The Well-Tempered Ear
Why are Asians dominating Western classical music?
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By Jacob Stockinger
The month of May is Asian-American and Pacific Islander Heritage month in the U.S.
And here is a perfect story to provide questions and raise issues that pertain to that theme as it figures in classical music.
We have not seen many of them booked for concerts locally, but perhaps you have noticed how so many Asian musicians, particularly pianists, have been winning major competitions.
Those competitions include the Van Cliburn (Korean Yunchan Lim, below top), the Chopin (Chinese-Canadian Bruce Liu, below bottom), the Tchaikovsky, the Arthur Rubinstein, the Queen Elizabeth of Belgium, the Leeds Competition, the Geneva Competition and many others that are less famous.
Perhaps you have also noticed how we hear more Asian opera singers at the Met and more Asian string players in orchestras around the world.
More Asians also seem to be studying and performing in lower and higher educational institutions and organizations.
And perhaps you, like The Ear, have wondered what is behind that trend?
Here is a terrific first-person story — with research, details, photos and performance videos – written by a Canadian musician of Japanese descent that appeared on the Canadian Broadcasting Corporation (CBC).
But The Ear thinks it could easily apply to the United States, Australia and other non-Asian places and cultures.
Here is a link:
Do you think this story applies to Asians and Asian-Americans in the U.S.?
If you yourself are an Asian or Asian-American musician or music student, do the observations and analysis in the story ring true to you own experience?
Do you have other thoughts to add about the cultural reasons for the surge of Western classical music in Asia and among Asians elsewhere?
Are there important lessons here for non-Asian people and places?
The Ear wants to hear.
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Meet the Met’s’Mighty Mouse’ — Yannick Nézet-Ségiun
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By Jacob Stockinger
You might think you already know the famous, high-profile musician and conductor Yannick Nézet-Séguin (below).
The Ear certainly did.
But then I saw the profile and comprehensive interview with the 48-year-old on CBS’ “60 Minutes” last Sunday. And I learned many new things, including how enjoyable and humorous the native French-Canadian can be as well as how he plans to breathe new life and bring new audience into the Met.
I learned how extremely busy he is being the music director of three major artistic organizations: the Metropolitan Opera in New York; the Philadelphia Orchestra; and the Metropolitan Orchestra of Montreal. In addition, he is a prolific recording artist.
I also learned much about his personal life (below, on vacation) and his professional career. You meet his parents and his longtime violist husband.
Not for nothing has the renowned mezzo-soprano Joyce DiDonato affectionately dubbed this openly gay man with the nickname of the cartoon character Mighty Mouse (below) because of his small size but muscular physique, his cheerful and expressive face, and his ambitious rescue mission as the third music director of the Metropolitan Opera in New York City.
Here is a link to the wide-ranging and candid interview, both amusingly serious and seriously amusing, which you can read it or watch and listen to it:
What do you think of Yannick Nézet-Séguin and his plans to revitalize the Metropolitan Opera with contemporary works and younger audiences?
What did you think of the “60 Minutes” interview?
The Ear wants to hear.
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Why isn’t music education in Madison better, ranked higher?
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By Jacob Stockinger
The Ear saw where the National Association of Music Merchants (NAMM) Foundation recently announced its annual list honoring cities, school districts and individual schools in the U.S. for outstanding music education.
Here is a brief explanation:
“Now in its 24th year, the 2023 Best Communities for Music Education program recognizes 830 school districts and 78 schools across 43 states for the outstanding efforts by teachers, administrators, parents, students, and community leaders and their support for music education as part of a well-rounded education for all children.”
Here is link to the overview of the award program:
I figured with its active music life, Madison should be, even must bet, on the list.
And I did find Madison.
But it was Madison New Jersey — not Wisconsin.
I found no mention of Madison, Wisconsin.
It disappointed me, since study after study shows the importance of music education in academic achievement.
It also perplexed me.
How could music education not be noteworthy in a city that is home to nationally famous Mead Witter School of Music at the University of Wisconsin-Madison (below is UW’s Hamel Music Center)?
In a city with Edgewood College’s music department?
With the Madison Symphony Orchestra, the Madison Opera and the Wisconsin Chamber Orchestra — all of which have educational outreach programs?
With the Bach Dancing and Dynamite Society, the Willy Street Chamber Players, the Madison Bach Musicians, the Oakwood Chamber Players and so many other chamber music and early music groups?
Where the statewide, nationally recognized Wisconsin School Music Association is located in nearby Waunakee
In the same city where the pioneering Wisconsin Youth Symphony Orchestras (below) has been located for 57 years and is building an impressive new headquarters with teaching facilities and a concert hall on East Washington Avenue?
Take a look for yourself.
Here is a link to the list which can be filtered and narrowed down alphabetically by state, city, school district, school and past history: https://www.nammfoundation.org/articles/bcme-2023-schools
In Wisconsin you will find Dousman, Richland Center and Salem listed. But not Milwaukee or Green Bay or LaCrosse or Eau Claire or Appleton.
And no Madison.
What explains it?
What do school boards and administrators have to say about it?
What role do budget cuts, curriculum and staffing priorities play?
Is the list somehow biased?
Does not being named to list jibe with the reality of music education in public schools in Madison and nearby communities?
Why isn’t music education in Madison better and more noteworthy?
What do teachers, parents and students themselves have to say about the problem — and the solution?
The Ear wants to hear.
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Real-time online playlists return to Wisconsin Public Radio
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By Jacob Stockinger
Good news!
Really good news!
Wisconsin Public Radio (WPR) has finally returned to posting real-time playlists on both its online website and its mobile app.
Now you can see and identify what has been played and what is being played (below, displayed in yellow) — AS it is being played as well as after it has been played.
The only recent exception was Saturday when there was nothing posted until later in the day when all-day programming was listed at the same time. No reason has been given for the suspension or tardiness.
The playlists are especially good given the many unknown composers and compositions that are increasingly being aired.
The Ear also finds the playlists helpful to see what is playing and who is performing — along with the record label and catalogue number when you click “More” — when he hears part of a piece and is interested but didn’t hear the introductory information or can’t complete listening to it.
Please leave kudos and congratulate WPR for serving its listeners and supporters.
Try it and see.
Will you find the online real-time playlists helpful and use them?
The Ear wants to hear.
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Online playlists return to Wisconsin Public Radio
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By Jacob Stockinger
Good news!
News that deserve a big shout-out!
Online playlists for classical music programming have returned to Wisconsin Public Radio (WPR).
The user-friendly move comes after more than a year of absent playlists and, fortuitously, as WPR is conducting a spring membership drive seeking financial support from the public.
There is one major drawback: You still can’t check on pieces and performances in real time — that is, on the same day or even the same moment as you are listening. Now you have to wait until the next day to see the posting.
That is an unfortunate change from the past. And one hopes it will be fixed soon. Maybe WPR will even let listeners know if and when real-time postings will return.
The current one-day delay seems especially odd, given that the pieces played overnight on WPR — from Minnesota Public Radio, I believe — are posted right as they begin to air.
But at least now we don’t have to wait weeks or months to find out information about something you have probably already forgotten about.
The new format seems less straightforward and less user-friendly than the old one, which put the information right in front of you when you went to the home website and clicked on playlists for News and Music Network.
But now you just go to the date bar and choose the day you are looking for. Once you find the piece, you will notice the name of the show on which it aired such as “Morning Classics” or “The Midday.” You also find the time with the composer, title and performer.
If you also click on “More,” you will see additional details such as the record label and catalogue number. Here a link to try it out:
The return of the playlists is especially useful now that WPR is programming so many neglected composers and so much unfamiliar music — something the current pledge drive seems to be explaining and emphasizing.
So let’s offer hearty congratulations and sincere thanks to WPR and its engineers for the move.
What do you think of the return of WPR playlists?
Have you used the new playlists?
What do you think about their usefulness and online display?
Should WPR playlists be posted in real time?
The Ear wants to hear.
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A changing Earth demands changing music to mark Earth Day
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By Jacob Stockinger
Today — Saturday, April 22 — is Earth Day 2023.
It is the 53rd annual celebration of the environment that was started on this date in 1970 by the former Wisconsin governor and U.S. Senator Gaylord Nelson (below bottom).
As the website “Self-Help Africa” says: “Earth Day is an annual event on April 22 to highlight environmental issues across the planet and demonstrate support for environmental protection.
“First held in the United States on April 22, 1970, it has since become THE BIGGEST SECULAR CELEBRATION OBSERVATION DAY IN THE WORLD, and an opportunity to highlight the issues and environmental challenges affecting our world.”
Here is the official Earth Day website: https://www.earthday.org/
Music has always been part of how the world celebrates the event.
But lately the trend in music seems to parallel the trends in the global warming crisis and species extinctions.
So, for example, in British composer Debbie Wiseman’s “Carnival of the Endangered Animals” in 2022 is meant to parallel but update the famous “Carnival of the Animals” by Camille Saint-Saëns.
Other titles of works by contemporary composers that reflect current realities about the natural world are: “The Lost Birds” by American composer Christopher Tin (below top); “Mass for the Endangered” by American composer Sarah Kirkland Snider (below middle); “The Rising Sea” Symphony by British composer Kieran Brunt; and “Glaciers in Extinction” by Italian flutist and composer Roberto Fabbriciani (below bottom).
You can hear these and other contemporary works plus a more familiar and traditional musical celebration of the Earth and nature by Beethoven. Just go this site for Colorado Public Radio:
Do you have a favorite among the new pieces?
Is there other music you think is appropriate to celebrate Earth Day and the natural world as they exist today?
What composers and pieces do you suggest listening to?
The Ear wants to hear.
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ALL Bach Around the Clock 2023 concerts are now online. Here are the links and some stats
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By Jacob Stockinger
The Ear has received the following news from Bach Around the Clock 2023 (BATC). Please note that there is no time limit or expiration date on viewing and listening to the online postings (see the example video of a string quartet arrangement from “The Art of Fugue” at the bottom):
| BATC 2023 Festival video recordings are now available at BachClock.com and on YouTube |
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BATC 2023 recordings have been organized into playlists: Guest Artist Lawrence Quinnett; String Soloists; Keyboard soloists; Ensembles and Studios; Festival Finale; Virtual Performances Recordings for Just Bach’s Concert and Bach on Marimba lecture/performance are also available. |
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Thank you to BATC 2023 performers! True to our mission, Bach Around The Clock welcomed the participation of over 115 performers (below in St. Andrew’s Episcopal Church), including amateurs and professionals of all ages and experience levels, sharing their love of Bach’s music with the community. |
| 85 musicians performed at St. Andrew’s on Saturday, March 11. 30 musicians submitted recordings from their homes and studios. 28 hours of Bach Around The Clock performances are available. |
| Thank you to our audience members (below in Grace Episcopal Church)! In-person and online — BATC 2023 performances have been enjoyed by record-setting numbers of Bach enthusiasts. |
| Thank you to our BATC Donors, acknowledged here. With the generous support of over 40 BATC fans and business sponsors, we achieved our fundraising goal of covering all 2023 festival expenses! New contributions will help us with planning for the future of Bach Around The Clock. |
New contributions will help us with planning for the future of Bach Around The Clock.
You can donate here: https://bachclock.com/donate
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They decoded Beethoven’s DNA. Here’s what they found
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By Jacob Stockinger
After 200 years, the DNA of Ludwig van Beethoven (below, 1770-1827) has been analyzed by a team of researchers.
The DNA was obtained from some of the famous composer’s hair.
The new study analyzed the German composer’s genes to get a better understanding of the health problems — deafness and liver failure among them — that plagued him.
Read about it — via Apple News, just click on continue — in a story from the Canadian-American VICE magazine: https://apple.news/AgGnJPZZcRyuC3nH2ycFL3A
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Bach Around the Clock 2023 is now streaming live and virtual performances
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By Jacob Stockinger
Perhaps you’ll recall the cold weather and heavy snow that greeted the seventh annual celebration of Johann Sebastian Bach’s birthday with — Bach Around the Clock — in Madison a few weeks ago.
The bad winter weather even caused performances to be cancelled during the March 8-12 event.
But the free and public festival was planned to be both live and virtual, and now BATC has started to stream globally both public and private performances with more in the offing. It is a testament to the vision and unending hard work of the late director Marika Fischer Hoyt, who died just weeks before it began, that the festival remains on such a solid footing and seems certain to survive without her.
For complete details about programs and performers, go to the website’s home page: https://bachclock.com/
And here is a previous blog post with more background: https://welltempered.wordpress.com/2023/03/08/remember-marika-with-bach-around-the-clock-2023-the-free-celebration-begins-today-and-runs-through-saturday-in-person-and-online/
The variety is astounding. You will find professionals, amateurs and young students. You will find choral music and instrumental music. You will find well-known pieces and less common repertoire. In short, you should find something to please you and perhaps even something that you or someone you know took part in.
Here is a link to the first batch of recorded and streamed performances:
Watch on YouTube the BATC 2023 virtual performances recorded in the homes and studios of Jim Burkholder; Tim Farley; Jeffery Rowley; Linda Clifford; Kieran Foltz; students of Shannon Farley; Marjasana Kay with Mark Bramptom Smith and Carol Carlson; Glenwood Moravian Trombone Choir; and The Neighborly Consort.
Also available now are: Just Bach’s Wednesday, March 8, concert of a motet; and Sean Kleve’s Thursday, March 9, marimba lecture/performance.
Recordings of performances from the all-day Saturday concert at St. Andrew’s Episcopal Church will be posted soon.
Stay tuned! And spread the word!
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The Well-Tempered Ear 
How do post-pandemic concert attendance and programming in Madison compare to the rest of the U.S.?
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By Jacob Stockinger
How has concert attendance rebounded from the covid pandemic?
What kind of programming seems to help orchestras recover the most?
Earlier this week The New York Times published a well-researched story that explored those trends and questions in other major cities, including Cleveland, Detroit and St. Louis in the Midwest.
It includes statistics about attendance figures rising after the pandemic and links the results to certain trends in programming, including scheduling more of the core repertoire that draws people in.
Overall it paints an optimistic and hopeful picture of recovery for symphony orchestras.
It got The Ear to thinking: How are local groups such as the Madison Symphony Orchestra, the Wisconsin Chamber Orchestra and the Madison Opera doing in comparison?
Lessons from other organizations might help to explain why next season’s concerts include an all-film score concert celebrating Pixar and Disney, and a live mariachi band.
Perhaps I missed it, but I can’t recall any local media doing a similar story with hard box office statistics about ticket sales and attendance numbers. But it would certainly be enlightening to see specific data and commentary about how well local groups have rebounded from the pandemic.
Here is a link to The New York Times story. You should be able to read it if you scroll down past the ad that says you need to set up a free account:
Do you have some idea or sense about attendance trends from personal experience?
How do you think orchestras and other groups, including chamber music, have fared as covid fears have eased?
The Ear wants to hear.
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