuffrage, #WomenComposers, #WORT-FM89.9, #YouTubevideo, #YsayeBarnwell, activity, African American, ages, anthem, Arab, Arabic, Arabic composer, arrangement, Arts, audience, auto, Baroque, Beatriz Corona, black composer, blog, Bosnia, Brailey, Broadcast, Canada, car, Car Carols, car radio, category, celebration, Chiara Cozzolani, children, Choir, choral music, chorus, Christian, church, Classical music, collaborator, Collins, compose, composer, Concert, Corona, coronavirus, Cuban, Cubas, design, director, disseminate, diverse, doctorate, donation, Early music, Eastman School of Music, Edgewood College, Education, English, Ethel Smyth, European, event, explore, Facebook, Facebook post, Facebook posting, familiar, Fanny Mendelssohn Hensel, farden, Felix Mendelssohn, formation, forward, free, Grace Episcopal Church, Grace Presents, graduate, Grammy, group, guest artist, headline, hear, information, interest, Internet, Italian, Jacob Stockinger, Japan, Japanese composer, Jordan, Judy Collins, Just Bach, Kinoshita, know, like, link, listen, live, livestream, local, longtime, Madison, Madison Magazine, make, Makiko Kinoshita, march, masks, Mead Witter School of Music, media, microphones, model, morning, Music, Music education, Music She Wrote, Musica Antiqua, native, New Music, no charge, online, outdoor, pandemic, Parking Lot Choir, performance, performer, pieces, pop, pop music, popular, post, posting, Powell, prison, Radio, radio host, Raffaella Aleotti, register, rehearsal, resume, role, Rosephanye Powell, RSVP, Sarah Brailey, Saturday, schedule, send, shape, share, Shireen Abu-Khader, singer, Singing, Smyth, social distance, solo, song, Song for Sarajevo, soprano, soul, Sound, speak, special, story, suffrage, sung, tag, tailgate, Television, The Ear, tradition, TV, U.S., United States, University of Wisconsin-Madison School of Music, University of Wisconsin–Madison, University Opera, UW, UW-Madison, victim, view, virtual, vocal music, war, Warner Park, WCC, wear, Website, welcome, Western, wireless, Wisconsin, Wisconsin Chamber Choir, WKOW TV, women, women composers, women's suffrage, world, WORT FM 88.9, YouTube, Ysaye Barnwell
Here are the classical music nominations for the 63rd annual Grammy Awards in 2021
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By Jacob Stockinger
It’s time again for the annual Grammy Awards (below).
Although determined by the recording industry and often considered promotional marketing, they might be more helpful given the peculiar circumstances of the past year.
After all, the coronavirus pandemic has changed our listening habits.
Perhaps you now listen mostly via computer to virtual online concerts and performances that are streamed.
Perhaps you listen to Compact Discs using home stereo systems.
Perhaps you subscribe to a streaming service such as Apple Music, Amazon Music, Spotify and others.
However you listen to music, you might find the following list useful, especially as it comes at the beginning of the holiday shopping and gift-giving season.
You might also find the nominations for the 63rd annual Grammy Awards informative about individual musicians and musical groups in your area.
They can help you judge how many or how few contemporary composers and new works get performed.
Performers provide other examples. You might find it interesting, for example, that soprano Sarah Brailey (below) has been nominated for her role in the solo vocal work “The Prison” by Ethel Smyth. Brailey is a graduate student at the University of Wisconsin-Madison Mead Witter School of Music and a co-founder and performer of the free monthly Just Bach concerts.
Pianist Shai Wosner (below, in a photo by Marco Borggreve), who played late Schubert sonatas at the Salon Piano Series at Farley’s House of Pianos, is included in a list of producer awards for his recording of those sonatas.
The Milwaukee Symphony Orchestra and Florentine Opera have been nominated for a recording of Carlisle Floyd’s opera “Prince of Players.”
Conductor Julian Wachner (below top), violinist Augustin Hadelich (below middle) and pianist Jonathan Biss (below bottom) have all performed with the Madison Symphony Orchestra, some more than once.
