The Well-Tempered Ear

ALL Bach Around the Clock 2023 concerts are now online. Here are the links and some stats

April 4, 2023
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By Jacob Stockinger

The Ear has received the following news from Bach Around the Clock 2023 (BATC). Please note that there is no time limit or expiration date on viewing and listening to the online postings (see the example video of a string quartet arrangement from “The Art of Fugue” at the bottom):

BATC 2023 Festival video recordings are now available at BachClock.com and on YouTube

BATC 2023 recordings have been organized into playlists: Guest Artist Lawrence Quinnett; String SoloistsKeyboard soloistsEnsembles and StudiosFestival FinaleVirtual Performances

Recordings for Just Bach’s Concert and Bach on Marimba lecture/performance are also available.

Thank you to BATC 2023 performers! True to our mission, Bach Around The Clock welcomed the participation of over 115 performers (below in St. Andrew’s Episcopal Church), including amateurs and professionals of all ages and experience levels, sharing their love of Bach’s music with the community.

85 musicians performed at St. Andrew’s on Saturday, March 11.
30 musicians submitted recordings from their homes and studios.
28 hours of Bach Around The Clock performances are available.

Thank you to our audience members (below in Grace Episcopal Church)! In-person and online — BATC 2023 performances have been enjoyed by record-setting numbers of Bach enthusiasts.

Thank you to our BATC Donors, acknowledged here. With the generous support of over 40 BATC fans and business sponsors, we achieved our fundraising goal of covering all 2023 festival expenses! New contributions will help us with planning for the future of Bach Around The Clock.

New contributions will help us with planning for the future of Bach Around The Clock.

You can donate here: https://bachclock.com/donate


A jazz-pop composer is the new director of the UW School of Music

April 1, 2023
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By Jacob Stockinger

Dan Cavanagh (below) from Texas has been named the next director of the UW-Madison School of Music, effective July 1, 2023. 

Cavanagh’s appointment concludes a national search led by Associate Dean Susan Zaeske of the College of Letters and Science; music professors Mimmi Fulmer, Christopher Taylor, Scott Teeple, Conor Nelson and Daniel Grabois; and School of Music Assistant Director Wendy Johnson. 

The Ear can’t be the only person wondering what a jazz and pop musician — a performer, arranger and composer — means for the school that has always selected its leaders from classical music and music education as the top administrators.

But there is no doubt about Cavanagh’s impressive credentials.

Here is the official press release from the University of Wisconsin-Madison’s Mead Witter School of Music.

“I am thrilled that Dan will bring to the directorship of the Mead Witter School of Music a cutting-edge vision of research and curricular excellence combined with the wherewithal to get things done thanks to his many years of experience as a music and liberal arts administrator,” Dean Zaeske said.  

Cavanagh is a composer and pianist who has garnered numerous awards in both areas. As a composer he has written or arranged for Latin Grammy-winning AfroBop Alliance, the legendary Patti LaBelle, and a wide range of classical and jazz performers across North America and Europe. He has released five critically acclaimed jazz CDs as a leader. 

His music can be heard on many other recordings both classical and jazz and he continues to be commissioned and programmed around the world. Cavanagh has also performed extensively in North America and internationally. He has been a finalist in the EuropaFest Jazz Contest in Bucharest, and in the Jacksonville Jazz Festival Piano Competition.

“I am very excited to join UW–Madison as the next Pamela O. Hamel/Music Board of Advisors Professor and Director of the Mead Witter School of Music,” Cavanagh said. “The school’s national reputation is bolstered by its amazing faculty, talented students, and accomplished staff.”

Cavanagh is currently the interim Dean of the College of Liberal Arts at the University of Texas at Arlington. Prior to serving as interim Dean, Cavanagh held various academic leadership roles, including program director, music department chair, and associate dean. He has also served in high-profile shared governance roles in the University of Texas System, including as Chair of the Faculty Advisory Council representing over 21,000 faculty members across the 14 institutions in the system.  

From 2015-2020, he served as the Co-Chair of Region VI for the Society of Composers and currently serves on the executive board of a2ru (the Alliance for the Arts in Research Universities). Cavanagh serves on the board of directors for Downtown Arlington Management Corporation (Arlington, TX), chairs Downtown Arlington’s Cultural Arts District Partners group and serves as the Vice Chairman of the Board of Trustees for the Dallas Winds, a five-time Grammy nominated professional Wind Symphony. 

Cavanagh succeeds Director Susan C. Cook, who will be on sabbatical during the 2023-24 academic year after serving 10 years as director of the School of Music. 

“I look forward to engaging with the Board of Advisors, colleagues across the University, and individuals throughout the community to continue growing the impact, reach and excellence the School of Music creates every day, and to advance the ideals of the Wisconsin Idea through the creative work and scholarship we will produce together,” Cavanagh said.

Do you have any questions or comments you want to share?

The Ear wants too hear.


Today is World Piano Day. Deutsche Grammophon has a free online celebration

March 29, 2023
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By Jacob Stockinger

Today — Wednesday March 29, 2023 — is World Piano Day.

That is because today is the 88th day of the year — and most pianos these days have 88 keys, with the exception of the Austrian high-end maker Bösendorfer, which also makes models with 91 and 97 keys.

Deutsche Grammophon is the world’s oldest recording label and has signed many great pianists in the past and continues to do so  today, including two of the Ear’s young favorites: South Korean pianist and 2015 Chopin Competition gold medalist Seong-Jin Cho (below top) and Icelandic pianist Vikingur Olaffsson (below bottom).

Here’s the press release:

“Deutsche Grammophon is set to mark World Piano Day on 29 March 2023 with its fourth international festival of pianism. 

“Available to enjoy without charge on DG’s streaming service STAGE+ and the label’s YouTube channel, the festival will turn the spotlight on artists including Joep Beving, Seong-Jin Cho, Brian Eno and Roger Eno, Jan Lisiecki, Hélène Grimaud, Lucas and Arthur Jussen, Evgeny Kissin, Lang Lang, Bruce Liu, Fabian Müller, Víkingur Ólafsson, Max Richter, Grigory Sokolov and Daniil Trifonov.

“Together they will offer a feast of music ranging from the keyboard works of J.S. Bach and Handel to contemporary compositions.

“Music-lovers will be able to tune in free of charge for 30 days by using promo code WORLDPIANODAY. Full details can be found at https://worldpianoday.com.”

Piano students and fans will love the many close-ups and hand shots.

You can also sample the 1 hour, 21 minute-digital celebration on YouTube via this link (be sure to click of HEAR MORE to see the pianist, the piece and the timing) https://www.youtube.com/watch?v=1H5ZRqfDZ7Y.

You can hear one of The Ear’s favorite young pianists, pieces and recordings — a new release — at the bottom.

Who is your favorite established pianist?

Who is your favorite young pianist?

What are your favorite piano pieces?

Do you have a favorite piano recording, old or new, to recommend?

The Ear wants to hear.

 


Apple Music’s new all-Classical streaming service launches March 28. Here are details

March 10, 2023
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By Jacob Stockinger

The long-awaited, overdue announcement is here.

Apple Music’s all-classical service app will launch for iPhones on March 28. Android systems will be a bit later.

Here are details from Wednesday’s press release:


Apple today announced Apple Music Classical, a brand-new stand-alone app designed specifically for classical music. Pre-order now on App Store HERE and follow @appleclassical on Twitter

Apple Music Classical makes it quick and easy to find any recording in the world’s largest classical music catalog with fully optimized search, and listeners can enjoy the highest audio quality available and experience many classical favorites in a whole new way with immersive spatial audio.

Apple Music Classical is the ultimate classical experience with hundreds of curated playlists, thousands of exclusive albums, insightful composer biographies, deep-dive guides for many key works, intuitive browsing features and much more.

Apple Music Classical will launch later this month and Apple Music subscribers will be able to download and enjoy the Apple Music Classical app as part of their existing subscription at no additional cost.

Pre-order today on the App Store HERE. Once the pre-order is complete, Apple Music Classical will automatically download at launch to enable immediate listening for users who have Auto Update turned on in their settings.



Apple Music Classical offers… The world’s largest classical music catalog, with over 5 million tracks, and works from new releases to celebrated masterpieces Thousands of exclusive albums The ability to search by composer, work, conductor or even catalog number, and find specific recordings instantly.

The Apple Music Classical introductory trailer is: HERE

The highest audio quality (up to 192 kHz/24-bit Hi-Res Lossless) with thousands of recordings in immersive spatial audio Complete and accurate metadata to make sure you know exactly what work and which artist is playing Thousands of editorial notes, including composer biographies, descriptions of key works, and more

Apple is working closely with some of the most prolific classical music artists and renowned classical music institutions in the world to offer Apple Music Classical listeners new, unique and exclusive content and recordings at launch and beyond. Follow Apple Music Classical on Twitter @appleclassical for news and updates.

Apple Music Classical listeners will also enjoy brand-new exclusive artwork, including a series of unique, high-resolution digital portraits for many of the world’s greatest composers – with more to come. Specially commissioned from a diverse group of artists, each image blends historical research with color palettes and artistic references from the relevant classical period. The results display an astonishing attention to detail, bringing listeners face-to-face with leading classical figures like never before. Download composer portraits for Ludwig van Beethoven, Frédéric Chopin and Johann Sebastian Bach HERE.



Availability: Apple Music Classical will be launching on March 28 and is available for pre-order now. Requires an Apple Music subscription (Individual, Student, Family or Apple One). Not available with the Apple Music Voice Plan. Available worldwide where Apple Music is offered, with the exception of China, Japan, South Korea and Taiwan, with those regions to follow.

Apple Music Classical is available for all iPhone models running iOS 15.4 or later.

Apple Music Classical for Android is coming soon. To listen to music on Apple Music Classical, you must have an internet connection.


Remember Marika with Bach Around the Clock 2023. The FREE five-day, in-person and online birthday celebration begins today

March 8, 2023
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NOTE: You can see and hear the Madison Symphony Orchestra’s Final Forte concert with four youth concerto finalists at 7  tonight on PBS Wisconsin and Wisconsin Public Radio. For complete information, including other airings, go to these websites: https://madisonsymphony.org/education-community/education-programs/young-artist-competitions/the-final-forte/ and https://pbswisconsin.org/the-final-forte/

By Jacob Stockinger

The seventh annual Madison-based Bach Around the Clock festival — a celebration of the March 31 birthday of composer Johann Sebastian Bach (1685-1756, below) —- will start today and run through Sunday both in-person and online.

All events and streaming are free and open to the public.

As usual, it will feature professional and amateur performers of all ages and levels of proficiency in all kinds of repertoire and arrangements, including Bach on the Marimba.

It begins today, Wednesday, March 8, at noon with a Bach motet sung in Luther Memorial Church, 1021 University Ave.

The live portion, which will also be live-streamed, will end on Saturday, March 11, from 10 a.m. to 5 p.m. with continuous performances at St. Andrew’s Episcopal Church (below) at 1833 Regent Street on the near west side.

Then on this Sunday, March 12, the virtual online festival will premier.

For more details — including a full schedule with times, venues, pieces, performers and other links — go to:

Home

The Ear thinks of the entire festival as a life celebration and memorial not just for Bach but also for his avid local advocate, violist Marika Fisher Hoyt (below). 

Hoyt — who was also a member of the Madison Symphony Orchestra, the Wisconsin Chamber Orchestra, the Madison Bach Musicians, the Ancora String Quartet, Just Bach and Sonata à Quattro — died Feb. 21 from cancer. She was one of the kindest and most caring persons, one of the hard-working and most energetic, talented musicians, that The Ear has ever known and worked with.

After Wisconsin Public Radio abandoned BATC in 2013, Fischer Hoyt rescued it in 2017, raised money and support, and expanded its offerings and performers as well as took it into a virtual online format as well as remaining an in-person event.

You can find many tributes online. You can also plug in her name on this blog’s search engine to get some idea of her overwhelming and inspiring contributions to the area’s cultural life. In 2017, The Ear named her Musician of the Year:

Classical music: For reviving and securing Bach Around the Clock, The Ear names Marika Fischer Hoyt as “Musician of the Year” for 2017

But the best tribute of all will be to listen to Bach’s extraordinarily inventive and beautiful music — her abiding passion and the gift she never stopped wanting to give to others — with Marika in mind.

You can also find videos from past BATC’s. But she once told me that the piece she loved most is the St. John Passion. So a YouTube video of the final chorus from that oratorio is posted at the bottom.

Have you attended or heard BATC before?

What did you especially like and would you recommend the event to others?

Did you know Marika Fischer Hoyt?

What would you like other people to know about Marika?

The Ear wants to hear.


Vivaldi turns 345 today. His irresistable music deserves more live performances

March 4, 2023
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By Jacob Stockinger

Today The Ear wishes Happy Birthday to composer Antonio Vivaldi (below), who was born on this day — March 4 — in 1678 in Venice. (He became famous but died in poverty at age 63 on July 28, 1741, also in Venice.)

The Ear likes Vivaldi and his music deserves many more live performances. Even local early music and modern music groups seems reluctant to program much Vivaldi besides “The Four Seasons,” despite the popularity of his other works. Vivaldi not only composed a lot but he did so for many instruments — strings, brass, winds — and in other genres than concertos including sonatas, choral works and operas.

Listen to Vivaldi in the morning. Who can resist him? The Italian style with its energetic rhythm, songful lyricism and major-key cheerfulness are caffeine for the ears.

There are so many fine groups and soloists who perform Vivaldi. Yet so much of his prolific output remains relatively unknown or unheard. 

That’s too bad. Johann Sebastian Bach recognized a good thing when he heard it, so he “borrowed” and transcribed many of Vivaldi’s works. One imagines the Italian taste for transparency and tunes appealed to Bach and helped him leaven the often dense, even pedantic Germanic counterpoint and smothering religiosity. Vivaldi provided a model influence for Bach’s eclectic fusion of styles.

Here is a link to an extended Wikipedia biography of the “Red Priest” (below) — Vivaldi’s nickname, used during his teaching at an all-girls school in Venice and derived from his bright red hair. It holds some surprises including the political controversy that surrounded Vivaldi in his day: 

https://en.wikipedia.org/wiki/Antonio_Vivaldi

A lot of modern musicians and music historians seem to hold Vivaldi’s popularity and listener-friendly music against him. Opinions seem divided over who made the snide remark — Igor Stravinsky, Luigi Dallapiccola or both — that Vivaldi rewrote the same concerto 500 times.

Here is an informative takedown of that putdown:

https://notanothermusichistorycliche.blogspot.com/2018/10/did-stravinsky-say-vivaldi-wrote-same.html

In the YouTube video at the bottom is a favorite Vivaldi  movement of mine. It helped give me a lifelong unforgettable moment as an accompaniment to viewing NASA’s recently taken moon footage at 37,000 feet in a plane on my way to Hawaii. It is the slow movement of the lute concerto played on the guitar by Julian Bream — and it was perfect for expressing weightlessness and space flight.

That was long ago.

These days for period-instrument performances, I tend to favor The English Concert under Trevor Pinnock , The Academy of Ancient Music under Christopher Hogwood, and the Academy of Ancient Music Berlin — although there are others terrific ensembles including the modern instrument groups I Musici and the Academy of St. Martin in the Fields.

For period string soloists — try the double concertos — look to Simon Standage, Monica Huggett, Andrew Manze and Rachel Podger. For modern instrumentalists, check out Victoria Mullova and especially the Israeli violinist Shlomo Mintz, who uses his own ordering and groupings of concertos. I also like the period cellist Christophe Coin and the modern cellist Jean-Guihen Queyras.

Do you have an opinion about Vivaldi — a like or dislike of his music?

Do you have a favorite Vivaldi work?

Do you have favorite performers of Vivaldi?

The Ear wants to hear.


This ‘body percussion” version of Beethoven will make your day!

February 15, 2023
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By Jacob Stockinger

Here is something that easily outdoes Bavarian thigh-slapping in Lederhosen!

It features 157 school children playing the opening theme of Beethoven’s Fifth Symphony using “body percussion.”

That is, they use their hands, feet, knees and chests with various pressures and degrees of loudness, rhythm, speed and dynamics.

It is a performance practice and method of music education that has roots in folk music.

It was performed in 2020 — hence the covid masks — and was recently posted on Instagram by ClassicFM.

Here is a fuller definition from Wikipedia:

https://en.wikipedia.org/wiki/Body_percussion

The kids are amazing. They are so synchronized and precise.

It took five months of practicing and rehearsing, so the persistent music teacher who organized and executed this must be amazing too.

It all seems very French in its combination of the physical and the emotional.

Take a look and listen. Here is a link to the one-minute video:

https://na01.safelinks.protection.outlook.com/?url=https%3A%2F%2Fwww.instagram.com%2Freel%2FCofX3zGIPMS%2F%3Figshid%3DMDJmNzVkMjY%3D&data=05%7C01%7C%7C8fe1099d6019482968a708db0c80ef51%7C84df9e7fe9f640afb435aaaaaaaaaaaa%7C1%7C0%7C638117520131162642%7CUnknown%7CTWFpbGZsb3d8eyJWIjoiMC4wLjAwMDAiLCJQIjoiV2luMzIiLCJBTiI6Ik1haWwiLCJXVCI6Mn0%3D%7C3000%7C%7C%7C&sdata=ZUhwrmWr8qFFd4eATPOcp6A5bc%2Bp1oVLcOr6Vq%2BkCb8%3D&reserved=0

Does anybody else wonder if an American parent might have protested or even filed a lawsuit alleging inappropriate touching by classmates?

What do you think of this “body percussion” Beethoven?

The Ear wants to hear.


Nobody expressed romantic love in music better or more often than Robert Schumann

February 14, 2023
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By Jacob Stockinger 

Today — Feb. 14, 2023 — is Valentine’s Day.

When it comes to composing music that expresses romantic love, The Ear thinks nobody did it more consistently or better than Robert Schumann.

Inspired by his wife Clara, a former student who defied her father to marry Robert, Schumann (seen below with Clara) put romantic love at the heart of so many pieces.

One of his finest is the second movement of the eight-movement piano suite “Kreisleriana,” Op. 16. Perhaps you will agree after listening to it played by Martha Argerich in the YouTube video below.

Check it out.

Does it move you?

If you have a different choice for a composer or a piece suitable for the occasion today, please include it, perhaps with a YouTube link, as a comment.

Happy Valentine’s Day

The Ear wants to hear.


Here are the nominees, winners and trends of the 2023 classical music Grammys

February 10, 2023
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By Jacob Stockinger

Chances are good you have already heard about Beyoncé and Lizzo, about Bonnie Raitt and Harry Styles, and how they won their Grammy awards last Sunday night.

But it is not by chance that you have to scroll way, way, way down the list of Grammy nominees and winners to find the ones for classical music. (It comes a third from the end, just before the list of short-form and long-form videos.)

No doubt it is in part a question of respect. Classical is not even listed with other “Musical Genres” on the Grammys’ home website while you will find: Pop; Rock; R&B; Country; Rap; Latin; Global; Gospel and Contemporary Christian; New Age; Jazz; and Alternative.

It seems like the most important thing to say about classical music is that pop star Beyoncé (below above) surpassed the record for individual Grammys previously held for decades by the late Hungarian-born conductor Sir George Solti (below bottom). He had won 31, she has won 32. But it seems like an unfair comparison since The Ear suspects many more categories are open to Beyoncé and her pop music than were open to Solti and classical music.

But even more than respect, it is a question of popularity and money.

We mustn’t forget that the Grammys are above all an industry event designed to reward those who make the commercial recording industry flourish.

Still, there are trends to take note of.

You’ll notice that quite a few of the nominees and winners have performed had their music performed in Madison. They include composers Caroline Shaw and Kevin Puts; the Imani Winds and Valerie Coleman; the Attacca Quartet; singer Will Liverman; Third Coast Percussion; Hilary Hahn; and producer Judith Sherman (below, in 2016)), who has overseen recent recordings by the UW-Madison’s Pro Arte Quartet and won many such Grammys.

Also, just as in Madison this has also been a big year for performers and composers of color — Black, Indigenous, Latin and Asian — as well as women composers and performers. Florence Price, Valerie Coleman and Jessie Montgomery (below and in the YouTube video at the end of her composition “Strum”), who is now composer-in-residence at the Chicago Symphony Orchestra and was just named Composer of the Year by Musical America; and Valerie Coleman.

Local presenters and performers can be proud of reflecting the same priorities. They include: the University of Wisconsin-Madison School of Music; the Wisconsin Youth Symphony Orchestras (WYSO); the Madison Symphony Orchestra; the Madison Opera; the Wisconsin Union Theater; the Wisconsin Chamber Orchestra; the Willy Street Chamber Players; the Bach Dancing and Dynamite Society; Edgewood College; and Wisconsin Public Radio and WORT-FM among others.

See for yourself which ones you caught and which ones you missed.

Here is a list of the classical music winners of the 65th annual Grammy awards. It is provided by the insightful Australian arts and culture journal Limelight Magazine:

https://limelightmagazine.com.au/news/grammy-awards/

And here is the complete list of the Grammy nominees along with the winners, so you can compare them all, find out details and  judge for yourself. The Ear thinks many of the nominees are often just as worthwhile to check out and listen to as the winners:

https://www.grammy.com/awards/65th-annual-grammy-awards-2022

What do you think of the Grammy nominees and winners?

The Ear wants to hear.


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Superstar maestro Gustavo Dudamel to leave LA for the New York Philharmonic

February 8, 2023
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By Jacob Stockinger

It will probably be the biggest music news story of the year, perhaps even the decade.

Gustavo Dudamel (below), the Venezuelan-born maestro of the Los Angeles Philharmonic, will become the music director of the New York Philharmonic starting in 2026.

The news was announced late yesterday afternoon on both coasts. The New York Philharmonic post is probably the most prestigious music post in the United States, a podium once occupied by Gustav Mahler, Arturo Toscanini, Leonard Bernstein, Zubin Mehta and Kurt Masur.

In what one imagines is a very, very expensive coup — the financial terms were not disclosed — the New York Philharmonic recruited the 42-year-old superstar maestro who is known for giving passionate and fiery performances and for innovating music education programs, both of which have brought in bigger and younger audiences.

He also built a reputation for championing new music, Latin music and musicians of color. (In the YouTube video at the bottom, you can hear Dudamel conducting Mexican composer Arturo Márquez’s Danzón No. 2, a Latin American piece he made famous and which is now often used by other orchestras on full programs or as an encore. In the video, he is conducting the Simón Bolivar Youth Orchestra, the senior orchestra of “El Sistema” and the post that Dudamel held before heading to Los Angeles.)

Dudamel has guest conducted the New York Philharmonic more than two dozen times. The musicians there have greeted him warmly and enviously, especially since their CEO Deborah Borda originally signed Dudamel to the Los Angeles post in 2009 when he was 26.

Born into a musical family, Dudamel himself became a professional musician by rising through the ranks of “El Sistema,” the national youth music organization in his native country. He studied violin and composition before turning to conducting with global success and fame.

In Los Angeles he has been nominated for and won many Grammys for his many recordings. He also been the music director of the Paris Opera.

It is worth noting: New York will soon have two of the most charismatic and recognizable conductors in the world: Dudamel; and Yannick Nézet-Séguin, who is the music director of the Metropolitan Opera as well as the music director of the Philadelphia Orchestra and Metropolitan Orchestra of Montreal.

Here are stories from both sides now: from the West Coast he is leaving and the East Coast he will be going to.

Here is the story by The New York Times:

And here is the story from The Los Angeles Times:

https://www.latimes.com/entertainment-arts/story/2023-02-07/gustavo-dudamel-will-leave-the-l-a-phil-for-ny-philharmonic-in-2026


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