The Well-Tempered Ear
Beethoven’s Ninth turns 200 today
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By Jacob Stockinger
Perhaps the only symphony more iconic than Beethoven’s Ninth is the Fifth Symphony by the same composer (below).
But today we celebrate the premiere of the pioneering Ninth Symphony that took place 200 years ago on May 7, 1824. Below is the original poster announcing the concert program with the premiere, which Beethoven conducted in his total deafness.
Here is a link to an anniversary story, with lots of historical background about the original performance, by the PBS affiliate WETA in Washington, D.C.:
https://weta.org/fm/classical-score/may-7-1824-200th-anniversary-premiere-beethovens-symphony-no-9
The 70-minute-long Ninth — also called the “Choral” Symphony — is a remarkable work in so many ways. It remains perhaps the most universal music ever written, meaningful to many different individuals and cultures.
Unlike most symphonies of the time, the opening does not immediately announce a theme. It seems to drift around until it finds a solid key and recognizable theme and rhythm. And then it takes off. It reminds The Ear of the depiction by Haydn, Beethoven’s teacher, in his oratorio “The Creation.”
The New York Times also has an essay by Daniel Barenboim about the meaning of Beethoven’s Ninth. No doubt that would be interesting and enlightening to read. But unfortunately the Times hides it behind a pay wall. Only subscribers get to see it right now.
Instead, here is a comprehensive look in Wikipedia:
https://en.wikipedia.org/wiki/Symphony_No._9_(Beethoven)
The famous choral setting of German poet Friedrich Schiller’s 1785 “Ode to Joy” of the last movement is also the official hymn of the European Union. This was the first use of a chorus in a symphony but would not be the last.
In Japan, the same “Ode to Joy” is sung en masse with a chorus up to 10,000 in stadiums every New Year’s Day and on other special occasions, as you can see in the YouTube video at the bottom, an event that took place after a horrendous earthquake and tsunami. The idealistic music embodies the journey from despair to hope, and to brotherhood and solidarity with all people and all nations.
Leonard Bernstein directed it in Berlin to mark the fall of the Berlin Wall and the coming of German reunification.
As its theme, the nightly Huntley-Brinkley New Report on NBC used to use the percussive, pounding, rhythmically propulsive Scherzo movement — which is The Ear’s favorite movement.
The Ear also thinks that the soulful slow movement has strong suggestions of the lovely and well-known slow movement of Beethoven’s earlier “Pathétique” piano sonata. But it doesn’t seem to have been used as a theme or in a movie soundtrack. Does anyone know differently?
What does the Ninth Symphony mean to you?
What do you think of the Ninth and how do you rank it among other symphonies?
Do you have a favorite recording or performance?
What is your favorite movement of Beethoven’s Ninth?
What other uses of The Ninth do you know of?
The Ear wants to hear
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Today is World Piano Day — so play, listen, watch, celebrate
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By Jacob Stockinger
World Piano Day — established in 2015 — falls on the 88th day of the year because the standard piano keyboard has 88 keys.
Because 2024 is a Leap Year, World Piano Day is being celebrated a day later than usual — on today, March 28.
For more background and past playlists, see:
https://en.wikipedia.org/wiki/Piano_Day
There are lots of free celebrations online, to say nothing of just sitting down at a piano and playing or listening to someone else play or going to your library of CDs and LPs or using your streaming service.
Here is a list of live international events from March 12-April 7, complete with information links, to concerts and other events marking Piano Day around the world.
Some presenters have put together their own special celebrations. DG is offering a 30-day free trial to its Stage+ streaming site to mark the occasion.
Deutsche Grammophon, the world’s oldest classical record company, has a terrific stable of prize-winning, critically acclaimed pianists, includes Maurizio Pollini who died last Saturday, as well as Lang Lang, Yuja Wang, Vikingur Olaffson, Maria Joao Pires, Seong-Jin Cho, Grigory Sokolov, Alice Sara Ott, Daniil Trifonov, Hélène Grimaud and Bruce Liu.
