The Well-Tempered Ear

The Madison Early Music Festival will again be virtual this summer

December 4, 2020
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By Jacob Stockinger

After much discussion, the 2021 Madison Early Music Festival (MEMF) has  decided to create an online Festival again this summer.

Whenever  possible, the University of Wisconsin–Madison recommends that events and meetings continue to be held virtually.  This was a difficult decision, but at this time it doesn’t seem safe for our MEMF community to travel to the UW–Madison campus, stay in the dorm, meet in small classrooms, and teach, sing, dance and play instruments together. 

We are currently planning what we will offer, and announcements will be publicized in February 2021. (In the YouTube at the bottom is a sample of the video that the Orlando Consort created for last summer’s virtual festival.)

For the latest news regarding classes and campus operations at the UW–Madison, please visit the COVID-19 Response website

Although it has been a difficult nine months, performing artists are creating amazing projects and producing them for virtual audiences. This includes many of our MEMF artists and ensembles, and we are looking forward  to sharing their talents with you in the future! 


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The New York Times music critics suggest 10 must-hear online classical concerts during December

November 30, 2020
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By Jacob Stockinger

Tomorrow is Dec. 1, 2020.

Lately, at the end of every month the music critics for The New York Times publish a list of 10 virtual and online classical concerts for the following month that they think deserve special attention.

Often – but not always — their choices feature the unusual: new music and world premieres; neglected repertoire; and lesser-known performers that most of us are not likely to hear locally.

The December choices, for example, include an oratorio “Perle Noire” (Black Pearl), by composer Tyshawn Sorey, about the famous African-American, Paris-based expat dancer Josephine Baker – she of the banana skirt (below). But she was more than just  a risqué dancer and entertainer. She fought in the French Resistance movement against the Nazis and was a civil rights champion.

But this list also includes seasonal fare such the holiday tradition by which the Chamber Music Society of Lincoln Center performs in one night all six Brandenburg Concertos by Johann Sebastian Bach (you can hear an excerpt in the YouTube video at the bottom); and other holiday celebrations such as a concert by the early music vocal group Tenet (below, in a photo by Nan Melville.)

But those suggestions do not take away from more local efforts and performances. 

The Ear is certain that those same critics would approve of supporting local musicians and music groups during the coronavirus pandemic. 

And there are many local offerings. The Madison Symphony Orchestra, the Wisconsin Union Theater, the University of Wisconsin-Madison’s Mead Witter School of Music, the Madison Bach Musicians and Just Bach all have virtual online concerts scheduled for December.

You can check out their offerings at their websites and here on this blog as the month unfolds.

But if the Times’ choices interest you – and they should — here is a link: https://www.nytimes.com/2020/11/25/arts/music/classical-music-stream-december.html

Note that the blurbs show Eastern Time but also include how long the performances are posted for and links to the organizations presenting the concerts. 

Happy listening!

And Happy Holidays!

Do you have other online performances – local, regional, national or international — to suggest?

Please leave the necessary information in the Comment section.

The Ear wants to hear.

 


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November’s “Just Bach” FREE online concert is this Wednesday morning at 8 instead of noon. It features two favorites: “Air on the G String” and the Concerto for Two Violins

November 17, 2020
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This Wednesday, Just Bach again shares the timeless beauty of the music by Johann Sebastian Bach (below) from their home in the nave of Luther Memorial Church (LCM), 1021 University Avenue.

The group participates in LMC’s weekly ‘Music at Midday’ concert series at https://www.luthermem.org/music-at-midday. (Please note: Now that the concerts are online instead of in person, the videos will be posted early Wednesday mornings at 8 a.m., instead of at noon. They will remain online indefinitely so viewers can see them at their convenience.).

As part of this series, Just Bach concerts take place on the third Wednesday of each month. Remaining concerts are: Nov. 18, Dec. 16, Jan. 20, Feb. 17, March 17, April 21 and May 19. The programs last approximately 30 minutes. 

It is still too risky to have in-person audiences. So in addition to the Luther Memorial website, they will be posted on:

The Just Bach home website at: https://justbach.org/concerts/

The Just Bach Facebook page at: https://www.facebook.com/JustBachSeries

And the Just Bach YouTube Channel, where previous concerts are still posted, at: https://www.youtube.com/channel/UCcyVFEVsJwklHAx9riqSkXQ

Viewing the concerts is FREE, but the group asks those who are able, to help pay the musicians with tax-deductible donations at: https://www.paypal.com/donate/?cmd=_s-xclick&hosted_button_id=7A4R7CA8VDRMG&source=url

PLEASE NOTE: New this month will be a half-hour live ZOOM post-concert reception on this Wednesday night at 7:30 p.m. CST. Those who would like to join us and chat with the performers can follow this link: https://us02web.zoom.us/j/87144868956?pwd=aHUrR3BNZFF5Y1hlVG1EWkNvMklkQT09

The November concert opens with Just Bach co-founder, UW graduate student and nationally concertizing soprano Sarah Brailey (below), who will provide welcoming remarks and an overview of the program.

Our guest artists this month (below, in a photo by Barry Lewis) are a quartet of string players from the Madison Symphony Orchestra: violinists Leanne League and Xavier Pleindoux; violist Marika Fischer Hoyt; and cellist Lindsey Crabb. Also performing is harpsichordist John Chappell Stowe, a professor in the UW-Madison Mead Witter School of Music. Dave Parminter is the videographer.

League and Pleindoux (below, in a photo by Barry Lewis) will play the solo parts in the familiar and beautiful Concerto in D Minor for Two Violins (the ‘Bach Double’), BWV 1043.

Madison Symphony Orchestra audiences will remember their gorgeous performance of this piece at a Christmas Spectacular concert a couple of years back. (You can hear the beautiful and poignant slow movement in the YouTube video at the bottom.)

The ensemble will continue with a movement from the Orchestral Suite No. 3 in D major, BWV 1068, the serenely transcendent “Air on a G String.”

Sarah Brailey returns to lead the final chorale from Cantata 139, composed for the 23rd Sunday after Trinity, which happens to be this coming Sunday. The stirring title, Dahero Trotz der Höllen Heer! translates as “Therefore Defiance to the Host of Hell.”

We encourage viewers to sing along by following the chorale sheet music, which will be displayed on the screen, as Stowe accompanies on the organ. 

 


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The Willy Street Chamber Players give a free virtual concert this Sunday at noon. It will be posted until Dec. 31

November 14, 2020
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By Jacob Stockinger

The Ear has received the following announcement from The Willy Street Chamber Players (below), a relatively new group that is critically acclaimed for both its adventurous and eclectic, exploratory programming and for its outstanding performances of both the traditional repertoire and new music.

The Willy Street Chamber Players (WSCP) will play a virtual online concert this Sunday, Nov. 15, at noon CST.

Access to the “Beyond the Screen” concert is FREE and no registration is required. It will be available for free online until Dec. 31 on the group’s website. Here is a link to YouTube: https://youtu.be/j5Ved4FqYSQ

Listeners can visit the WSCP website or Facebook page Sunday at concert time for links to the 70-minute performance. Here is a link to the home website: http://www.willystreetchamberplayers.org

The dynamic WSCP program was recorded live, with masks and social distance, at the historic Gates of Heaven Synagogue (below, exterior and interior during the taping) in James Madison Park in downtown Madison.

The concert will premiere on Facebook live and YouTube, providing two ways to watch from the comfort and safety of your own home.

Members of WSCP will be on hand to interact with viewers in real time through the Facebook and YouTube virtual chat during the performance. They will provide spoken program notes.

Then, immediately following the concert, you can join WSCP members for a Q&A “reception” on ZOOM at 1:15 pm.

An RSVP required for Q&A

The concert program is:

Sonata for Violin and Cello (1922) by French composer Maurice Ravel (below)

“Allegro,” the first of Four Pieces for Solo Cello (1983) by Cuban-born composer Tania León (below), which you can hear in the YouTube video at the bottom.

https://en.wikipedia.org/wiki/Tania_León

Canción de Cuna Del Niño Negro (Cradle Song of the Black Baby, 1937) by Cuban composer Amadeo Roldán y Gardes (below), as arranged by Rachel Barton Pine.

https://en.wikipedia.org/wiki/Amadeo_Roldán

Heart O’ the Hills” from Appalachian Duets, Op. 38, No. 8 (2001) by American composer Maria Newman (below), who is the youngest daughter of famous Hollywood film composer Alfred Newman.

https://en.wikipedia.org/wiki/Maria_Newman

Duo for Violin and Cello, Op. 7 (1914), by Hungarian composer Zoltan Kodaly

 


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Will using first names with Beethoven and Mozart help fight racism and sexism in the concert hall?

