By Jacob Stockinger
Not a lot of musicians write well. It’s probably because they prefer to let their music-making do their communicating.
But one notable exception is the “minimalist” composer Philip Glass (below), whose new volume of memoirs is being praised for its insights and for its engaging, articulate style. (A good sample of his speaking, composing and playing is in the YouTube video at the bottom.)
Recently, Glass did a 46-minute interview for Terry Gross and her “Fresh Air” program on NPR (National Public Radio.) He discussed his early days composing and performing as well his training with famed French teacher Nadia Boulanger.
The NPR story has the interview plus some highlights from the interview and also some excerpts from the book “Words Without Music.
The Ear thinks that Glass, now 78, emerges as a very thoughtful and perceptive man who is also droll and self-deprecating.
See what you think.
Here is a link to the NPR story:
And here is a highly positive review of the book that appeared in The New York Times:
What do you think of Philip Glass and his music? His memoirs?
The Ear wants to hear.
By Jacob Stockinger
Tweets — those messages that comes via Twitter — may be short, containing a maximum of only 140 characters.
But they can sure pack a wallop and get people riled up.
Consider what is happening in Toronto with the Toronto Symphony Orchestra (below top, in a photo by John Loper) that canceled an appearance – with full payment of a concert fee — by the Ukrainian-born pianist Valentina Lisitsa (below bottom).
Lisitsa tweeted about the political situation in her native Ukraine and that apparently caused quite the stir among symphony sponsors. So the symphony canceled her performances of the Piano Concerto No. 2 in C Minor by Sergei Rachmaninoff – and paid her concert fee anyway. (Rachmaninoff and this concerto are specialties of Lisitsa, as you can hear on the YouTube video at the bottom)
Locally, Lisitsa — known for her power, endurance and phenomenal technique as well as her savvy use of YouTube to establish a career — has played several times at the Wisconsin Union Theater and at Farley’s House of Pianos.
Then the Toronto Symphony tried to engage pianist-composer Stewart Goodyear (below), who is famous for doing marathons in which he plays all 32 piano sonatas by Ludwig van Beethoven in one day. He has performed several times with the Wisconsin Chamber Orchestra.
Anyway, here is a terrific account of the story — with great reporting and writing from Anastasia Tsioulcas — that was posted on Deceptive Cadence, the outstanding classical music blog that is on NPR (National Public Radio).
Here is the link:
What do you think of this dust-up?
Was Lisitsa treated fairly?
The Ear wants to hear.
This week’s FREE Friday Noon Musicale, to be held from 12:15 to 1 p.m. in the Landmark Auditorium of the Frank Lloyd Wright-designed Meeting House of the First Unitarian Society of Madison, 900 University Bay Drive, will feature contralto Allissane Apple and pianist Jane Peckham in music of Leonard Bernstein, Hugo Wolf, Francis Poulenc, William Bolcom, Aaron Copland and Peter Warlock.
Czech pianist Martin Kasik (below) will perform a recital on Saturday night at 7:30 p.m. at Farley’s House of Pianos, located at 6522 Seybold Road on Madison far west side near West Towne. The program includes works by Ludwig van Beethoven (the “Les Adieux” and “Moonlight” Sonatas), Maurice Ravel and Sergei Prokofiev. For more information, go to: http://salonpianoseries.org/concerts.html
By Jacob Stockinger
The Ear has received the following announcement:
Violinist Katie Lansdale (below), assistant professor of violin at the Hartt School at the University of Hartford, will present a recital of works for solo violin on this Saturday afternoon, April 18 at 1:30 pm in the sanctuary of Covenant Presbyterian Church, 326 South Segoe Road in Madison.
The recital is sponsored by Suzuki Strings of Madison and a $5 donation is suggested for attendees.
Lansdale is an active recitalist and chamber musician in Europe and the United States. Lauded for her wide interests and repertoire, she has a particular passion for solo Bach, often performing the complete works in concert.
A champion of new music, she has collaborated with a number of leading composers internationally, as a member of both the Lions Gate Trio, and as a member of the Locrian Ensemble. She has recorded for the Triton and Centaur labels — most recently a double CD of duos and trios by Robert Schumann (below).
Lansdale’s awards have included the Schlosspreis for the performance of solo Bach at the Salzburg Mozarteum, the grand prize winner at both the Yellow Springs and Fischoff National Chamber Music competitions, and awards for both Outstanding Violinist and Outstanding Participant at Tanglewood’s Fellowship Program.
