The Well-Tempered Ear

Classical music: Amy Beach turns 150. Read about the woman and her music

September 7, 2017
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By Jacob Stockinger

Amy Beach (1867-1944, below) was a pioneering American composer who fought against sexism in her lifetime and who benefitted greatly from the rediscovery of women artists during the feminist revival of the 1970s and 1980s.

But here is a link to the most comprehensive story The Ear has yet read about Beach and her music, which is still neglected and not getting the attention it deserves, especially the larger and more ambitious works. (You can find many on YouTube and other streaming services.)

The story marked the 150th anniversary of her birth and appeared last Sunday in The New York Times.

Here is a link:

https://www.nytimes.com/2017/09/01/arts/music/amy-beach-women-american-composer.html

And here, introduced and played by Rachel Barton Pine in a YouTube video, is one of her last and more minor works: a lovely Romance for violin and piano. It remains one of The Ear’s favorites.

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Classical music: Why do we love Chopin? Ask pianist Jeremy Denk

August 12, 2017
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By Jacob Stockinger

I can’t think of anyone who doesn’t like playing or hearing the music of Chopin (below).

Can you?

But just why the 19th-century Romantic composer has such universal appeal is hard to explain.

One of the best explanations The Ear has read came recently from pianist Jeremy Denk, whose essay on “Chopin as a cat” appeared in The New York Times.

Denk, who has performed two outstanding solo recitals in Madison, is clearly an important musical thinker as well as a great performer. You can also see that at once if you read his excellent blog “Think Denk.”

The Ear suspects the current essay grew out of some remarks that Denk gave during a lecture on Chopin’s pedaling at the UW-Madison, and will be incorporated into the book he is working on that includes his previous acclaimed essays in The New Yorker magazine.

Denk (below), who has lately been performing an intriguing survey concert that covers 600 years of music, thinks that Chopin’s uniqueness resides in how he consolidated and fused both conservative values and radical, even modern, innovations.

To the Ear, it is the best modern analysis of Chopin that he has read since the major treatment that the acclaimed pianist-musicologist Charles Rosen wrote about the Polish “poet of the piano” in his terrific book “The Romantic Generation.”

Moreover, the online web version of Denk’s essay is much more substantial and satisfying than the newspaper print edition. It has not only audio-visual performances of important Chopin works by major artists such as Arthur Rubinstein and  Krystian Zimerman, it also suggests, analyzes and praises some “old-fashioned” historical recordings of Chopin by Ignaz Friedman, Alfred Cortot and Josef Hoffmann.

Now if only Jeremy Denk would record an album of Chopin himself!

Here is a link to the Chopin essay:

https://www.nytimes.com/2017/08/04/arts/music/jeremy-denk-chopin.html

Enjoy!

Please listen to the wonderful clips that Denk suggests.

Then tell us what pieces are your favorite Chopin works, big or small, and what performers are your favorite Chopin interpreters.

The Ear wants to hear.


Classical music: See and hear what happens at the Metropolitan Opera just before show time. You will be amazed and entertained

July 15, 2017
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By Jacob Stockinger

One of the most illuminating and entertaining stories The Ear has seen recently came in The New York Times.

It does exactly what great journalism does: Take you to a place where you cannot go yourself.

The Times went behind the scenes at the famed Metropolitan Opera House in New York City (below) – the Met, for short – to see what was going on before show time.

And it was a lot more than opera.

There is so much to see and listen to, as suggested below in the 1966 drawing of the Metropolitan Opera House by David A. Mackay.

From the sets, props, wig and costume shops to rehearsals by the Met and the American Ballet Theatre and the Metropolitan Orchestra and even to the kitchen and dining room, to say nothing of the classes, hallways and stage.

What emerged was an enthralling story – full of impromptu serendipity — that made good reading in the newspaper and humanized the arts. Here is the text index version (click on the picture and then on the triangle you will see):

But then The Times took advantage of the Internet to create an interactive look at the same material that features only audiovisual clips and runs 7 minutes and 21 seconds.

https://www.nytimes.com/video/arts/100000005201650/what-happens-just-before-show-time-at-the-met-opera-in-12-rooms-youll-never-see.html

The final result is impressive, both for the great videography of the shoulder-held cameras and for the succinct labeling and explaining that doesn’t interrupt the flow.

What resulted should win some kind of prize or award. It should also serve as a model for what many other media – especially television – can do with various media tools at hand.

One last observation: Is The Ear the only person who thinks the driving drum soundtrack sounds suspiciously similar to the soundtrack of the 2014 Oscar-winning film “Birdman”?