Check it out. Here is a link to DG’s celebration:
You can also find many things to watch and hear — concerts, documentaries — for this year and from past year of YouTube:
https://www.youtube.com/results?search_query=World+Piano+Day
And at the bottom, from World Piano Day 2023, is a YouTube video with 88 minutes of piano music from masters old and current — including Vladimir Horowitz and Arthur Rubinstein — to celebrate World Piano Day:
Will you celebrate World Piano Day?
Do you play the piano or did you take piano lessons?
Do you have a favorite pianist?
Do you have a favorite composer and favorite piece for the piano?
The Ear wants to hear.
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Hear 25 works of Christmas-inspired classical music plus 86 minutes of background music
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By Jacob Stockinger
Today — Sunday, Dec. 24, 2023 — is Christmas Eve.
Many people and households will start celebrating Christmas today and tonight.
Then, of course, there is tomorrow — Christmas Day and especially morning,
By now you have certainly heard many hymns and carols plus the usual popular holiday musical fare.
But here are 25 works of classical music that are appropriate for today and tomorrow.
Some composers and works probably sound familiar while others are more obscure or neglected.
But each work comes with a short background story or narrative, plus an audio-visual video clip from YouTube.
Here is the link. Take a listen and decide for yourself.
In a less serious vein, the YouTube video below adds a different site with 86 minutes of traditional and familiar songs, hymns and carols — but in instrumental arrangements. It might sound a lot like old-fashioned Mantovani, but The Ear thinks that the lack of words and vocal music makes it more suitable for background to conversation and socializing.
What do you think?
The Ear wants to hear.
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See and hear The Cliburn piano competition for FREE via streaming. It runs through June 18
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By Jacob Stockinger
The 16th Van Cliburn International Piano Competition got under way this past Thursday, June 2, and will run through Saturday, June 18, when the winners will be announced.
2022 marks the 60th anniversary year of the competition, which the American pianist Van Cliburn founded at Texas Christian University after his 1958 Cold War victory in the Tchaikovsky International Competition in Moscow,.
You can follow it all online. The complete impressive competition is being broadcast on medici.tv and on YouTube.
But The Ear has used the competition’s own streaming website and finds the videos, sound quality, contestant biographies and background information very professional and helpful. So far, it has been a thoroughly satisfying, enjoyable and engaging experience. I highly recommendation it for students, amateur pianists and all music lovers.
For The Ear, one of the most impressive performances from yesterday was given by the 21-year-old Chinese pianist Yangrui Cai (below), heard in the YouTube video at the bottom. Such beautiful and subtly virtuosic but shaded Liszt and Brahms is not often heard.
Here is a link to the home page (below): https://cliburn.org
From there you can hear live performances, past performances and many facts , including the complete schedule, about The Cliburn, as it is now called. All times are Central Daylight.
Starting at 10 a.m. today — Saturday, June 4 — will see the final 10 performances (3 in the morning and night, four in the afternoon) of the preliminary round, which has featured 30 pianists in 40-minute solo recitals. Except for a specially commissioned “Fanfare Toccata” by Sir Stephen Hough, who is also on the jury, the choice of programs is entirely up to the individual contestants.
The road to the Cliburn is not easy.
It started with 388 applicants. That was trimmed down to 72 by preliminary judges. Out of 72, 30 were chosen by jurors to compete.
After today, it will be on to the quarter-finals with 18 contestants in 40-minute recitals with no repetition from the preliminary round; then the semi-final round with 12 contestants in a combination of 60-minute solo recital along with a Mozart piano concerto accompanied by the Fort Worth Symphony conducted by the Nicholas McGegan, who is famous for his interpretations of Baroque and Classical era music; and the final concerto round with each contestant play two concertos with Fort Worth Symphony under famed conductor Marin Alsop, who is also the head juror.