Lansdale received her B.A. cum laude in humanities from Yale University, a Master of Music degree and an Artist Diploma from the Cleveland Institute of Music, and a D.M.A. from Manhattan School of Music. She has studied with Josef Gingold, Felix Galimir, Ronda Cole, Donald Weilerstein and Mitchell Stern.
In 2001, Lansdale (seen below with two students) initiated a school outreach program called Music for 1,000 Children. She challenged her studio to play for 1,000 children, promising to play for another 1,000 herself. Her studio then joined with the Hartt student chapter of the American String Teachers’ Association to challenge other groups in North America to play for 1,000 school children. Responses were highly enthusiastic, and in the end, musical performances were brought to 13,000 children from Quebec to Texas.
By Jacob Stockinger
Music critic Andrew Porter, best known in this country for his 20-year tenure at The New Yorker magazine, died in London this week at the age of 86. (Below, he is seen working on “The Magic Flute” by Wolfgang Amadeus Mozart in a Toronto production in 2005.)
In his music reviews for The New Yorker magazine, critic Andrew Porter always seemed a cut above most journalistic critics.
His reviews had enough depth and substance beyond the occasion of the specific performance he was reviewing that they were collected and published in several books — unfortunately many are now out of print — that still provide terrific research possibilities and vindicate his earlier judgments.
Here is a link to a page at amazon.com that lists his essays and libretto translation:
So many of us learned to appreciate classical music in more knowledgeable and sophisticated ways, thanks to Andrew Porter and his wealth of detailed knowledge as well as his superior writing style. (Below, you can see Andrew Porter in the 1970s.)
But I had no idea of his really erudite sides — including his command of several languages and his extensive involvement in the actual performances of music, especially translating opera librettos — until I read his obituaries.
Here is a sampling of the memorial essays about a critic who will go down as one of the greatest critics ever.
Here is a story from The New York Times:
And here is a story, with great background and details, from The Guardian newspaper in the United Kingdom where Porter — seen below in 1992 in a photo by Jane Bown — lived in London since retiring from the New Yorker:
By Jacob Stockinger
Ethnic diversity certainly matters to the current generation of music students who are helping to expand the field of classical music. Consider this letter sent to The Ear by a UW-Madison student:
My name is Ian Tomaz and I am a student at the University of Wisconsin-Madison School of Music. I am writing on behalf of our collegiate chapter of Music Teachers National Association which is hosting pianist William Chapman Nyaho on the week and weekend April 9-12 at the School of Music for a series of concerts, master classes and lectures. (In a YouTube video at the bottom, you can hear Nyaho discuss what he does on campuses, this time at the University of Arizona.)
We are hoping to get the word out about the event. He is an excellent pianist and teacher, and he is presenting a program of traditional classical repertoire as well as African classical music plus lectures on African music and the music business. In addition to being a great pianist, he is a wonderful human being. I really think that the public would enjoy these events and the man behind them.
Here is the official blurb we’ve been using in other advertisements:
The University of Wisconsin-Madison MTNA Collegiate Chapter is planning a great event in April. We are bringing in the pianist and teacher William Chapman Nyaho for a three-day residency on April 9-11.
Here is the schedule of events:
Lecture: African Piano Music: Thursday, April 9, 2015 at 7 p.m. in Humanities Building, Room 2531
Lecture: Business Aspects of Music: Friday, April 10, 2015 at 4 p.m. in Humanities Building, Room 1351
Masterclass for Pianists: Friday, April 10, 2015 at 8 p.m. in Morphy Hall
Piano Recital: Saturday, April 11, 2015 at 8 p.m. in Mills Hall
Thursday night, April 9, at 7 p.m. in Room 2531: Nyaho will give a presentation and question-answer session about African piano music. He will discuss the melding of African and Western cultures found in classical piano music by composers of African descent.
On Friday, April 10, at 4 p.m. in Room 1351: Nyaho will give a presentation focused on several business aspects of music. He will draw from his own experience editing and compiling an anthology entitled “Piano Music of Africa and the African Diaspora.” He will also discuss the logistics of running his own private piano studio in Seattle.
Friday night at 8 p.m. in Morphy Hall, Nyaho will give a two-hour master class to four UW-Madison piano students.
On Saturday night at 8 p.m. in Mills Hall, Nyaho will give a solo piano recital of a mixture of Western and African classical music.
All events will be FREE and OPEN to the entire Madison community.
Here is more about Dr. Nyaho:
William Chapman Nyaho grew up in Ghana and studied music at Oxford University in England and in the United States. He is known around the world for his engaging piano performances of both Western classical music and piano music of Africa and the African Diaspora.