What do you think about the video?

Did you like it?

Did you learn anything?

The Ear wants to hear.


Classical music: What are the best recordings by Arturo Toscanini and why did critics turn against him?

July 10, 2017
6 Comments

By Jacob Stockinger

This past weekend, The Ear posted a story about the massive new biography of the legendary Italian maestro Arturo Toscanini (below).

In case you missed it, here is a link that will also take you to the terrific book review by Robert Gottlieb of the fascinating new biography by Harvey Sachs that appeared in The New York Times:

https://welltempered.wordpress.com/2017/07/08/classical-music-new-biography-explains-the-professional-importance-and-personal-quirks-of-famed-maestro-arturo-toscanini/

Turns out that The New Yorker magazine also featured two stories that relate to the new biography, which appears on the 150th anniversary of Toscanini’s birth.

The first story by David Denby focuses on the best recordings by Toscanini. They include the new and impressively re-mastered ones, and most can be found for FREE listening on YouTube.

Here is a link to that critique of the great Toscanini recordings that proved so influential in the history of classical music in the modern era.

It includes what famed Metropolitan Opera conductor James Levine considers the most perfect orchestral recording ever made — which you can hear in the YouTube video at the bottom (be sure to read the comments):

http://www.newyorker.com/culture/culture-desk/toscaninis-greatest-recorded-performances

And here is a follow-up story by Denby about why critics turned against the famous and revered Italian conductor:

http://www.newyorker.com/magazine/2017/07/10/the-toscanini-wars


Classical music: New biography explains the professional importance and personal quirks of famed maestro Arturo Toscanini

July 8, 2017
3 Comments

By Jacob Stockinger

You  know  how sometimes a movie preview or trailer gives so much away of the story that it leaves you feeling you don’t really need to see the movie.

That’s how The Ear felt when he read a recent review in The New York Times of a new and exhaustive biography by Harvey Sachs of the famous conductor Arturo Toscanini (below).

Italian conductor Arturo Toscanini (1867 – 1957) conducts the NBC Symphony Orchestra in a televised recording of Verdi‘s ‘Hymn of the Nations‘, 1944. (Photo by Fox Photos/Hulton Archive/Getty Images)

This is the second time that Sachs has written about the maestro. This time, however, he had access to recently released private papers.

And boy, are there some surprises.

In his lengthy review, Robert Gottlieb gives The Ear just about all he wants to know or needs to know about the Italian master from his youth (below, ca. 1890) to old age — and then some. (In the YouTube video at the bottom you can hear and see Toscanini conducting “The Ride of the Valkyries” by Richard Wagner in  1948.)

The Ear knew Toscanini was important. But he was never really quite sure why.

Now he knows.

Here is a link:

https://www.nytimes.com/2017/06/27/books/review/toscanini-biography-harvey-sachs.html

Read the review and see if you agree.

And tell us what you make of Toscanini the musician and Toscanini the man.

The Ear wants to hear.


Classical music education: Let us now praise music teachers and their legacy

May 26, 2017
4 Comments

By Jacob Stockinger

By now, the school year is mostly over at all levels from kindergarten through undergraduate and graduate school at colleges and universities.

So are music lessons, both public and private, and student recitals and concerts. (Below is Madison and UW-Madison violin teacher Eugene Purdue with student Thomas Stringfellow during a lesson in 2011.)

So now is the perfect time to talk about the legacy of creativity that music teachers have in our lives.

Here is an essay that The Ear finds to be one of the best appreciations of music teachers – even those famous teachers at Juilliard who taught violinists Itzhak Perlman, Anne Akiko Meyers and Midori — that he has ever read. It covers different methods and styles of teaching and learning. And it is filled with gratitude from students toward their teachers.

It appeared in The New York Times and was written by critic Corinna da Fonseca-Wollheim.

Here is a link:

https://www.nytimes.com/2017/05/12/arts/music/immortal-fingertips-music-teachers-live-on-through-their-students.html?_r=0

If you have an appreciation or memory of, or a tribute to, a music teacher and music lessons, leave word in the COMMENT section.

The Ear wants to hear.


Classical music: Is she or isn’t she retiring from opera? Here is everything you want to know about superstar soprano Renée Fleming and the confusion over her future plans

April 8, 2017
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By Jacob Stockinger

Three recent stories tell you just about everything you could want to know about superstar soprano Renée Fleming (below), now 58, as she prepares to retire — at least partly retire — from the opera stage but still devote herself to music on and off the concert stage.

The first story came in The New York Times in a preview profile before her upcoming appearance as the aging Marschallin in the Metropolitan Opera’s production of Richard Strauss’ “Der Rosenkavalier.” (You can hear some of her singing in that role in the YouTube link at the bottom.)

Here is a link to that story:

https://www.nytimes.com/2017/04/05/arts/music/the-diva-departs-renee-flemings-farewell-to-opera.html?_r=0

But just to eliminate any doubt about her leaving music altogether when she retires from singing and acting opera, Fleming also gave a long interview to Vanity Fair magazine in which she discusses her plans to still pursue music full-time as a recitalist, recording artist  and someone working offstage to benefit opera and music, much as the famed Beverly Sills once did.

Here is a link to that story:

http://www.vanityfair.com/style/2017/04/opera-legend-renee-fleming

And then Fleming also clarified some confusion in the Times story about her future plans in an interview with National Public Radio (NPR):

http://www.npr.org/sections/deceptivecadence/2017/04/06/522876028/hold-up-ren-e-fleming-is-not-retiring-from-opera


Classical music: Madison Opera will present the Midwest premiere of ‘Charlie Parker’s Yardbird.’ Here are the many impressive preparatory events for the public that start this Friday

January 17, 2017
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By Jacob Stockinger

The Ear has received the following information to post about a local opera production that is both exciting and an inspired choice to mark February as Black History Month:

Madison Opera will present the Midwest premiere of “Charlie Parker’s Yardbird” on 8 p.m. on Friday, Feb. 10, and 2:30 p.m. on Sunday, Feb. 12, in the Capitol Theater at Overture Center for the Arts.

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

For more information about the cast and the production as well as about purchasing tickets ($25-$114), go to:

http://www.madisonopera.org/performances-2016-2017/charlie-parkers-yardbird/

With music by Swiss composer Daniel Schnyder (below top) and a libretto by writer and poet Bridgette A. Wimberly (below bottom), the acclaimed opera “Charlie Parker’s Yardbird” tells of the legendary jazz musician and the people closest to him.

daniel-schnyder-2017

bridgette-wimberly

The opera, which melds jazz and opera, is set on the day that saxophone great Charlie Parker died in 1955. As his body lies unclaimed in a New York City morgue, Parker returns in spirit to the jazz club Birdland, determined to compose a final masterpiece. Family and friends blend in and out of his memories, including his three wives, his mother, his friend Dizzy Gillespie and even his drug dealer.

Charlie Parker’s Yardbird premiered in June 2015 at Opera Philadelphia (below is tenor Lawrence Brownlee, in a photo by Dominic Mercier, in the title role of Charlie Parker in the Philadelphia production) and was subsequently presented by the company at the Apollo Theater in New York City in April 2016. (You can hear an excerpt in the YouTube video at the bottom.)

The New York Times praised it for its “pulsing, jazz-infused score,” while the Wall Street Journal said, “its rhythms snap and swing, its melodies – including real arias – seize the ear, its ensembles crackle with energy.”

Tenor Lawrence Brownlee in Charlie Parker's Yardbird CR Dominic Mercier for Opera Philadelphia

Madison Opera will be only the second company to present this work, which is sung in English with projected text and runs 90 minutes without an intermission.

“I saw Charlie Parker’s Yardbird when it premiered in Philadelphia and instantly knew it would be a perfect opera for Madison,” says Kathryn Smith (below, in a photo by James Gill), Madison Opera’s general director. “The very American story and the exciting jazz-inflected music fit perfectly into our ever-expanding range of repertoire.”

She adds, “It’s not a straightforward narrative of Parker’s life, but rather elements of his life as refracted through his memories and imagination, and particularly his relationships with the women in his life.”

Kathryn Smith Fly Rail Vertical Madison Opera

Madison Opera’s cast includes both debuts and returning favorites, as well as a number of singers who created their roles in the world premiere.

Joshua Stewart (below), a young American tenor who has sung at La Scala, Bayerische Staatsoper, and Opera de Lausanne, debuts in the tour de force role of Charlie Parker.

joshua-stewart-2017

Angela Brown (below) returns following her performance at Opera in the Park 2016 as Addie Parker, Charlie’s mother, a role she created in Philadelphia.

Angela Brown 2016

Will Liverman, who sang Figaro in Rossini’s The Barber of Seville here in 2015, sings jazz legend Dizzy Gillespie, a role he created in Philadelphia.

will-liverman-2017

Krysty Swann debuts as Rebecca Parker, Charlie’s first wife. Angela Mortellaro, who sang Galatea in Handel’s Acis and Galatea in 2013, returns as Doris Parker, Charlie’s third wife, a role she created in Philadelphia.