Soprano Laquita Mitchell (below) — who has sung with the Madison Opera — has been nominated for her performance in the choral work “Sanctuary Road” by Paul Moravec.
Cellist Matt Haimovitz (below top) and composer Luna Pearl Woolf (below bottom) have been nominated for the latter’s “Fire and Flood.” Both have appeared with UW-Madison orchestral and choral groups.
If you notice more local connections, please leave word in the Comment section.
The winners will be announced on CBS Television the evening of Sunday, Jan. 31, 2021.
73. Best Engineered Album, Classical
An Engineer’s Award. (Artist names appear in parentheses.)
· DANIELPOUR: THE PASSION OF YESHUA
Bernd Gottinger, engineer (JoAnn Falletta, James K. Bass, Adam Luebke, UCLA Chamber Singers, Buffalo Philharmonic Orchestra & Buffalo Philharmonic Chorus)
· GERSHWIN: PORGY AND BESS
David Frost and John Kerswell, engineers; Silas Brown, mastering engineer (David Robertson, Eric Owens, Angel Blue, Metropolitan Opera Orchestra & Chorus)
· HYNES: FIELDS
Kyle Pyke, engineer; Jesse Lewis and Kyle Pyke, mastering engineers (Devonté Hynes & Third Coast Percussion)
· IVES: COMPLETE SYMPHONIES (below)
Alexander Lipay and Dmitriy Lipay, engineers; Alexander Lipay and Dmitriy Lipay, mastering engineers (Gustavo Dudamel and Los Angeles Philharmonic)
· SHOSTAKOVICH: SYMPHONY NO. 13, ‘BABI YAR’
David Frost and Charlie Post, engineers; Silas Brown, mastering engineer (Riccardo Muti and Chicago Symphony Orchestra)
· 
74. Producer Of The Year, Classical
A Producer’s Award. (Artist names appear in parentheses.)
· BLANTON ALSPAUGH
• Aspects Of America – Pulitzer Edition (Carlos Kalmar and Oregon Symphony)
• Blessed Art Thou Among Women (Peter Jermihov, Katya Lukianov and PaTRAM Institute Singers)
• Dvorak: Symphony No. 9; Copland: Billy The Kid (Gianandrea Noseda and National Symphony Orchestra)
• Glass: The Fall Of The House Of Usher (Joseph Li, Nicholas Nestorak, Madison Leonard, Jonas Hacker, Ben Edquist, Matthew Adam Fleisher and Wolf Trap Opera)
• Kahane: Emergency Shelter Intake Form (Alicia Hall Moran, Gabriel Kahane, Carlos Kalmar and Oregon Symphony)
• Kastalsky: Requiem (Leonard Slatkin, Steven Fox, Benedict Sheehan, Charles Bruffy, Cathedral Choral Society, The Clarion Choir, The Saint Tikhon Choir, Kansas City Chorale and Orchestra Of St. Luke’s)
• Massenet: Thaïs (Andrew Davis, Joshua Hopkins, Andrew Staples, Erin Wall, Toronto Mendelssohn Choir and Toronto Symphony Orchestra)
• Smyth: The Prison (Sarah Brailey, Dashon Burton, James Blachly and Experiential Orchestra)
• Woolf, L.P.: Fire And Flood (Julian Wachner, Matt Haimovitz and Choir Of Trinity Wall Street)
· DAVID FROST (below)
• Beethoven: Piano Sonatas, Vol. 9 (Jonathan Biss)
• Gershwin: Porgy And Bess (David Robertson, Eric Owens, Angel Blue, Metropolitan Opera Orchestra and Chorus)
• Gluck: Orphée ed Eurydice (Harry Bicket, Dmitry Korchak, Andriana Chuchman, Lauren Snouffer, Lyric Opera Of Chicago Orchestra and Chorus)
• Holst: The Planets; The Perfect Fool (Michael Stern and Kansas City Symphony)
• Muhly: Marnie (Robert Spano, Isabel Leonard, Christopher Maltman, Denyce Graves, Iestyn Davies, Janis Kelly, Metropolitan Opera Orchestra and Chorus)
• Schubert: Piano Sonatas, D. 845, D. 894, D. 958, D. 960 (Shai Wosner)
