By Jacob Stockinger
For tenors, High C’s are the brass ring on the carousel of opera.
The late great Italian tenor Luciano Pavarotti and the very busy Peruvian tenor Juan Diego Florez both earned fame and fortune with their singing of the astonishing nine high C’s in Gaetano Donizetti’s bel canto opera “La Fille du Regiment.”
In fact, Florez repeated the same nine high C’s as an encore and it brought down the house.
But it seems there may be another King of the High C’s in the making.
He is a native of New Orleans (isn’t that fitting?) and he is America tenor Bryan Hymel (below, in a photo by Dario Acosta for Warner Classics), who was recently featured on the terrific blog “Deceptive Cadence” for NPR (National Public Radio).
You will surely be hearing more about him. The 35-year-old Hymel has already made his debut at the famed Metropolitan Opera, where he has sung in “Les Troyens” by Hector Berlioz — a role he also sang at the Royal Opera House in London. And he will open the Met’s 2018 season in “Samson and Delilah” by Camille Saint-Saens.
Here is a link to that story by Tom Huizenga. It is complete with sound samples from Hymel’s debut album “Héroïque” — in particular the difficult aria “Asile héréditaire” from the opera “William Tell” by Giachino Rossini — and the CD features a total of 19 high C’s. That led Huizenga to proclaim: “This is why we listen to opera!”
The Amazon.com reader reviews of the new all-French album (below, with an audiovisual clip of the behind-the-scenes recording process) not only praise Hymel for his high C’s – and C-sharps and even D’s — but single out the quality of his singing.
You can hear that strong, pitch-accurate and seemingly effortless quality in one of The Ear’s favorite tenor arias: “Nessun dorma” from “Turandot” by Giacomo Puccini, which Hymel signs with the Jerusalem Symphony Orchestra in a YouTube video at the bottom.
By Jacob Stockinger
Perhaps you have read about the rapidly escalating cost of great musical instruments.
That puts a lot of younger or less well-known, cash-strapped players in a difficult spot.
For quite a while, banks and other financial institutions as well as museums and historical institutions such as the Smithsonian Institution have been putting the investment-quality instruments on loan to younger players whose playing deserves the instrument.
But individuals can do so too.
Take the case of the pioneering conductor Marin Alsop (below), a protégée of Leonard Bernstein who now heads the Baltimore Symphony Orchestra and the Sao Paulo State Symphony in Brazil, and who is being mentioned as a prominent candidate to follow Alan Gilbert when he steps downs from the podium of the New York Philharmonic in 2017.
When both her parents, who were distinguished professional musicians, died last year, they left behind valuable string instruments — a violin and a cello.
Alsop didn’t want to sell the instruments.
But she also didn’t want them to lie unused and defeat their original purpose.
So Alsop (below, in a photo by Gabriella Dumczek of The New York Times) decided to turn the violin and cello into living memorials by placing them on loan with players in her Baltimore orchestra -– a move that has benefitted everyone and the instruments as well.
Here is a story from The New York Times:
It gives you ideas about what might be done on the local level, where some very fine instruments – including pianos — could benefit some very young but very fine local players who otherwise couldn’t afford to have them.
By Jacob Stockinger
The big classical music events this week are the week-long residency at the UW-Madison of British composer Cecilia McDowall; the organ recital by Thomas Trotter in Overture Hall; and Friday night’s concert of Franz Joseph Haydn, Franz Schubert and Vittorio Giannini by the Wisconsin Chamber Orchestra with pianist Shai Wosner under conductor Andrew Sewell.
But there are other important events on tap too, events that should attract audiences.
This week’s FREE Friday Noon Musicale, which runs from 12:15 to 1 p.m. in the Landmark Auditorium of the Frank Lloyd Wright-designed First Unitarian Society of Madison at 900 University Bay Drive, features the Mad Reeds Trio. Members include Laura Medisky, oboe (below); Cynthia Cameron-Fix, bassoon; and Vincent Fuh, piano.
At 8 p.m. in Shannon Hall of the Wisconsin Union Theater, the critically acclaimed and popular a cappella singing group Chanticleer will perform. The San Francisco-based group performs “Shenandoah” in a YouTube video at the bottom that has drawn more than 730,000 hits.)
Tickets are: General Public: $45, 25; Wisconsin Union Members and Non UW-Madison Students: $40; UW-Madison Faculty & Staff: $42; UW-Madison Student (with ID): $10. Prices do not include fees.
Here is a link with detail of the eclectic program that runs from early music and the Renaissance to jazz and Bossa Nova:
And here is a link to the concert announcement with video and audio clips:
At 1:30 p.m. in Morphy Recital Hall on the UW-Madison campus GUEST ARTIST Laura Loge, soprano (below), with pianist Kathryn Ananda-Owens, a graduate of Memorial High School in Madison who teaches piano at St. Olaf College, will perform a recital featuring Norwegian songs by Edvard Grieg, Grondahl, Frederick Delius, Kjerulf, Christian Sinding and Alnaes.
Admission is FREE.
The concert is supported by funding from the Ygdrasil Literary Society of Madison, Vennelag Lodge, Idun Lodge #74 Sons of Norway, the Madison Torske Klubben, and by the Anonymous Fund.
At 2 p.m. in Mills Hall, the UW-Madison Concert Band, under director Mike Leckrone (below), will give a FREE concert. Sorry, no word about the program.
At 2:30 p.m. in the St. Joseph Chapel, 1000 Edgewood College Drive, the Edgewood Chamber Orchestra, under director Blake Walter (below in a photo by John Maniaci), will give its Winter Concert.
Admission is $5 to benefit music scholarships; FREE with Edgewood College ID.
Included on the program is the aria “Come Scolio” from the opera “Cosi fan Tutte” by Wolfgang Amadeus Mozart, featuring soprano Angela Sheppard (below), winner of the Edgewood College Music Department’s Student Concerto Competition, as well as a three-time recipient of the Ken and Diane Ballweg Music Scholarship. Also on the program are the Overture to “L’isola Disabitata” by Franz Joseph Haydn and the Symphony No. 2 in B-flat Major, D. 125, by Franz Schubert.
At 3:30 p.m. in Mills Recital Hall, a FREE recital will present this year’s winners of the annual Irving Shain Woodwind-Piano Duo Competition at the UW-Madison School of Music.
A reception will follow the performance.
The competition and concert are made possible by retired UW-Madison Chancellor and chemistry professor Irving Shain (below).
The 2014-15 WINNERS are
Kai-Ju Ho, clarinet and SeungWha Baek, piano.
Iva Ugrcic, flute (below top, playing recently in the UW Concerto Competition winners’ concert) and Thomas Kasdorf, piano (below bottom).
Pedro Garcia, clarinet and Chan Mi Jean, piano.
ALERT: On this Wednesday, Feb. 18, at noon, British composer Cecilia McDowall will be featured live on Wisconsin Public Radio’s “Midday” show with host Norman Gilliland (88.7 FM). On this Thursday morning on WORT Radio (89.9 FM), host Rich Samuels plans a half-hour special on McDowall that he pre-recorded with organizer UW-Madison professor of trumpet John Aley. It will be broadcast at 7:15 a.m.
By Jacob Stockinger
A major event involving new music and contemporary music is taking place this week at the University of Wisconsin-Madison School of Music:
Here is a round-up provided by the UW-Madison School of Music and concert manager Kathy Esposito:
British composer Cecilia McDowall (below), who in December was awarded the 2014 British Composer Award (BCA) for Choral Composition, will visit UW-Madison’s School of Music this week for a three-day series of concerts and discussions.
The visit, to take place Thursday through Saturday, marks McDowall’s first United States residency and will include one colloquium and two concerts, all open to the public.
McDowall won the BCA prize for “Night Flight,” a work for a cappella choir and solo cello that honors Harriet Quimby (below), an aviatrix who was the first woman to fly over the English Channel. Download a BCA news release here.
Cecilia McDowall’s music has been commissioned and performed by leading choirs and instrumental groups, including the BBC Singers, the Westminster Abbey Choir, the City of Canterbury Chamber Choir, and the Royal Scottish National Orchestra. She came to composition later in life, after raising two children, teaching and singing in choirs for many years. She holds a master’s degree in composition from Trinity College in London and is now a composer-in-residence at the Dulwich College, a pre-college school in London.
You can also listen to a sample in a YouTube video at the bottom.
Writes Guy Rickards of Gramophone magazine: “Cecilia McDowall is another of the new generation of highly communicative musicians who, though often inspired by extra-musical influences, favors writing which, without being in any way facile, is brightly cogent, freshly witty and expressive in its own right.
“She often uses minimalist ostinatos – the spirit of Steve Reich hovers – but constantly tweaks the ear with her range of spicy rhythms and colors, then suddenly produces a highly atmospheric and grippingly expressive interlude which is just as compelling. Each of the individual movements within her works is titled, sometimes descriptively, sometimes perhaps with tongue in cheek.”
On Friday, Feb. 20, in Mills Hall at UW-Madison, a student and faculty chamber orchestra (conducted by James Smith, below top), coupled with the university’s Madrigal Singers, conducted by Bruce Gladstone (below bottom), will perform the U.S. premiere of her work “Seventy Degrees Below Zero.” (Read a review here.)
“Seventy Degrees” is a cantata for solo voice (to be sung by faculty tenor James Doing, below), which McDowall composed in 2012 to commemorate the voyage of British explorer Robert Falcon Scott to the Antarctic. Scott and crew members died while on that expedition; one hundred years later, the City of London Sinfonia and the Scott Polar Research Institute commissioned the music to honor Scott and his men.
As a twist, the concert will extend the polar theme with a slideshow and lobby presentation linking Antarctic research of yesterday with today’s, presented by Michael Duvernois (below) of UW-Madison’s IceCube Particle Astrophysics Center.
McDowall’s residency will also feature the piano playing of UW-Madison’s Christopher Taylor (below) performing McDowall’s “Tapsalteerie,” described by Gramophone as “ingenious play with a cradle song by the turn-of-the-century Aberdeenshire fiddler James Scott Skinner.”
Many other UW-Madison faculty musicians will also perform. Here is a link with details about other performers:
At noon in Mills Hall.
Meet the composer at a free public colloquium.
The topic will be “The Effects of Extra-Musical Influences”: McDowall will discuss how she interweaves composition with events, past or present; with real, imagined or visual images; or as a response to the physical environment or written text.
At 8 p,m. in Mills Hall.
Concert and Presentation: UW Madrigal Singers and Concert Choir, with a faculty/student chamber orchestra, featuring the U.S. premiere of “Seventy Degrees Below Zero.” With Michael Duvernois of the UW IceCube Particle Astrophysics Center.
Meet the composer and performers at a reception to follow in Mills Hall lobby.
Tickets: $20 adults, free for students. Tickets available via the Wisconsin Union Theater prior to show (online and in person) and on the day of show at Mills Hall.
Box office: http://www.uniontheater.wisc.edu/location.html
At 8 p.m. in Mills Hall.
Concert: Cool It — The Chamber Music of Cecilia McDowall.
For a link to this festival on our website, please see: http://www.music.wisc.edu/cecilia-mcdowall/
For an interview:
By Jacob Stockinger
The 2015 Grammy winners were announced Sunday night in a live three-hour broadcast.
The list of winners and nominees can be a good guide to new listening.
Of course most of the Grammy attention went to pop, rock, rap, country and the big selling music genres.
But here are the winners for classical music, along with the nominees and competition.
One thing to note: Producer of the Year again went to freelancer Judith Sherman (below).
Sherman will be in Madison again inn May to record the last two centennial commissions for the University of Wisconsin-Madison‘s Pro Arte Quartet. (Below, she is seen recording the first four commissions with the Pro Arte in Mills Hall.) The new recording includes the terrific Clarinet Quintet based on Allen Ginsberg’s landmark Beat poem “Howl” by American composer Pierre Jalbert and Belgian composer Benoît Mernier’s String Quartet No. 3.
WINNER: Vaughan Williams (below): Dona Nobis Pacem; Symphony No. 4; The Lark Ascending. Michael Bishop, engineer; Michael Bishop, mastering engineer (Robert Spano, Norman Mackenzie, Atlanta Symphony Orchestra & Chorus). Label: ASO Media
Adams, John: City Noir. Richard King, engineer; Wolfgang Schiefermair, mastering engineer (David Robertson & St. Louis Symphony); Label: Nonesuch
Dutilleux: Symphony No. 1; Tout Un Monde Lointain; The Shadows Of Time. Dmitriy Lipay, engineer; Dmitriy Lipay, mastering engineer (Ludovic Morlot & Seattle Symphony). Label: Seattle Symphony Media
Riccardo Muti Conducts Mason Bates & Anna Clyne. David Frost & Christopher Willis, engineers; Tim Martyn, mastering engineer (Riccardo Muti & Chicago Symphony Orchestra). Label: CSO Resound
PRODUCER OF THE YEAR, CLASSICAL
WINNER: Judith Sherman (below)
BEST ORCHESTRAL PERFORMANCE
WINNER: Adams, John (below): City Noir. David Robertson, conductor (St. Louis Symphony). Label: Nonesuch
Dutilleux: Symphony No. 1; Tout Un Monde Lointain; The Shadows Of Time. Ludovic Morlot, conductor (Seattle Symphony). Label: Seattle Symphony Media
Dvořák: Symphony No. 8; Janáček: Symphonic Suite From Jenůfa. Manfred Honeck, conductor (Pittsburgh Symphony Orchestra). Label: Reference Recordings
Schumann: Symphonien 1-4. Simon Rattle, conductor (Berliner Philharmoniker). Label: Berliner Philharmoniker Recordings.
Sibelius: Symphonies Nos. 6 & 7; Tapiola. Robert Spano, conductor (Atlanta Symphony Orchestra). Label: ASO Media
BEST OPERA RECORDING
WINNER: Charpentier (below): La Descente D’Orphée Aux Enfers. Paul O’Dette & Stephen Stubbs, conductors; Aaron Sheehan; Renate Wolter-Seevers, producer (Boston Early Music Festival Chamber Ensemble; Boston Early Music Festival Vocal Ensemble). Label: CPO
Milhaud: L’Orestie D’Eschyle. Kenneth Kiesler, conductor; Dan Kempson, Jennifer Lane, Tamara Mumford, Sidney Outlaw, Lori Phillips & Brenda Rae; Tim Handley, producer (University Of Michigan Percussion Ensemble & University Of Michigan Symphony Orchestra; University Of Michigan Chamber Choir, University Of Michigan Orpheus Singers, University Of Michigan University Choir & UMS Choral Union). Label: Naxos
Rameau: Hippolyte Et Aricie. William Christie, conductor; Sarah Connolly, Stéphane Degout, Christiane Karg, Ed Lyon & Katherine Watson; Sébastien Chonion, producer (Orchestra Of The Age Of Enlightenment; The Glyndebourne Chorus). Label: Opus Arte
Schönberg: Moses Und Aron. Sylvain Cambreling, conductor; Andreas Conrad & Franz Grundheber; Reinhard Oechsler, producer (SWR Sinfonieorchester Baden-Baden Und Freiburg; EuropaChorAkademie). Label: Hänssler Classic
Strauss: Elektra. Christian Thielemann, conductor; Evelyn Herlitzius, Waltraud Meier, René Pape & Anne Schwanewilms; Arend Prohmann, producer (Staatskapelle Dresden; Sächsischer Staatsopernchor Dresden). Label: Deutsche Grammophon
BEST CHORAL PERFORMANCE
WINNER: The Sacred Spirit Of Russia. Craig Hella Johnson, conductor (Conspirare). Label: Harmonia Mundi
Bach: Matthäus-Passion. René Jacobs, conductor (Werner Güra & Johannes Weisser; Akademie Für Alte Musik Berlin; Rias Kammerchor & Staats-Und Domchor Berlin). Label: Harmonia Mundi
Dyrud: Out Of Darkness. Vivianne Sydnes, conductor (Erlend Aagaard Nilsen & Geir Morten Øien; Sarah Head & Lars Sitter; Nidaros Cathedral Choir). Label: 2L (Lindberg Lyd).
Holst: First Choral Symphony; The Mystic Trumpeter. Andrew Davis, conductor; Stephen Jackson, chorus master (Susan Gritton; BBC Symphony Orchestra; BBC Symphony Chorus). Label: Chandos Records
Mozart: Requiem. John Butt, conductor (Matthew Brook, Rowan Hellier, Thomas Hobbs & Joanne Lunn; Dunedin Consort). Label: Linn Records
WINNER: In 27 Pieces – The Hilary Hahn Encores (below). Hilary Hahn & Cory Smythe. Label: Deutsche Grammophon
Dreams & Prayers. David Krakauer & A Far Cry. Label: Crier Records
Martinů: Cello Sonatas Nos. 1-3. Steven Isserlis & Olli Mustonen. Label: BIS
Partch: Castor & Pollux. Partch. Track from: Partch: Plectra & Percussion Dances. Label: Bridge Records, Inc.
Sing Thee Nowell. New York Polyphony. Label: BIS
BEST CLASSICAL INSTRUMENTAL SOLO
WINNER: Play. Jason Vieaux. Label: Azica Records
All The Things You Are. Leon Fleisher. Label: Bridge Records, Inc.
The Carnegie Recital. Daniil Trifonov. Label: Deutsche Grammophon
Dutilleux: Tout Un Monde Lointain. Xavier Phillips; Ludovic Morlot, conductor (Seattle Symphony). Track from: Dutilleux: Symphony No. 1; Tout Un Monde Lointain; The Shadows Of Time. Label: Seattle Symphony Media
Toccatas. Jory Vinikour. Label: Sono Luminus
BEST CLASSICAL SOLO VOCAL ALBUM
WINNER: Douce France. Anne Sofie Von Otter; Bengt Forsberg, accompanist (Carl Bagge, Margareta Bengston, Mats Bergström, Per Ekdahl, Bengan Janson, Olle Linder & Antoine Tamestit). Label: Naïve
Porpora: Arias. Philippe Jaroussky; Andrea Marcon, conductor (Cecilia Bartoli; Venice Baroque Orchestra) Label: Erato
Schubert: Die Schöne Müllerin. Florian Boesch; Malcolm Martineau, accompanist. Label: Onyx
Stella Di Napoli. Joyce DiDonato; Riccardo Minasi, conductor (Chœur De L’Opéra National De Lyon; Orchestre De L’Opéra National De Lyon). Label: Erato/Warner Classics
Virtuoso Rossini Arias. Lawrence Brownlee; Constantine Orbelian, conductor (Kaunas City Symphony Orchestra). Label: Delos
BEST CLASSICAL COMPENDIUM
WINNER: Partch (below): Plectra & Percussion Dances. Partch; John Schneider, producer. Label: Bridge Records, Inc.
Britten To America. Jeffrey Skidmore, conductor; Colin Matthews, producer. Label: NMC Recordings
Mieczysław Weinberg. Giedrė Dirvanauskaitė, Daniil Grishin, Gidon Kremer, & Daniil Trifonov & Kremerata Baltica; Manfred Eicher, producer. Label: ECM New Series
Mike Marshall & The Turtle Island Quartet. Mike Marshall & Turtle Island Quartet; Mike Marshall, producer. Label: Adventure Music
The Solent – Fifty Years Of Music By Ralph Vaughan Williams. Paul Daniel, conductor; Andrew Walton, producer. Label: Albion Records
BEST CONTEMPORARY CLASSICAL COMPOSITION
WINNER: Adams, John Luther (below): Become Ocean. John Luther Adams, composer (Ludovic Morlot & Seattle Symphony). Label: Cantaloupe Music
Clyne, Anna: Prince Of Clouds. Anna Clyne, composer (Jaime Laredo, Jennifer Koh, Vinay Parameswaran & Curtis 20/21 Ensemble). Track from: Two X Four. Label: Cedille Records
Crumb, George: Voices From The Heartland. George Crumb, composer (Ann Crumb, Patrick Mason, James Freeman & Orchestra 2001). Track from: Complete Crumb Edition, Vol. 16. Label: Bridge Records, Inc.
Paulus, Stephen: Concerto For Two Trumpets & Band. Stephen Paulus, composer (Eric Berlin, Richard Kelley, James Patrick Miller & UMASS Wind Ensemble). Track from: Fantastique – Premieres For Trumpet & Wind Ensemble. Label: MSR Classics
Sierra, Roberto: Sinfonía No. 4. Roberto Sierra, composer (Giancarlo Guerrero & Nashville Symphony). Track from: Sierra: Sinfonía No. 4; Fandangos; Carnaval. Label: Naxos
By Jacob Stockinger
Our friends at the outstanding local chamber music group “Con Vivo” (Music With Life), which made its Carnegie Hall debut last season, has sent the following word:
The Madison-based chamber music ensemble con vivo! … music with life (below) invites you to our debut performance at the Stoughton Opera House on this Sunday afternoon, Feb. 1, at 3 p.m.
The beautifully restored Stoughton Opera House (below, from the outside and inside) is located at 381 E. Main St. Stoughton. For more information, call (608) 877-4400.
You can get tickets at the door or by visiting www.stoughtonoperahouse.com The prices are $20 for regular admission and $10 for an obstructed view.
It’s sad that the Packers aren’t playing in Super Bowl XLIX — that’s 49 to normal people — but if you intend to watch the big game anyway, come spend your pre-game with us. You will be home in time for the kick-off!
We hope to see you this Sunday.
Here is the complete program:
Sergei Prokofiev: Overture on Hebrew Themes for piano, string quartet and clarinet, Op. 34
Max Bruch: Romance for Viola and Piano, Op. 85
Jay Ungar: “Ashokan Farewell” for violin and piano. (It was famously used in the Ken Burns documentary ‘The Civil War.” You can hear it in a lovely and moving YouTube video that features the composer at the bottom.)
John Williams: Air and Simple Gifts for violin, cello, clarinet and piano
George Gershwin: Preludes for solo piano
Andante con moto e poco rubato
Allegro ben ritmato e deciso
Wolfgang Amadeus Mozart – Quintet for Clarinet and String Quartet, KV 581
Allegro, Andante, Menuetto, Rondo
By Jacob Stockinger
Talk about living a life that sounds like an opera.
Take opera diva Deborah Voigt (below).
Voigt is supremely talented.
And now it turns out that the opera star is also supremely honest. And boy, does she have some great stories to tell — stories that don’t always reflect well on the opera world, let alone herself.
In her new memoir, “Call Me Debbie: True Confessions of a Down-to-Earth Diva,” the opera star talks about her childhood, her career, her gastric by-pass weight-loss surgery in 2004 and other problems including her abuse of alcohol, her dangerous relationships with men she met online and of course her relationships with food and music.
Here is pre-surgery Fat Debbie:
Voigt also comes off as a thoughtful woman who does not shun her own individual responsibility for her problems, but who sees them in a social and even sexist context, such as the double standard in opera for heavy men like the legendary and obese tenor Luciano Pavarotti (below) and heavy women like herself.
The Ear offers you a roundup of reviews and interviews about the new book.
Here is a piece from The Wall Street Journal with a Q&A interview:
Here is the take in the popular People magazine:
And here is a nitty-gritty account in The New York Post:
But let’s not forget the talent and great voice that make all these other things noteworthy. So here is Deborah Voigt’s most popular video on YouTube:
ALERT: This week’s FREE Friday Noon Musicale, held from 12:15 to 1 p.m. in the Landmark Auditorium (below) of the Frank Lloyd Wright-designed the First Unitarian Society of Madison, 900 University Bay Drive, features sopranos Susan Day and Rebekah Demaree with clarinetist Corey Mackey and pianist Sharon Jensen in music by Barbara Harbach, Lori Laitmen, Libby Larsen, Gioachino Rossini and Franz Schubert.
By Jacob Stockinger
The New Year is still young, but already the list of losses has begun.
Here is a link to the list of classical musicians, performers and composers, that we lost in 2014:
The promising American tenor Carlo Scibello, who was born in California but lived in New York City, has died at the age of 50, a few days after his birthday. He died in New York City on Jan. 9 of complications from pancreatitis.
It is enough to make The Ear ask: Is there a curse on promising tenors, the most high-profile male singers?
Then the promising Mexican tenor Rolando Villazon – another candidate to be the “new Pavarotti” saw his meteoric career interrupted when he had surgery for throat problems, especially a congenital cyst on a vocal chord. He seems on the mend now, but it is hard on a career to lose momentum and then try to recapture it. The opera world is a very competitive one.
And now the tenor Carlo Scibelli is dead at the age of 50 – an age that is younger than it sounds given how long it takes for the human voice to mature and for a world-class operatic career to develop. He had a big voice, as you can hear in the YouTube video at the bottom.
Of course, some other tenors, including the promising Stephen Costello (below, in a photo by Dario Acosta) who has performed at the Madison Opera as well as the Metropolitan Opera, seems to be doing fine. He just keeps getting bigger and bigger gigs with more and more visibility and critical acclaim.
Here is a link, with a good sound sample, to the news report about Carlo Scibelli by famed British critic Norman Lebrecht (below), who has the reputation of being cranky and sometimes mean but who is unquestionably well-connected, often gets major scoops and writes a well-known blog called “Slipped Disc”:
By Jacob Stockinger
Last year, classical music lost of a lot of important people -– performers and composers.
For The Ear, three of the most important people were the Italian conductor Claudio Abbado (below top), who was a master of the mainstream operatic and orchestral repertoire; the English conductor Christopher Hogwood (below middle), who also pioneered the performance and recording of early music, Baroque music, Classical era composers and even early Romantic composers — including Johann Sebastian Bach, Antonio Vivaldi, Georg Frideric Handel, Wolfgang Amadeus Mozart, Franz Joseph Haydn, Ludwig van Beethoven and Franz Schubert — on period instruments and with historically informed performance practices; and the Dutch flutist and conductor Frans Bruggen (below bottom), whose career followed a similar trajectory as Hogwood’s.
Those men made us hear music in new, unexpected and exciting ways — the highest achievement that any performer or interpreter can aspire to.
But we also lost highly accomplished and important singers and instrumentalists, including pianists and violinists.
Below is a link to the NPR story.
When you click on each entry you will get photo and full obituaries, readers’ comments and fine sound samples. So don’t be afraid to leave the NPR page and follow the various links.
And be sure to use the Comments section of this blog for any additions and tributes you wish to add, perhaps by naming your favorite composer or work they performed or recorded.
By Jacob Stockinger
What is a good way to start off the New Year musically?
Here is a link to a preview of this year’s celebrations:
But this year sees another way, an intriguing and original way, to mark the new year: A quiz about how great works of classical music begin and whether you can recognize them right away.
So here is The New Year Puzzler from the Deceptive Cadence blog on NPR.
Take it and see how well you do.
The Ear wants to hear.
And below is a popular YouTube video, with 2.5 million hits, of one of my favorite and most inspired and dramatic openings that should be immediately recognizable: