The Well-Tempered Ear

Classical music: Master pianist Richard Goode performs music by Bach, Beethoven, Chopin and Alban Berg in a MUST-HEAR recital this Saturday night at the Wisconsin Union Theater

November 1, 2017
4 Comments

By Jacob Stockinger

He may not have the instant worldwide name recognition and box-office appeal of, say, Lang-Lang or Martha Argerich.

But in The Ear’s book American pianist Richard Goode (below) is nonetheless a superstar.

That is because Goode is a chameleon in the best sense.

Whatever he plays — live or on recordings — feels as if someone with a deep understanding and a natural affinity for the unique qualities of that specific composer and work is at the keyboard.

His Bach always sounds so Bachian. His Mozart always sounds so Mozartean. His Beethoven always sounds so Beethovenian. His Schubert always sounds so Schubertian. And his Brahms – for which he won a Grammy – always sounds so Brahmsian. (In the YouTube video at the bottom, you can hear Goode discuss how he deliberately chooses a selective repertoire that he can return to again and again.)

Whenever you hear Goode, you come away thinking, “Now that is  how the composer meant his music to sound.” Goode just disappears into the music.

Goode, who co-directed the venerable summertime Marlboro Music Festival for 14 years until 2013, always puts himself at the service of the music, never the other way around as so many other firebrand virtuosos do.

Goode, a shy man who collects books and fine art, is not given to flamboyance or theatrics. His interpretations always seem exactly right, never exaggerated and weird but both beautiful and emotionally convincing. He is, in short, a complete musician — recitalist, soloist in concertos and chamber music partner — and not just a great pianist. His is a quiet, self-effacing virtuosity.

You get the idea.

And you can sample such superlative musicianship for yourself this Saturday night at 7:30 p.m. when Goode returns to perform a varied recital in Shannon Hall at the Wisconsin Union Theater.

This is a performer and a program that no serious fan of the piano – professional or amateur, teacher or student — should miss.

On the program of music from the 18th, 19th and 20th centuries, are: a selection of Preludes and Fugues from The Well-Tempered Clavier, Book 2, by Johann Sebastian Bach; Alban Berg’s Sonata No. 1; Beethoven’s Piano Sonata No. 28 in A Major, Op. 101, which Goode, who has recorded all 32 Beethoven piano sonatas, says is his favorite; the Nocturne in B Major, Op. 62, No. 1, and the Mazurka in C-sharp Minor, Op. 50, No. 3, by Chopin.

Wisconsin Public Radio host Norman Gilliland (below) will deliver a free pre-concert lecture at 6 p.m.

Tickets run from $20 to $47.

Here is a link to more background and information about obtaining tickets:

https://union.wisc.edu/events-and-activities/event-calendar/event/richard-goode-piano/


Classical music: Here are seven big things The Ear liked about the latest concert by the Madison Choral Project and two small things he did not like. Go this afternoon and see if you agree.

May 31, 2015
3 Comments

By Jacob Stockinger

On Friday night, The Ear attended the latest concert by the estimable Madison Choral Project. He was very glad he did. It was terrific. You should go hear it.

MCP group 5-15

The concert was called “Music of Our Time” and was programmed and conducted by the legendary Grammy-nominated conductor Dale Warland (below top). Edgewood College professor Albert Pinsonneault (below bottom), who just got a new job at Northwestern University near Chicago and who founded and directs the Madison Choral Project, studied under Warland.

Dale Warland

Albert Pinsonneault 2

It was and will remain a memorable event, and I encourage music fans to attend a repeat performance this afternoon at 2:30 p.m. at the First Congregational United Church of Christ, 1609 University Ave. (Free parking is available two blocks west at the UW Foundation.)

Tickets are $20 general admission; $10 student admission; and $50 for preferred seating to support the outstanding organization.

For more information, visit http://themcp.org

Here is The Ear’s review in the form of points he liked and didn’t like:

SEVEN THINGS THE EAR LIKED ABOUT THE CONCERT:

  1. The program was not too long, yet it featured a wide variety of repertoire, texts and composers.
  2. The chorus sang with seemingly exemplary diction in English, Latin and Russian.
  3. The many a cappella portions were broken up by adding other instruments. UW-Madison professor John Aley (below top) played the trumpet, especially in a haunting finale where he played from a distance. Eric Miller (below bottom) played the cello with energy, sensitivity and lyricism.

MCP John Aley

MCP Eric Miller

  1. UW-Madison piano professor Martha Fischer (below) played with mastery, never too loudly or too softly. She demonstrated the art of blending. Little wonder that she heads the collaborative piano faculty – that is what used to be called the art of “accompanying” – at the UW-Madison School of Music.

Martha Fischer color Katrin Talbot

  1. The chorus showed absolute precision with crisp attacks and unbroken releases. There was no sloppiness to discern. Warland’s hands were expressive “batons” to observe.
  2. The chorus displayed an exemplary mastery of balance. Too many choral performances sound monolithic, with all parts being emphasized pretty much equally when it comes to volume and dynamics. Instead, conductor Dale Warland brought out lines and gave each piece a foreground, mid-ground and background. That added a richness you often don’t get to hear.
  3. The acoustics and atmosphere of the church seem ideally suited as a concert venue for choral or vocal music. You have to love all the dark wood, the color scheme and especially the rows of organ pipes as a metaphor for the human voices and human “pipes.”

MCP church setting

TWO THINGS THE EAR DIDN’T LIKE:

  1. Too many of the songs had the same slow tempo. The Ear loves ballads, elegies and laments as much as — and maybe more than — the next person. But only one piece really jumped out as an upbeat contrast, and that was with very mixed success – as you can see below.
  2. The Ear doesn’t like choruses or conductors that think they have to entertain the audience and do something active besides stand there and sing well. I don’t like it, for example, when singers clap their hands and stomp their feet during spirituals in mock-folk, mock-slave style that comes awfully close to being something out of a minstrel show. Luckily, the singers did not spoil the fabulously beautiful and stirringly poignant version of “Deep River” with such shenanigans.

For that reason, I did not like the chorus waving their hands and turning their heads as if being buzzed by stinging bees in one third-rate song “Of Crows and Clusters” by Norman Dello Joio (below), who used a third-rate poem by Vachel Lindsay. (You can hear it in a YouTube video at bottom, where the University of Southern California singers forego the cliche theatrics.) Yet most of the audience seemed to like the novelty piece a lot, right along with the rest of the program that deserved the enthusiastic reception it got.

MCP audience

But The Ear found it too cute, completely unconvincing and totally unnecessary. The Ear doesn’t do cute -– at least not in music.

Norman Dello Joio


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