• Shostakovich: Symphony No. 13, ‘Babi Yar’ (Riccardo Muti, Alexey Tikhomirov, Chicago Symphony Orchestra and Chorus)
· JESSE LEWIS
• Gunn: The Ascendant (Roomful Of Teeth)
• Harrison, M.: Just Constellations (Roomful Of Teeth)
• Her Own Wings (Willamette Valley Chamber Music Festival)
• Hynes: Fields (Devonté Hynes and Third Coast Percussion)
• Lang, D.: Love Fail (Beth Willer and Lorelei Ensemble)
• Mazzoli: Proving Up (Christopher Rountree, Opera Omaha and International Contemporary Ensemble)
• Sharlat: Spare The Rod! (NOW Ensemble)
• Soul House (Hub New Music)
• Wherein Lies The Good (The Westerlies)
· DMITRIY LIPAY
• Adams, J.: Must The Devil Have All The Good Tunes? (Yuja Wang, Gustavo Dudamel and Los Angeles Philharmonic)
• Cipullo: The Parting (Alastair Willis, Laura Strickling, Catherine Cook, Michael Mayes and Music Of Remembrance)
• Ives: Complete Symphonies (Gustavo Dudamel & Los Angeles Philharmonic)
• LA Phil 100 – The Los Angeles Philharmonic Centennial Birthday Gala (Gustavo Dudamel and Los Angeles Philharmonic)
• Langgaard: Prelude To Antichrist; Strauss: An Alpine Symphony (Thomas Dausgaard and Seattle Symphony Orchestra)
• Nielsen: Symphony No. 1 and Symphony No. 2, ‘The Four Temperaments’ (Thomas Dausgaard and Seattle Symphony)
· ELAINE MARTONE
• Bound For The Promised Land (Robert M. Franklin, Steven Darsey, Jessye Norman and Taylor Branch)
• Dawn (Shachar Israel)
• Gandolfi, Prior and Oliverio: Orchestral Works (Robert Spano and Atlanta Symphony Orchestra)
• Singing In The Dead Of Night (Eighth Blackbird)
• Whitacre: The Sacred Veil (Eric Whitacre, Grant Gershon and Los Angeles Master Chorale)
75. Best Orchestral Performance
Award to the Conductor and to the Orchestra.
· ASPECTS OF AMERICA – PULITZER EDITION (below)
Carlos Kalmar, conductor (Oregon Symphony)
· CONCURRENCE
Daniel Bjarnason, conductor (Iceland Symphony Orchestra)
· COPLAND: SYMPHONY NO. 3
Michael Tilson Thomas, conductor (San Francisco Symphony)
· IVES: COMPLETE SYMPHONIES
Gustavo Dudamel, conductor (Los Angeles Philharmonic)
· LUTOSLAWSKI: SYMPHONIES NOS. 2 and 3
Hannu Lintu, conductor (Finnish Radio Symphony Orchestra)
76. Best Opera Recording
Award to the Conductor, Album Producer(s) and Principal Soloists.
· DELLO JOIO: THE TRIAL AT ROUEN
Gil Rose, conductor; Heather Buck and Stephen Powell; Gil Rose, producer (Boston Modern Orchestra Project; Odyssey Opera Chorus)
· FLOYD, C.: PRINCE OF PLAYERS
William Boggs, conductor; Keith Phares and Kate Royal; Blanton Alspaugh, producer (Milwaukee Symphony Orchestra; Florentine Opera Chorus)
· GERSHWIN: PORGY AND BESS (below)
David Robertson, conductor; Angel Blue and Eric Owens; David Frost, producer (The Metropolitan Opera Orchestra; The Metropolitan Opera Chorus)
· HANDEL: AGRIPPINA
Maxim Emelyanychev, conductor; Joyce DiDonato; Daniel Zalay, producer (Il Pomo D’Oro)
· ZEMLINSKY: DER ZWERG
Donald Runnicles, conductor; David Butt Philip and Elena Tsallagova; Peter Ghirardini and Erwin Sturzer, producers (Orchestra of The Deutsche Oper Berlin; Chorus of The Deutsche Oper Berlin)
· 
77. Best Choral Performance
Award to the Conductor, and to the Choral Director and/or Chorus Master where applicable and to the Choral Organization/Ensemble.
· CARTHAGE
Donald Nally, conductor (The Crossing)
· DANIELPOUR: THE PASSION OF YESHUA (below)
JoAnn Falletta, conductor; James K. Bass and Adam Luebke, chorus masters (James K. Bass, J’Nai Bridges, Timothy Fallon, Kenneth Overton, Hila Plitmann and Matthew Worth; Buffalo Philharmonic Orchestra; Buffalo Philharmonic Chorus and UCLA Chamber Singers)
· KASTALSKY: REQUIEM
Leonard Slatkin, conductor; Charles Bruffy, Steven Fox and Benedict Sheehan, chorus masters (Joseph Charles Beutel and Anna Dennis; Orchestra Of St. Luke’s; Cathedral Choral Society, The Clarion Choir, Kansas City Chorale and The Saint Tikhon Choir)
· MORAVEC: SANCTUARY ROAD
Kent Tritle, conductor (Joshua Blue, Raehann Bryce-Davis, Dashon Burton, Malcolm J. Merriweather and Laquita Mitchell; Oratorio Society of New York Orchestra; Oratorio Society of New York Chorus)
· ONCE UPON A TIME
Matthew Guard, conductor (Sarah Walker; Skylark Vocal Ensemble)
· 
78. Best Chamber Music/Small Ensemble Performance
For new recordings of works with chamber or small ensemble (24 or fewer members, not including the conductor). One Award to the ensemble and one Award to the conductor, if applicable.
· CONTEMPORARY VOICES
Pacifica Quartet
· HEALING MODES
Brooklyn Rider
· HEARNE, T.: PLACE
Ted Hearne, Steven Bradshaw, Sophia Byrd, Josephine Lee, Isaiah Robinson, Sol Ruiz, Ayanna Woods and Place Orchestra
· HYNES: FIELDS
Devonté Hynes and Third Coast Percussion
· THE SCHUMANN QUARTETS
Dover Quartet
· 
79. Best Classical Instrumental Solo
Award to the Instrumental Soloist(s) and to the Conductor when applicable.
· ADÈS: CONCERTO FOR PIANO AND ORCHESTRA
Kirill Gerstein; Thomas Adès, conductor (Boston Symphony Orchestra)
· BEETHOVEN: COMPLETE PIANO SONATAS (below)
Igor Levit
· BOHEMIAN TALES
Augustin Hadelich; Jakub Hrusa, conductor (Charles Owen; Symphonieorchester Des Bayerischen Rundfunks)
· DESTINATION RACHMANINOV – ARRIVAL
Daniil Trifonov; Yannick Nézet-Séguin, conductor (The Philadelphia Orchestra)
· THEOFANIDIS: CONCERTO FOR VIOLA AND CHAMBER ORCHESTRA
Richard O’Neill; David Alan Miller, conductor (Albany Symphony)
· 
80. Best Classical Solo Vocal Album
Award to: Vocalist(s), Collaborative Artist(s) (Ex: pianists, conductors, chamber groups) Producer(s), Recording Engineers/Mixers with 51% or more playing time of new material.
· AMERICAN COMPOSERS AT PLAY – WILLIAM BOLCOM, RICKY IAN GORDON, LORI LAITMAN, JOHN MUSTO
Stephen Powell (Attacca Quartet, William Bolcom, Ricky Ian Gordon, Lori Laitman, John Musto, Charles Neidich and Jason Vieaux)
· CLAIRIÈRES – SONGS BY LILI and NADIA BOULANGER
Nicholas Phan; Myra Huang, accompanist
· FARINELLI
Cecilia Bartoli; Giovanni Antonini, conductor (Il Giardino Armonico)
· A LAD’S LOVE
Brian Giebler; Steven McGhee, accompanist (Katie Hyun, Michael Katz, Jessica Meyer, Reginald Mobley and Ben Russell)
· SMYTH: THE PRISON
Sarah Brailey and Dashon Burton; James Blachly, conductor (Experiential Chorus; Experiential Orchestra)
· 
81. Best Classical Compendium
Award to the Artist(s) and to the Album Producer(s) and Engineer(s) of over 51% playing time of the album, if other than the artist.
· ADÈS CONDUCTS ADÈS
Mark Stone and Christianne Stotijn; Thomas Adès, conductor; Nick Squire, producer
· SAARIAHO: GRAAL THEATER; CIRCLE MAP; NEIGES; VERS TOI QUI ES SI LOIN
Clément Mao-Takacs, conductor; Hans Kipfer, producer
· SEREBRIER: SYMPHONIC BACH VARIATIONS; LAMENTS AND HALLELUJAHS; FLUTE CONCERTO
José Serebrier, conductor; Jens Braun, producer
· THOMAS, M.T.: FROM THE DIARY OF ANNE FRANK and MEDITATIONS ON RILKE
Isabel Leonard; Michael Tilson Thomas, conductor; Jack Vad, producer
· WOOLF, L.P.: FIRE AND FLOOD
Matt Haimovitz; Julian Wachner, conductor; Blanton Alspaugh, producer
· 
82. Best Contemporary Classical Composition
A Composer’s Award. (For a contemporary classical composition composed within the last 25 years, and released for the first time during the Eligibility Year.) Award to the librettist, if applicable.
· ADÈS: CONCERTO FOR PIANO AND ORCHESTRA
Thomas Adès, composer (Kirill Gerstein, Thomas Adès and Boston Symphony Orchestra)
· DANIELPOUR: THE PASSION OF YESHUA
Richard Danielpour, composer (JoAnn Falletta, James K. Bass, Adam Luebke, UCLA Chamber Singers, Buffalo Philharmonic Orchestra & Buffalo Philharmonic Chorus)
· FLOYD, C.: PRINCE OF PLAYERS (below)
Carlisle Floyd, composer (William Boggs, Kate Royal, Keith Phares, Florentine Opera Chorus and Milwaukee Symphony Orchestra)
· HEARNE, T.: PLACE
Ted Hearne, composer (Ted Hearne, Steven Bradshaw, Sophia Byrd, Josephine Lee, Isaiah Robinson, Sol Ruiz, Ayanna Woods and Place Orchestra)
· ROUSE: SYMPHONY NO. 5
Christopher Rouse, composer (Giancarlo Guerrero & Nashville Symphony)
If you want to see many more nominations, including those for pop, rock, folk, hip hop, jazz and videos, go to: https://www.grammy.com/grammys/news/2021-grammys-complete-nominees-list
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It’s Thanksgiving Day. Conductor Marin Alsop, NPR, WQXR, WFMT and Wisconsin Public Radio offer music suggestions. What piece would you choose to mark the holiday?
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By Jacob Stockinger
Today – Thursday, Nov. 26, 2020 — is Thanksgiving Day.
Right now, the U.S. has had more than 12 million cases of COVID-19 with more than 260,000 deaths plus all the alarming signs and conditions that many more cases and deaths are coming in the next several months.
We might be sad that we can’t be with the family and friends we usually celebrate with. But we nonetheless have many things to give thanks for during this strange and tragic time.
We can thank the vaccine researchers; the doctors and nurses; and the other health care workers who take care of Covid patients, even those who don’t observe precautions and bring on their own illness.
We can thank all kinds of people on the front lines — food and transportation workers, for example — who help protect us and care for us.
We can thank the friends, family and others who stay in touch and help get us through these trying times.
And we can thank technology that makes isolating a lot less unbearable because we have telephones, radios, TVs, CD players, computers, cell phones and virtual online ZOOM meetings and gatherings and various other events including live-streamed concerts.
For The Ear, music has never meant more or brought more comfort than during this difficult year. He is giving thanks for that as well as for the other people and things just mentioned.
So what music should we celebrate this year’s emotionally complicated and mixed Thanksgiving holiday with?
Well, you can Google sources and go to YouTube to find compilations of music appropriate to the holiday. (See one playlist lasting 90 minutes in the YouTube video at the bottom.)
Famed classical radio station WQXR in New York City has five suggestions for being musically grateful: https://www.wqxr.org/story/top-five-expressions-thanks-classical-music/
And WFMT in Chicago is offering 20 suggestions based on holiday food: https://www.wfmt.com/2019/11/25/a-complete-thanksgiving-feast-in-20-food-inspired-pieces/
But here are a couple of other suggestions, some local.
Wisconsin Public Radio (WPR) is always a reliable source. And tomorrow is no exception.
If WPR programming stays true to past patterns, music by American composers will be emphasized.
Plus, starting at 10 a.m. WPR will broadcast performances from the Honors Concerts (below) by middle and high school students around the state and who participate in the Wisconsin School Music Association. This year, for the first time, the performances will be virtual. But as in past years, they are sure to be moving and even inspiring.
Other fine suggestions from the world-famous conductor Marin Alsop (below), a Leonard Bernstein protégée, who recently spoke for 7 minutes to NPR Weekend Edition host Scott Simon.
Here is a link, but you should listen rather than just read the transcript if you want to hear the musical samples: https://www.npr.org/2020/11/21/937448472/this-thanksgiving-put-on-some-music-to-soothe
Do you like any of those suggestions? Were any new to you?
What piece of music would you choose to express gratitude on this particular Thanksgiving?
The Ear wants to hear.
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UW-Madison alumna Kathryn Lounsbery gives a FREE virtual online talk this Tuesday night about how musicians can develop and market new skills during COVID
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By Jacob Stockinger
It is no secret that the coronavirus and COVID-19 pandemic have been especially hard on gig workers and artists worldwide – hurting musicians financially and professionally as well as psychologically and artistically.
But this Tuesday night, Nov. 10, from 7 to 8:30 p.m. UW-Madison alumna Kathryn Lounsbery (below) will give a FREE virtual and interactive talk about developing marketable skills that can help carry musicians through the pandemic and beyond.
There is no in-person attendance. But here is a link to the live-streaming session of YouTube video: https://youtu.be/me1tC0LfEVU
Here is more information from the Mead Witter School of Music:
“Pure talent does not always equal a paycheck. Now, more than ever, musicians need to be savvy and employ out-of-the-box thinking with regards to their careers.
“Kathryn Lounsbery — a graduate of the UW-Madison School of Music — has taken her two classical piano degrees and crafted a life in music that includes teaching, performing, comedy, workshops, music-directing, cabaret and more.
“In this interactive session, she will pass on ways in which musicians can craft creative and rewarding careers for themselves, all while making a living.
“Lounsbery is a Los Angeles-based pianist, vocal coach, educator, comedian, music director, composer, arranger and educator. She holds a Master’s degree from the University of Southern California (2004) and a Bachelor of Music degree from the University of Wisconsin-Madison (2000).
“She has served on the faculty of The American Musical and Dramatic Academy (AMDA) for a decade. Many of her former students are currently on Broadway and have been in feature films and television shows. Prior to her tenure at AMDA, she was on the faculty at Sonoma State University.
“Lounsbery is endorsed by Roland Pianos and frequently gives concerts and clinics on their behalf across the U.S. and abroad.
“For seven years, she served as a Keyboard Editor at Alfred Music Publishing, the world’s largest educational music publisher.
“Lounsbery has worked alongside entertainment industry greats including David Foster, Jim Brickman, Evan Rachel Wood, Travis Barker, Kathy Najimy, Charlotte Rae, Laura Benanti and Aubrey Plaza to name a few. She has been a music coach for HBO, Showtime and ABC series.
“As a comedian, Kathryn was featured on NBC’s “Last Comic Standing” and has appeared at The Laugh Factory and The Improv, and has headlined at The World Famous Comedy Store. Her musical improv skills lead her to hold the position of music director at the famed Second City in Chicago for several years.
“Lounsbery is the creator and director of “Authenticity and Bad-Assery,” a popular performance-based workshop in Los Angeles. There is currently a waitlist to participate.
“She has toured the country with her solo show “Kathryn Lounsbery Presents Kathryn Lounsbery.” Her comedy videos have garnered millions of views and have been shown at film festivals around the world. (You can see a comedy beefcake video based on Beethoven’s “Pathetique” piano sonata in the YouTube video at the bottom.)
“She is also the music arranger on “The Potters” an animated feature to be released through Lionsgate in 2021.”
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Classical music: As superstar Itzhak Perlman turns 75, a critic assesses his virtues and shortcomings in playing both the violin and his audiences
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By Jacob Stockinger
Last Monday, Aug. 31, superstar violin virtuoso Itzhak Perlman (below, in a photo by Yael Malka of The New York Times) turned 75.
To celebrate, Sony Classical released a boxed set of 18 CDs (below) with many performances by Perlman – solo, chamber music and concertos – recorded over many years.
On the occasion of Perlman’s birthday, critic Corinna da Fonseca-Wollheim of The New York Times wrote a retrospective review of Perlman’s long career. (You can hear his most popular performance ever — with more than 6 million hits — in the YouTube video at the bottom.)
The Ear finds the opinion piece both brave and truthful, pointing out Perlman’s mastery of the Romantic repertory but also criticizing his stodgy treatment of Vivaldi and other Baroque music that has benefitted from the period-instrument movement and historically informed performance practices
Yet the essay, which also touches on ups and down of Perlman’s career, always remains respectful and appreciative even when discussing Perlman’s shortcomings.
Offering many historical details and photos as well as sample videos, the critical assessment of Perlman seems perfectly timed.
The Ear hopes you enjoy it as much as he did. Here is a link: https://www.nytimes.com/2020/08/26/arts/music/itzhak-perlman-violin.html
If you have heard Itzhak Perlman either on recordings or live – at the Wisconsin Union Theater, the old Civic Center or Overture Hall — let us know what you think.
The Ear wants to hear.
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The Well-Tempered Ear 
The Madison Symphony Orchestra and Chorus plus guest artists premiere a virtual online Christmas concert this Wednesday night. It runs through Dec. 31. Plus, PBS Wisconsin will rebroadcast the 2018 holiday concert on Sunday, Dec. 20.
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ALERT: Tomorrow — Wednesday, Dec. 16 — Wisconsin Public Radio will mark the 250th birth of Ludwig van Beethoven. The day’s programming is sure to feature many of the composer’s most popular works as well as some neglected ones. Which Beethoven work most moves you? Leave word in the Comment section.
By Jacob Stockinger
This Wednesday night, Dec. 16, at 7:30 p.m., the Madison Symphony Orchestra will premiere its FREE virtual and online holiday concert of “A Madison Symphony Christmas.”
This special new one-hour concert production will feature vocalists Kyle Ketelsen and Emily Secor; the Madison Symphony Chorus; the Madison Youth Choirs; and the Mt. Zion Gospel Ensemble (below), with performances and accompaniment by John DeMain and Greg Zelek on piano and the Overture Concert Organ, respectively.
This concert is offered for FREE upon registration and will be available for viewing through Dec. 31, 2020.
Featured music includes Joy to the World, Peace Carol, O Holy Night, Sleigh Ride, The Christmas Song, Winter Wonderland, Christmas Hope and more — plus the traditional sing-along where you can join the MSO singing to a medley of favorites from your home.
To register and find out more information about the individual and group performers (below), go to: https://madisonsymphony.org/event/a-virtual-madison-symphony-christmas-2020/
In addition, you can relive the 2018 Madison Symphony Christmas concert on Sunday, Dec. 20, at 4 p.m. on your local PBS Wisconsin station.
For more information about the one-hour program and performers, go to: https://madisonsymphony.org/event/a-madison-symphony-christmas-2018-re-broadcast/
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