The Ear will be posting his own thoughts as he experiences the extensive competition, maybe after each round or even each day.
But The Ear also wants to hear from you.
Do you have thoughts about the various contestants?
Who are your favorites and why?
Thoughts about the programs and repertoire being played?
Other thoughts about the competition in general?
The Ear Wants to hear.
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Today – Monday, March 29 – is World Piano Day. Here are links to free online recitals. What does the piano mean to you? Did it play a role during the pandemic?
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By Jacob Stockinger
Today – March 29, 2021 – is World Piano Day.
That is because today is the 88th day of 2021.
Gotta have some kind of code or symbolic meaning, after all.
In any case, there are virtual online celebrations all over the world. Here is a link to the official welcoming website that also lists Spotify and SoundCloud playlists from past years and dozens of worldwide events this year, running from March 25-30: https://www.pianoday.org
You can also find more on Google, Facebook, Instagram and Twitter.
The piano means a lot to The Ear, who listens to it and plays it. He loves, loves, loves the piano.
What has the piano and piano music meant to you in your life?
What role did the piano play for you during the past pandemic year?
Have you listened to or discovered newer, younger talent?
Do you have favorite pianists, either historic or current? What do you like about them?
Or maybe you have favorite piano pieces?
Please tell us all about you and the piano in the Comment section.
The Ear wants to hear.
In the meantime you can listen to the World Piano Day “monster recital” by 17 pianists who record for Deutsche Grammophon. The “Yellow Label” – the first commercial record label — has signed a lot of great pianists in its time, and still does.
Here is a link to the YouTube DG recital, which lasts 2 hours and 50 minutes. If you go to the actual YouTube site, click on Show More to see the complete list of performers and pieces. Otherwise performers and programs are displayed on the screen:
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Today is Day 2 of the online Bach Around the Clock festival. It starts at 8 a.m. and features keyboard, wind, string and vocal music. WPR’s Jonathan Overby will discuss Bridges to Bach tonight at 7
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By Jacob Stockinger
Here is the schedule for Day 2 of the 2021 virtual, online Bach Around the Clock festival, which is today — Thursday, March 18:
Today’s program will be available starting at 8 a.m. and then throughout the festival.
Click here to view more.
For an overview and background, go to: https://welltempered.wordpress.com/2021/03/17/todays-just-bach-concert-starts-the-10-day-bach-around-the-clock-festival-that-runs-through-march-26-all-events-are-free-and-online-here-are-the-lineups/
PERFORMERS and PROGRAMS
• Musette (from Suzuki Book 2); Ossian Rogers, violin; Faolan Rogers, harp; Kara Rogers, piano
• Sheep May Safely Graze, from Cantata 208; Gift Akere, piano
• Sonata No. 3, BWV 1005: Largo; Rebekah May, viola
• Cello Suite V in C minor, BWV 1011: Prelude, Gavottes I and II, Gigue; Cindy Cameron-Fix, bassoon
• Anna Magdalena Bach Notebook: Menuet, BWV anh 114; Tim Farley, clavichord
• Chorale: Now God be with us; Katie Bultman, soprano, and Kenneth Stancer, organ
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Live Evening Keynote Discussion at 7 p.m. Jonathan Øverby, (below) distinguished Wisconsin Public Radio host of “The Road to Higher Ground,” will discuss building The Bridge To and Through Bach with BATC Artistic Director Marika Fischer Hoyt.
Click here to join the Zoom call, starting at 7 p.m. tonight, Thursday, March 18. Viewers are encouraged to submit questions in the chat for Overby to address. |
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The UW-Madison’s Wingra Wind Quintet performs a FREE online virtual concert this Wednesday night. Plus, local music critic Greg Hettmansberger has died
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NEWS ALERT: Local music critic and blogger Greg Hettmansberger (below) was killed in a car accident on Dec. 2, near Wichita, Kansas. Hettmansberger, 65, was driving when he hit a deer and then another car hit him. His wife survived but remains hospitalized in Wichita in critical condition. Here is a link to a news account: https://www.kake.com/story/42993718/man-dies-in-crash-caused-by-deer-in-pratt-county
By Jacob Stockinger
This Wednesday night, Dec. 9, the UW-Madison’s Wingra Wind Quintet (below, in 2017) will perform a FREE virtual online concert from 7:30 to 9 p.m.