Rachel Sterrenberg debuts as Chan Parker, his final wife, a role she created in Philadelphia. Baroness Pannonica de Koenigswarter, in whose hotel suite Parker died, is sung by Julie Miller in her Madison Opera debut.

Directing this production is Ron Daniels (below), who staged the world premiere and was the opera’s dramaturge, involved in the creation and workshop process. 

ron-daniels-opera-director-2017

John DeMain (below, in a photo by Prasad) conducts, with members of the Madison Symphony Orchestra in the pit.

DeMain says:  “I am so happy to be a part of Madison Opera’s Midwest premiere of Charlie Parker’s Yardbird. Parker was consumed with music, breathing it day and night. All of us who are passionate about performing and listening to music can identify with this phenomenal musician and will not want to miss this jazz-infused opera, the perfect expression of Parker’s range and depth as a musician.”

John DeMain full face by Prasad

Composer Daniel Schnyder will attend the opening night performance and join Smith for the Pre-Opera Talk that evening at 7 p.m. in the Wisconsin Studio.

In addition to the performances, Madison Opera and its community partners are hosting a series of related events, collectively known as “Extending the Stage,” which culminate in a concert of Charlie Parker’s music with composer Daniel Schnyder and the UW-Madison’s Blue Note Ensemble.

These events include Opera Novice; community previews; Opera Up Close; discussions of the life and music of Charlie Parker (below); and presentations of rare jazz films.

All events are open to the public and the majority are free of charge.

charlie-parker-1

RELATED EVENTS: EXTENDING THE STAGE

Opera Novice: Jazz Opera?
 Friday, Jan. 20 | 6-7 p.m. The Margaret C. Winston Madison Opera Center, 335 W. Mifflin Street. FREE and open to the public

New to opera? Passionate about Puccini, but not sure about a jazz opera? Join General Director Kathryn Smith for a short, fun, and informative evening exploring the history of jazz and opera, including a live performance of an aria from Charlie Parker’s Yardbird.  With plenty of time to ask questions, it’s the perfect jump-start for the opera-curious.

Community Preview of Charlie Parker’s Yardbird,
 Tuesday, Jan. 24 | 7-8 p.m. Capitol Lakes Retirement Community, 333 W. Main St. FREE and open to the public

Join a Madison Opera staff member for a multimedia look at Charlie Parker’s life, the history of the opera Charlie Parker’s Yardbird, and some insights into Madison Opera’s production.

Opera Up Close, Sunday, Feb. 5 | 1-3 p.m. The Margaret C. Winston Madison Opera Center, 335 West Mifflin Street. Admission: $20; free for full-season subscribers and full-time students with ID; $10 for two-show subscribers.  Tickets available at the door.

Come even closer with a behind-the-scenes preview of Charlie Parker’s Yardbird.  A multimedia presentation on Charlie Parker and the history of this opera will be followed by a roundtable discussion with the leading artists of Madison Opera’s production.  There is no better way to get “up close” to this acclaimed new opera.

A Charlie Parker Concert and Discussion with Daniel Schnyder and the Blue Note Ensemble Thursday, Feb. 9 | 7:30 p.m. Morphy Recital Hall, UW-Madison. FREE and open to the public

Composer Daniel Schnyder joins UW-Madison’s Blue Note Ensemble for an evening featuring music by Charlie Parker, with solos performed by both Schnyder and UW-Madison saxophone students. The evening includes an aria from Charlie Parker’s Yardbird and a discussion about Parker and the opera with Schnyder, UW-Madison Professor of Saxophone Les Thimmig, and General Director Kathryn Smith.

Pre-Opera Talks: Friday, Feb. 10 |7 p.m. and Sunday, Feb. 12 | 1:30 p.m. Wisconsin Studio at Overture Center. FREE to ticket holders

Attend an entertaining introduction to Charlie Parker’s Yardbird one hour prior to curtain. On Friday night, composer Daniel Schnyder will join General Director Kathryn Smith to talk about the piece. Be sure to arrive early, as space is limited.

An Evening of Rare Jazz Films: Alicia Ashman Library. Friday, Feb. 3 | 7 p.m.; Goodman South Madison Library. Tuesday, April 11 | 6 p.m. FREE and open to the public (Below is footage of Charlie Parker playing and of people discussing the man and his artistic achievement.)

Jazz archivist Gary Alderman will present and explain films of the historically significant innovators of modern jazz, including the only two known existing videos with sound of Charlie Parker.

Among the other musicians shown will be those relevant to Parker’s music and career, including Lester Young, Coleman Hawkins, John Coltrane, Dizzy Gillespie and Miles Davis.

The Life and Music of Charlie Parker: DeForest Area Public Library: Monday, Feb. 13, 6:30 p.m.; Alicia Ashman Library: Friday, Feb. 24, 7 p.m.; Fitchburg Public Library: Sunday, Feb. 26, 2 p.m.; Oregon Public Library:  Friday, March 10, 6:30 p.m. FREE and open to the public

UW-Madison Professor of Saxophone Les Thimmig (below) will talk about Charlie Parker’s life and music, as well as the history of bebop.

More information is available at www.madisonopera.org/education.

Les Thimming


Classical music: Newspapers and media continue to cut back on arts writers and critics. What is the effect on the arts?

January 14, 2017
7 Comments

By Jacob Stockinger

The Ear got a message from an old friend who gave him a link to a story about the decline of arts criticism in the mainstream media.

“This is not big news to you, but an interesting update that puts the value of your blog in context,” the friend said.

The Ear thinks that the cutback in arts critics hurts local performing artists and also hurts readers who consume the arts as audiences. That is especially important in a city as rich in the arts for its size as Madison. (Below is the Madison Symphony Orchestra playing for a full house.)

MSO playing

Here is a link to the article from the Columbia Journalism Review:

http://www.cjr.org/the_feature/arts_music_critics.php

The story earned an interesting response, sort of a constructive dissent from most judgments, from Anne Midgette (below), an arts writer and arts critic who used to work for The New York Times and now works for The Washington Post. Here is a response she posted on Facebook:

“There’s one thing missing from this thoughtful valedictory on newspaper arts writing – the outrage about cutting critics is all very well, but one reason they get cut is that they don’t always have the readership papers want/need (which can be quantified now better than it used to be).

“I think newspapers could help remedy that by putting in more resources and figuring out a strategy for raising the profile of arts writing (and I think arts writers need to focus on thinking about fresh innovative ways to write about their fields, but that’s another story).

“In any case, I think those of us who love the arts need to recognize this as a big factor in the cuts, rather than simply wringing our hands about living in a world of Philistine editors.”

Anne Midgette BIG

What do you think of Anne Midgette’s response? How would you like arts coverage changed and improved?

How good a job do you think the local media do in covering the arts?

What do you think about the overall reduction in arts coverage?

Have you found alternative sources for news and for information, and what are they?

The Ear wants to hear.


Classical music: National Public Radio (NPR) names its Top 10 classical recordings of 2016. The Ear compares it to other lists of the Best of the Year

December 27, 2016
1 Comment

By Jacob Stockinger

Got a Christmas, Hanukkah or Kwanzaa gift card to spend?

Want to take advantage of post-holiday and year-end and New Year sales?

Here is the list of the Top 10 classic music recordings from National Public Radio (NPR), which critic Tom Huizenga (below top) wrote for the blog “Deceptive Cadence.”

huizenga_tom_2011

npr

It emphasizes unknown performers – like soprano Barbara Hannigan (below in a photo by Elmer Haas) and contemporary or new music. But it features piano music, orchestra music, chamber music and opera. And it has generous sound samples from the chosen recordings:

Here is a link:

http://www.npr.org/sections/deceptivecadence/2016/12/22/504694907/a-year-of-listening-desperately-10-classical-albums-that-saved-2016

soprano-barbara-hannigan-cr-elmer-de-haas

Over the past month, The Ear has featured several other Best of 2016 lists. So here they are for purposes of comparison and crosschecking.

For example, on several lists you will find conductor Daniel Barenboim‘s recording of the Symphony No. 1 by Edward Elgar and pianist Daniil Trifonov‘s two-CD recording of the complete piano etudes by Franz Liszt — and justifiably so. (You can hear the trailer for Trifonov’s Liszt etudes in the YouTube video at the bottom.)

Here is the post-Thanksgiving guide from The New York Times:

https://welltempered.wordpress.com/2016/11/27/classical-music-here-is-the-new-york-times-holiday-gift-guide-of-classical-music-for-2016/

Here is a list of nominations for the 2017 Grammy Awards:

https://welltempered.wordpress.com/2016/12/10/classical-music-here-are-the-classical-music-nominations-for-the-2017-grammy-awards-they-make-a-great-holiday-gift-list-of-gives-and-gets/

And here is a link to a list by the critics of The New York Times:

https://welltempered.wordpress.com/2016/12/20/classical-music-here-are-the-best-classical-recordings-of-2016-as-chosen-by-critics-for-the-new-york-times/


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