The Well-Tempered Ear

Did any composer ever capture the quiet, timeless and motionless cold of deep winter better than Debussy?

February 9, 2021
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By Jacob Stockinger

It was one of those deep subzero days of the polar vortex that we seem locked in now right now.

The Ear looked out a window.

It was a chilly scene of winter, as the American writer Ann Beattie once described it.

The Ear saw the snow piled up.

He listened to the windless quiet.

Time, like motion, seemed to stop– or at least slow down — in the severe cold.

He saw tracks in the snow.

He couldn’t say whether they came from a rabbit or a squirrel or some other critter.

But it brought to mind a piano prelude by Debussy (below) that contains a kind of frozen minimalism.

Life was once again imitating art, as Oscar Wilde once observed, remarking that “there was no fog in London until the Impressionists painted it.”

Has any piece ever captured the cold, the quiet, the feeling of time and motion slowing down or stopping as Debussy did in “Des pas dans la neige” (Tracks in the Snow)?

Especially as it was played by Arturo Benedetti Michelangeli (below) who, like Sviatoslav Richter, wasn’t afraid to risk taking a slower-than-usual tempo if it right felt right and created the appropriate  atmosphere. (You can hear Michelangeli playing the Debussy prelude in the YouTube video at the bottom.)

Do you agree about the Debussy piece?

About Michelangeli’s interpretation?

Do you know of another piece that captures the Arctic cold spell we are in?

Please leave a comment and a YouTube link, if possible.

The Ear wants to hear.

Stay safe and warm.

 


The New York Times names the top 25 classical recordings of 2020 and includes sample tracks

December 27, 2020
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By Jacob Stockinger

What did the holidays bring you?

Did Hanukkah, Christmas or Kwanzaa bring you a gift card?

A subscription to a streaming service?

Maybe some cash?

Or maybe you just want to hear some new music or new musicians or new interpretations of old classics?

Every year, the music critics of The New York Times list their top 25 recordings of the past year. Plus at the end of the story, the newspaper offers a sample track from each recording to give you even more guidance.

This year is no exception (below).

In fact, the listing might be even more welcome this year, given the  coronavirus pandemic with the lack of live concerts and the isolation and self-quarantine that have ensued.

The Ear hasn’t heard all of the picks or even the majority of them. But the ones he has heard are indeed outstanding. (In the YouTube video at the bottom, you can hear a sample of the outstanding Rameau-Debussy recital by the acclaimed Icelandic pianist Vikingur Olafssen, who scored major successes with recent albums of Philip Glass and Johann Sebastian Bach.)

Here is a link: https://www.nytimes.com/2020/12/17/arts/music/best-classical-music.html

Of course not all critics agree.

The Ear has already listed the nominations for the Grammy Awards (a link is below), and more critics’ picks will be featured in coming days.

https://welltempered.wordpress.com/2020/11/28/for-holiday-shopping-and-gift-giving-here-are-the-classical-music-nominations-for-the-63rd-grammy-awards-in-2021/

You should also notice that a recording of Ethel Smyth’s “The Prison” — featuring soprano Sarah Brailey (below), a graduate student at the UW-Madison’s Mead Witter School of Music and a co-founder of Just Bach — is on the Times’ list as well as on the list of Grammy nominations.

What new recordings – or even old recordings — would you recommend?

The Ear wants to hear.

 


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