Here is a direct link to the pre-recorded video premiere on YouTube at: https://youtu.be/e1NhVZJW2cA
Due to the pandemic, the Wingra Wind Quintet has been unable to perform chamber music in a traditional way since March 2020. (You can hear the quintet play “On, Wisconsin” in the YouTube video at the bottom.)
In response, the quintet put together a program that allowed each member to record parts separately and have those parts edited together.
Current faculty members (below) are: Conor Nelson, flute; Lindsay Flowers, oboe; Alicia Lee, clarinet; Marc Vallon, bassoon; and Devin Cobleigh-Morrison, horn
The engineer/producer is Kris Saebo.
The program is:
The first piece “Allegro scherzando” from Three Pieces by Walter Piston (below, 1894-1976)
The Chaconne from the First Suite in E-flat for Military Band by Gustav Holst (below, 1874-1934)
“Retracing” by Elliott Carter (below, 1908-2012)
Selections from “Mikrokosmos” by Bela Bartok (below, 1881-1945)
“A 6 letter letter” by Elliott Carter
Intermezzo from the First Suite in E-flat for Military Band by Gustav Holst
“Esprit rude/esprit doux” by Elliott Carter
Since its formation in 1965, the Wingra Wind Quintet at the University of Wisconsin-Madison Mead Witter School of Music has established a tradition of artistic and teaching excellence.
The ensemble has been featured in performance at national conferences such as MENC (Miami), MTNA (Kansas City), and the International Double Reed Society (Minneapolis).
The quintet also presented an invitational concert on the prestigious Dame Myra Hess series at the Chicago Public Library, broadcast live on radio station WFMT.
In addition to its extensive home state touring, the quintet has been invited to perform at numerous college campuses, including the universities of Alaska-Fairbanks, Northwestern, Chicago, Nebraska, Western Michigan, Florida State, Cornell, the Interlochen Arts Academy, and the Paris Conservatoire, where quintet members offered master classes.
The Wingra Wind Quintet has recorded for Golden Crest, Spectrum, and the UW-Madison Mead Witter School of Music recording series and is featured on an educational video entitled Developing Woodwind Ensembles.
Always on the lookout for new music of merit, the Wingra has premiered new works of Hilmar Luckhardt, Vern Reynolds, Alec Wilder, Edith Boroff, James Christensen and David Ott. The group recently gave the Midwest regional premiere of William Bolcom’s “Five Fold Five,” a sextet for woodwind quintet and piano, with UW-Madison pianist Christopher Taylor (below).
New York Times critic Peter Davis, in reviewing the ensemble’s Carnegie Hall appearance, stated “The performances were consistently sophisticated, sensitive and thoroughly vital.”
The Wingra Wind Quintet is one of three faculty chamber ensembles in-residence at the University of Wisconsin-Madison Mead Witter School of Music.
Deeply committed to the spirit of the Wisconsin Idea, the group travels widely to offer its concerts and educational services to students and the public in all corners of the state. (Editor’s note: For more about the Wisconsin Idea, which seems more relevant today than ever, go to: https://en.wikipedia.org/wiki/Wisconsin_Idea.)
Portions of this recording were made at the Hamel Music Center, a venue of the Mead Witter School of Music at the University of Wisconsin-Madison.
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Today is Veterans Day. Here is some appropriate music by Beethoven to mark it. Can you guess which piece? What composer or music would you choose?
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By Jacob Stockinger
Today – Wednesday, Nov. 11, 2020 – is Veterans Day.
It started out as Armistice Day in 1918 when the end of World War I was declared to take place on the 11th hour of the 11th day of the 11th month.
It is a day to mark the service of all veterans – not just those who died in the line of duty, as is celebrated on Memorial Day.
You can find a lot of choice of classical music to play for Veterans Day. Here is one link to a compilation that features patriotic songs and marches: https://www.youtube.com/watch?v=BJepYzH1VUY
But The Ear settled on Beethoven (below, in an 1815 portrait by Joseph Willebrord Maehler).
Can you guess which piece?
It is not the memorable funeral marches on the Piano Sonata in A-Flat, Op. 26, or the Symphony No. 3 “Eroica.”
It is also not the “Sacred Hymn of Thanksgiving” in the String Quartet, Op. 132.
And it is not “Wellington’s Victory” or the “Egmont” Overture or the Piano Concerto No. 5 “Emperor” with its triumphant fast movements.
Instead it is the second movement of the Symphony No. 7 in A Major, Op. 92. (You can hear it see it represented graphically in the YouTube video at the bottom.)
That is the very well known Allegretto movement with its repetitious and almost hypnotizing, soaring theme. It seems like a funeral march, full of introspection, poignancy and sadness, that is a bit brisker and more lyrical than usual.
It is so popular, in fact, that it has been used as a soundtrack in many movies, including “The King’s Speech” and has inspired works based on it including the “Fantasia on an Ostinato” by the contemporary American composer John Corigliano.
If it seems an unexpected choice, you just need to know more about its history.
It was composed 1811-1812, and Beethoven correctly considered it one of his finest works. So did Richard Wagner who famously described as the “apotheosis of the dance” for the infectious rhythms throughout the symphony.
At its premiere in Vienna, in his introductory remarks Beethoven said: “We are moved by nothing but pure patriotism and the joyful sacrifice of our powers for those who have sacrificed so much for us.”
Beethoven (below, in 1815 as depicted in a paining the Joseph Willibrord Maehler) premiered the symphony at a charity concert in 1813 to help raise money for the Austrian and Bavarian soldiers who had been wounded at the Battle of Hanau while fighting against France during the Napoleonic Wars.
It was so popular with the first performance that the audience demanded and received an immediate encore performance of the second movement.
Here is a Wikipedia link to the history of the symphony: https://en.wikipedia.org/wiki/Symphony_No._7_(Beethoven)
To this day, the Seventh Symphony, so charged with energy, remains for many people, conductors and orchestral players their favorite Beethoven symphony.
It is ironic that Leonard Bernstein (below, in a photo by Paul de Hueck) performed the Seventh Symphony at the last concert he ever conducted – at the Tanglewood Festival in August 1990. He took the second movement at a slower-than-usual tempo and many have criticized Bernstein, who was in terrible health, and have suggested that he was using it as a funeral march or homage for himself.
They may be right. But in retrospect the choice of Bernstein – who died two months later — finds a certain justification in the original motive for the entire symphony and especially the second movement.
Listen for yourself.
Then tell us what you think.
Does this movement justify it being played on Veterans Day?
What music would you choose to mark the day?
What do you think of the Symphony No. 7 in general and the second movement in particular?
The Ear wants to hear.
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Season 3 of the free monthly Just Bach concerts begins at noon TODAY virtual and online. Each concert will be available for the following week. Here is the 2020-21 schedule
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By Jacob Stockinger
The Ear has received the following announcement from the Just Bach monthly concert series – featuring singers as well as period instruments and historically informed performance practices — to post:
“We are thrilled to share the timeless beauty of Johann Sebastian Bach (below) with music lovers in Madison and beyond for another year.
“Our host venue, Luther Memorial Church at 1021 University Ave., has resumed their weekly ‘Music at Midday’ concert series: https://www.luthermem.org/music-at-midday/
“As part of this series, the one-hour Just Bach concerts will take place at noon on the third Wednesday of each month. Here are the dates for the new 2020-21 season: today Sept. 16; Oct. 21; Nov. 18; Dec. 16; Jan. 20; Feb. 17; March 17; April 21; and May 19.
“Because of the coronavirus pandemic, it is still too risky to have an in-person audience. So Music at Midday concerts will be virtual and online, posted on the Luther Memorial website.
“In addition, Just Bach concerts will be posted on the Just Bach website, the Just Bach Facebook page, and the Just Bach YouTube Channel.
“The concert footage should be available online for at least a week following the concert. At least that is the plan.
“Viewing the concerts is FREE, but we ask those who are able, to help us pay our musicians with a tax-deductible donation.
“Today’s concert program opens with the Pastorale in F, BWV 590, performed by organist Mark Brampton Smith (below).
“Violinist Kangwon Kim (below), concertmaster and assistant artistic director of the Madison Bach Musicians, will continue, with the Partita No. 2 in D Minor, with the famous Chaconne, for solo violin, BWV 1004 (see a brief preview in the YouTube video at the bottom).
“Co-founder and violist Marika Fischer Hoyt (below) will lead the final chorale sing-along, from Cantata 99, Was Gott tut, das isn wohlgetan (What God does, is well done).
“The chorale sheet music (below) will be displayed on the screen, and Mark Brampton Smith will accompany on the organ. Cantata 99 is a timely choice. It was composed for the 15th Sunday after Trinity, which is next Sunday, Sept. 20.
“We need this soul-centering music now more than ever. We invite the music community to join us today and other Wednesdays for a wonderful program of J.S. Bach.”
Sept. 16 program:
- Pastorale in F, BWV 590
- Partita in D Minor for solo violin, BWV 1004
- Chorale: Was Gott tut, das ist wohlgetan (What God does, is well done)
Performers: Kangwon Kim, violin 1; Mark Brampton Smith, organ
For more information go to: https://justbach.org and Facebook.org/JustBachSeries
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The Well-Tempered Ear 
Today is the Winter Solstice. Here is a piece to make you look forward to longer days, warmth and the Summer Solstice next year
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By Jacob Stockinger
Today – Monday, Dec. 21 — is the Winter Solstice, the longest night and shortest day of the year in the Northern Hemisphere. It arrives at 4:02 a.m. CST.
The Ear expects that Wisconsin Public Radio, among other media outlets, will be marking the event with traditional, often austere, winter music. That includes “Winter” from Vivaldi’s “The Four Seasons”; maybe some songs from Schubert’s “Winterreise” (Winter Journey); Peter Tchaikovsky’s “The Seasons” and “The Nutcracker”; and, of course, plenty of winter holiday music, including carols and the Baroque oratorios, cantatas and concertos by Bach, Handel, Telemann, Corelli and others.
But many people – strained by the coronavirus pandemic –are already eagerly looking forward to the days growing longer, which will culminate in the Summer Solstice at 10:31 p.m. CST on Sunday, June 21, 2021.
Who needs to celebrate the season’s cold and darkness? So The Ear thought that we could all use a little sonic sunlight, tonal warmth and musical hope, especially at the end of this Plague Year.
There are standards and favorites such as Mozart’s “Eine kleine Nachtmusik” and Vivaldi’s “Summer.”
But to The Ear that work that really lifts one’s spirits, and captures the kind of joyful abandon and youthful energy of the mid-summer event, complete with animal noises and romance, is the “Overture to a Midsummer Night’s Dream” by a 17-year-old Felix Mendelssohn (below).
You can hear it below in a YouTube performance by the Gewandhaus Orchestra of Leipzig conducted by the late, great German conductor Kurt Masur, whose son, Ken-David Masur, is the new music director and conductor of the Milwaukee Symphony Orchestra.
The Ear hopes you enjoy it.
What music would you like to hear or play to mark the Winter Solstice?
Leave a suggestion with your reason and, if possible, YouTube link in the Comment section.
The Ear wants to hear.
Share this:
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