Nyaho compiled and edited a five-volume graded anthology of piano sheet music by composers of African descent published by Oxford University Press. This anthology represents a wide variety of newly published material and has become quite influential in the classical music realm by expanding the repertoire available to both students and concert pianists.
Nyaho has also released two critically-acclaimed CDs of his performances of solo piano music by composers from Africa and the African Diaspora.
In addition to his performing and recording career, Nyaho is known for his sensitive and empowering teaching. Having served as Visiting Professor at many university campuses around the United Sates, he is universally praised for his authenticity, enthusiasm and artistry as a clinician and teacher.
You can read more reviews about Nyaho at his website http://nyaho.com/reviews.cfm, including one by Maya Angelou, who had this to say about him: “A talented young man with a rare mixture of youthful enthusiasm and mature reliability… intelligent, sensitive and possesses remarkable character….”
For his recital, he will be playing a mixture of Western and African piano repertoire, including the Piano Sonata Op. 31, No. 3, by Ludwig van Beethoven. His specific program will be posted soon on the UW-Madison School of Music website at http://www.music.wisc.edu
By Jacob Stockinger
Our friends at the Madison Youth Choirs write to tell us the following news:
The Grazer Kapellknaben (Graz Boychoir, below) of Austria will embark on its first U.S. tour this spring, and will present a FREE joint concert with the young men of Madison Youth Choirs at 7 p.m. on Tuesday, April 7, at Bethel Lutheran Church, 312 Wisconsin Avenue, in downtown Madison.
Free-will donations will be accepted at the door.
The Graz Boychoir, directed by Matthias Unterkofler, emphasizes the exploration of classical works and traditional folk songs, while also performing a few arrangements of contemporary music. The choir frequently performs in professional productions in their home country, appearing with the Graz Opera and in famed, historic venues including Vienna’s Konzerthaus and Musikverein.
Tentative repertoire for the concert includes works by George Frideric Handel, Felix Mendelssohn, Benjamin Britten, Franz Schubert, traditional Austrian and German melodies, and arrangements of music by Billy Joel and Toto.
The boys of Madison Youth Choirs will perform selections from their current season repertoire, including 15th century Italian piece “Ayo visto lo mappamundi,” and will join the Graz Boychoir for a combined closing piece.
ABOUT THE MADISON YOUTH CHOIRS (MYC)
Recognized as an innovator in youth choral music education, Madison Youth Choirs (MYC, below in a photo by Jon Harlow) welcomes singers of all ability levels, annually serving more than 500 young people, ages 7-18, in 11 single-gender choirs. Our singers explore the history, context and heart of the music, becoming “expert noticers,” using music as a lens to discover the world.
Through a variety of high-quality community outreach programs and performance opportunities, MYC strives to make the benefits of arts participation accessible to all. (You can hear them in a YouTube video at the bottom singing “Five Hebrew Love Songs” in a setting by Grammy Award winner Eric Whitacre.)
For further information, visit: madisonyouthchoirs.org or call (608) 238-7464
By Jacob Stockinger
Yesterday — Friday, March 20, 2015 – brought us the first day of spring.
It also marked the centennial of the birth of the great Russian pianist Sviatoslav Richter (below).
Richter was such a complex and towering figure that it would take a book to really do justice to him and to his career.
With one exception that gets no mention.
Somehow that information seems particularly pertinent to The Ear, given the growing acceptance of LGBT people and of marriage equality.
Still, Wigler’s essay is an excellent read and includes a YouTube video – there are many, many YouTube videos of Richter, who had an immense repertoire, playing. This video is of a live performance by Richter in which he plays the last movement of the first piano sonata by Ludwig van Beethoven in the Great Hall of the Moscow Conservatory.
You can hear the power and energy, the subtleties and excitement, to say nothing of the originality of interpretation, that Richter brought to music.
Enjoy it -– and tell us if you ever heard Richter live and what is your favorite performance by Sviatoslav Richter with a link to a YouTube video is possible.
By Jacob Stockinger
Our friends from the always unusual and always first-rate Bach Dancing and Dynamite Society write:
Can’t wait for our summer festival in June? Come to Flautistico! The multimedia event will be held this Friday, March 20, at 8 p.m. in Promenade Hall at the Overture Center. All tickets are $25.
Flautistico! is a continuation of co-founder and co-artistic director Stephanie Jutt’s exploration into Latin American, Mexican and Spanish music. (Jutt, below in a photo by Dick Ainsworth, teaches at the UW-Madison School of Music and is also Principal Flute of the Madison Symphony Orchestra.)
This one-time-only concert will feature a wide variety of music from Argentina, Venezuela, Mexico and Spain that has never been performed at BDDS concerts.
Puerto Rican mezzo-soprano Yanzelmalee Rivera, Venezuelan clarinetist Orlando Pimentel, and Madison’s own fantastic collaborative pianist Thomas Kasdorf will join Jutt.
Dance choreographed by Ariel Juarez and performed by Jacques Saint-Cyr and Maria Castello will complement the music of Piazzolla.
An original art installation by UW-Madison artist Carolyn Kallenborn, including her film footage from Day of the Dead in Oaxaca, Mexico, will create a multi-dimensional concert evening.
Photos by Martin Chabi (below) will be projected during the concert.
To purchase tickets from Overture Center, visit: http://www.overturecenter.org/events/flautistico
By Jacob Stockinger
There is much to look forward to during this Friday night’s MUST-HEAR “Masterworks” concert by the Wisconsin Chamber Orchestra under the baton of its longtime music director Andrew Sewell.
But clearly the big draw is the Israeli-born cellist Amit Peled (below), who is a now a very successful teacher at the Peabody Conservatory that is attached to Johns Hopkins University in Baltimore and who also tours the globe performing.
The concert is at 8 p.m. in the Capitol Theater of the Overture Center.
Tickets cost $15, $37, $62 and $65. Call the Overture Center box office at (608) 258-4141.
Amit Peled has played here with the WCO before, and he showed then that his talent is as big as he is, a 6’5” man who projects a big presence physically and musically.
But Peled is also a congenial, humorous and curious musician who knows how to find an unusual angle, a new take on old music.
As an homage, Peled recently recreated a century later a concert by Pablo Casals, who remains perhaps the most famous and influential cellist in history, by performing the same program.
The program included a solo suite by Johann Sebastian Bach since it was Casals who first discovered them and then who convinced the experts and the public that they were not exercises but genuine gorgeous music.
It also included a Catalan folk song, “The Song of the Birds,” which Casals himself arranged and frequently performed as an anthem to the need for freedom from Nazism and Fascism for his homeland. In fact it became a signature of Casals, and Peled will perform the same piece here.
Moreover, Peled performed this concert on Casal’s own cello, a superb 1733 Goffriller instrument, which Peled got on loan from Casals’ widow and which he had restored. (You can hear Amit Peled talk about and play the famed Casals cello in a YouTube video at the bottom.)
And that is the same cello he will bring to his date in Madison.
Here is a link to a story – two conjoined stories really — that NPR (National Public Radio) did about Peled and the Casals cello.
On the same cello, Peled will also perform the “Tarantella” by David Popper – another favorite of Casals — and the rarely played Cello Concerto by Robert Schumann (below), a late work written as the composer was descending into the mental illness that would eventually claim his life.
Adding to the concert’s appeal are two other works.
One is the penultimate symphony by Wolfgang Amadeus Mozart (below), the dark, dramatic and appealing Symphony No. 40 in G Minor, K. 550.
The performance by the WCO (below top) should be a lively treat, given the complete mastery of the Classical-era style that conductor Andrew Sewell (below bottom) continues to demonstrate.
Another attraction is the Suite for String Orchestra by Frank Bridge (below), who was the teacher of famed 20th-century British composer Benjamin Britten. And if you have heard Sewell, who originally hails from New Zealand, you know he has a way for finding neglected repertoire and possesses a special fondness of and talent for performing British works.
For more information about the WCO and this concert, visit:
And here is a link to Amit Peled’s website, where you can find more information including reviews, recordings, biographical facts and more:
By Jacob Stockinger
But now something welcome and promising, in addition to the resurgence of the Grammy-winning Minnesota Orchestra under Finnish-born conductor Osmo Vanska, has emerged: A new state-of-the-art and unusual hall (below) as the musical home in Ordway Center for the acclaimed St. Paul Chamber Orchestra -– where the Madison Symphony Orchestra’s Music Director and the Madison Opera’s Artistic Director John DeMain once served as an associate conductor.
And, of course, a lot of Madison-area residents travel to the Twin Cities to see the sights and maybe hear the St. Paul Chamber Orchestra. (In a YouTube video at the bottom, the orchestra performs Johann Pachelbel’s famous Canon in D, with former music director Pinchas Zukerman conducting.)
So important is the new hall as an event that The New York Times sent out a critic to file a review. Here it is: