By Jacob Stockinger
In yesterday’s blog about afternoon concerts this weekend, The Ear mentioned the FREE concert by the Perlman Piano Trio this Saturday afternoon at 3:30 p.m. in Morphy Recital Hall.
The all-masterpiece program is an appealing one: The late Piano Trio in E-flat Major, K. 542, by Wolfgang Amadeus Mozart; the Piano Quintet in E-flat Major, Op. 44, by Robert Schumann; and the Piano Trio No. 3 in C Minor, Op. 101, by Johannes Brahms.
Members of the graduate student ensemble (below, from left, in a photo by Katherine Esposito) are: violinist Adam Dorn; pianist SeungWha Baek; and cellist Micah Cheng.
Additional members for the Schumann Piano Quintet are violinist Keisuke Yamamoto and violist Luke Carmichael Valmadrid.
But the concert by the Perlman Trio is also an occasion to recognize an important donor to the University of Wisconsin-Madison School of Music.
Her name is Kato (Katherine) Perlman. The Ear knows her as a congenial, amiable and modest person.
Perlman’s generosity has made possible this scholarship trio for distinguished graduate students. Its membership usually changes every school year.
Perlman (below), a retired chemist, has also contributed to other events and programs at the UW-Madison and to other music events around town.
Now, Perlman is not alone. There are many important donors and patrons and underwriters of musical events in Madison.
One of the most distinguished and largest recent gifts was the late Karen Bishop, whose gift of $500,000 made possible hiring a new director of University Opera outside the punitive budget cuts by Gov. Scott Walker and the Republican Legislature.
Another is Irving Shain(below), the retired chemistry professor and Chancellor of the UW-Madison, who decades ago started the ongoing Beethoven Sonata Competition and who also underwrites the wind and piano duet competition.
Kato Perlman has an interesting, compelling and moving personal history, and the upcoming concert in Saturday is a good occasion to share it.
Here it is:
These are challenging times for classical music. Those of us who appreciate it should be especially grateful to Perlman and other sponsors and donors for allowing it to exist for our pleasure and enlightenment.
So The Ear says:
Thank you, Kato.
Thank you, Irv.
Thank you, Karen Bishop and family.
And thank you to all donors and sponsors – individuals, groups, corporations and businesses — including those whose philanthropy supports the Madison Symphony Orchestra, the Wisconsin Chamber Orchestra, the Madison Opera, the Madison Early Music Festival, the Bach Dancing and Dynamite Society and so many of the wonderful music groups in the areas.
You were never needed more.
In their honor, here in a YouTube video is a song of dedication, “Widmung,” composed by Robert Schumann and sung by baritone Thomas Quasthoff:
By Jacob Stockinger
Tonight we turn the corner.
At 10:48 p.m. CST we will experience the Winter Solstice.
That means that from now until late June, the days will start getting longer and the nights shorter.
True, so far we have not had much cold or snow, thanks to El Nino.
But we still have the coldest months of the season – January and February – to look forward to.
One of The Ear’s winter rituals is to listen to the song cycle “Winterreise” – winter journey – by Franz Schubert (below) on or around the first day of winter.
It is such a unique and astonishing work, so modern in so many ways.
And there are so many outstanding recorded versions of it that The Ear likes: Mark Padmore with pianist Paul Lewis; Matthias Goerner with Christoph Eschenbach; Thomas Quasthoff with Charles Spencer; Peter Schreier with Sviatolsav Richter; Hermann Prey and Karl Engel; and of course the legendary Dietrich Fischer-Dieskau with Gerald Moore, Joerg Demus and later with Alfred Brendel.
More locally, he also likes the version, complete with black-and-white photographs by Katrin Talbot that was done by UW-Madison baritone Paul Rowe with UW-Madison pianist Martha Fischer. (It is published by the University of Wisconsin Press.)
But probably The Ear’s favorite version of the amazing cycle so far is the one done by British tenor Ian Bostridge with Norwegian pianist Leif Ove Andsnes. The Ear prefers the higher tenor range to the baritone range. He also likes not only Bostridge’s transparent sound and outstanding diction, but also his kind of singing speech style — Sprachstimme – that adds to the storytelling of the cycle.
The complete 70-minute cycle is available from YouTube but only by going through the 24 different videos, one per song in the cycle.
And there is a preface that features both Bostridge and Andsnes talking about the work and about performing it.
By the way, an excellent companion to the cycle is the book and e-book that Bostridge has published –- a doctoral thesis called “Schubert’s Winter Journey” Anatomy of an Obsession” (Knopf).
It is a comprehensive look at the aesthetic, historical, cultural and the literary aspects of the astonishing work and analyzes each of the 24 songs in the cycle. The Ear has read it and highly recommends this definitive study by someone who knows the famous song cycle inside and out after performing it more than 100 times.
Here is a set-up piece with pianist Jeremy Denk interviewing Ian Bostridge about his book:
And here are Bostridge and Andsnes talking about the cycle:
And “Gute Nacht” (Good Night) here is the opening song of “Winterreise”:
And “Der Leiermann,” the closing song of “Winterreise”:
The Ear urges you to sample many more, in order or out of order.
Let The Ear and other readers know which performers you prefer and which songs in the cycle are your favorite?