October 28, 2020
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By Jacob Stockinger

Why do concert programs read simply Beethoven for Beethoven (below top), but Florence Price for Florence Price (below bottom)?

According to a recent controversial essay by Chris White (below), a professor of music theory at the University of Massachusetts-Amherst, it reflects and reinforces sexism and racism.

White is calling for universal “fullnaming” to put women composers and composers of color on an equal footing with the traditional canon of dead white male composers. All people may be equal, but all composers and their music are not.

You can certainly make a case for his interesting argument against using “mononyns,” as he calls them. But it still seems less than convincing to many, including The Ear. It many ways it seems downright silly and arbitrary. Isn’t it obvious that not all composers are equal in quality of their work?

It is the latest dustup in the classical music world, coming right on the heels of, and logically linked to, the idea that Beethoven is responsible for sexism and racism in the concert hall and the so-called “cancel culture” that is allied with the social and political protest movements of the past year, including Black Lives Matter.

That was treated here in a previous post: https://welltempered.wordpress.com/2020/09/19/did-beethoven-and-his-music-especially-the-iconic-fifth-symphony-foster-racism-exclusion-and-elitism-in-the-concert-hall-the-ear-thinks-that-is-pc-nonsense-what-do-you-think/

Here is a link to the complete article by White about the inclusion and absence of first names as it appeared on Slate: https://slate.com/culture/2020/10/fullname-famous-composers-racism-sexism.html

Funny, The Ear thinks of using only last names as little more than a function of: quality, importance and time; of fame and familiarity; and sometimes of promoting clarity and preventing confusion — not of race or gender.

It is why we say Bach (below) when we mean Johann Sebastian, and why we say Wilhelm Friedemann or Carl Philipp Emmanuel or Johann Christian when we mean one of his sons.

It is why we say Richard Strauss to distinguish him from Johann Strauss.

But it also why Haydn means Franz Joseph (below), not his less important brother Michael Haydn.

And why the American composer Henry Cowell is listed with his full name and not just Cowell.

Perhaps one day – if we hear enough of the music by the recently rediscovered Black female composer Florence Price often enough and like it enough – she will be known simply as Price. After all, the Japanese composer Toru Takemitsu is not usually listed as simply Takemitsu. 

Actually, the Ear prefers using full names for all composers — famous or not, male or female, white or black — especially when it is for the general public. But it seems more a matter of politeness, respect and education than of sociopolitical change and social justice.

That is not to say that those of us in classical music don’t see a need to correct the racism and sexism of the past, to foster diversity and inclusiveness. White has a point. Still, the whole idea of using both names in all cases seems more than a bit naïve, superficial and simplistic as a solution to racism and sexism.

It sounds a lot like the kind of theoretical speculation and contrarian thinking you might expect from an assistant professor trying to get noticed and make his mark on big contemporary issues so that he can get tenure and become an associate professor. A high public profile certainly helps that.

But whatever you think of White’s motives or purpose, his essay is causing a “meltdown” on Twitter: https://mybroadband.co.za/forum/threads/‘fullnaming’-mozart-and-beethoven-to-fight-sexism-and-racism-twitter-squabbles-over-slate-article.1108776/

Should you want to know more about Professor White or to leave a message of either support or disagreement, here is a link to his home website: http://www.chriswmwhite.com

What do you think about the idea of using first names for all composers as a way to combat racism and sexism in classical music?

The Ear wants to hear.


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The Pro Arte Quartet plays the fourth installment of its FREE Beethoven string quartet cycle online TONIGHT at 7:30 CDT

October 23, 2020
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By Jacob Stockinger

The historic Pro Arte Quartet, in residence at the University of Wisconsin-Madison’s Mead Witter School of Music, will perform the fourth installment of its FREE Beethoven string quartet cycle TONIGHT — Friday, Oct. 23 — at 7:30 p.m. CDT. (It should be posted for about a day, but will not be archived due to copyright considerations.)

Because of the coronavirus pandemic, the live concert will take place online and will be live-streamed without an audience from the Mead Witter Foundation Concert Hall in the new Hamel Music Center.

You can stream it live from https://youtu.be/IhmNRNiI3RM

The whole series of concerts are part of the Pro Arte Quartet’s yearlong retrospective to celebrate the Beethoven Year. This December marks the 250th anniversary of the birth of the composer (below).

Members of the Pro Arte Quartet (below, in a photo by Rick Langer) are: David Perry and Suzanne Beia, violins; Sally Chisholm, viola; and Parry Karp, cello.

A pre-concert lecture by UW-Madison musicology Professor Charles Dill (below, in a photo by Katrin Talbot) starts at 7:30 p.m. CDT.

The program consists of one early and one late quartet: the string Quartet in C Minor, Op. 18 No. 4 (1798-1800), and you can hear the first movement played by the Dover Quartet in the YouTube video at the bottom; and the String Quartet in E-Flat Major, Op. 127 (1825).

The Pro Arte Quartet is one of the world’s most distinguished string quartets. Founded by conservatory students in Brussels in 1912, it became one of the most celebrated ensembles in Europe in the first half of the 20th century and was named Court Quartet to the Queen of Belgium.

Its world reputation blossomed in 1919 when the quartet (below, in 1928) began the first of many tours that enticed notable composers such as Bartok, Barber, Milhaud, Honegger, Martin and Casella to write new works for the ensemble.

The Pro Arte Quartet performs throughout the United States, Europe, and Asia and continues to champion both standard repertoire and new music.

Since being stranded in the U.S. when Belgium was invaded by Hitler and the Nazis in World War II, the group is an ensemble-in-residence at the Mead Witter School of Music and resident quartet of the Chazen Museum of Art.

The quartet, the longest active string quartet in the history of music, has performed at the White House and, during the centennial celebration, played for the King’s Counselor in Belgium.

Recent projects include the complete quartets of Bartok and Shostakovich and, in collaboration with the Orion and Emerson String Quartets, the complete quartets of Beethoven.

Regular chamber music collaborators that perform with Pro Arte include Samuel Rhodes and Nobuko Imai, viola; Bonnie Hampton, cello; and the late Leon Fleischer and Christopher Taylor, piano. 

Together since 1995, the quartet has recorded works of Mendelssohn, Dvorak, Rhodes, Shapey, Sessions, Fennelly, Diesendruck, Lehrdahl and the centennial commissions.

For more information and background, go to: https://www.music.wisc.edu/event/pro-arte-quartet-beethoven-string-quartet-cycle-program-iv/

For more about the challenges and modifications – including wearing masks and social distancing — of doing the Beethoven cycle for the virtual online performances and about the other dates and programs in the cycle, go to: https://welltempered.wordpress.com/2020/09/29/classical-music-uw-madisons-pro-arte-quartet-to-resume-its-free-beethoven-cycle-virtual-and-online-this-friday-night-with-two-other-programs-this-semester/

 


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October’s FREE virtual and online Just Bach concert is this Wednesday at noon. It lasts 30 minutes. Here are details

October 19, 2020
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By Jacob Stockinger

The Ear has received the following announcement about the month’s Just Bach virtual concert from co-founder and violist Marika Fischer Hoyt.

The online concert takes place at noon CDT this Wednesday, Oct. 21.

Please join us as Just Bach shares the timeless beauty of music by Johann Sebastian Bach (below) from our home in the nave of Luther Memorial Church (LCM), 1021 University Ave.

We are thrilled to participate in LMC’s weekly “Music at Midday” concert series.

As part of this virtual online series, Just Bach concerts (below) take place at NOON on the third Wednesday of each month: Sept. 16; Oct. 21; Nov. 18; Dec. 16; Jan. 20; Feb. 17; March 17; April 21; and May 19.

The online programs last approximately 30 minutes instead of 60 minutes.

Because of the coronavirus pandemic, it is still too risky to have in-person audiences, so Music at Midday concerts are posted on the Luther Memorial website: https://www.luthermem.org/music-at-midday/

In addition, Just Bach concerts are posted on the Just Bach website, the Just Bach Facebook page, and the Just Bach YouTube Channel, where you can still hear the season’s opening concert in September. Links are below.

Viewing the concerts is FREE, but we ask those who are able to help us pay our musicians with a tax-deductible donation at https://www.paypal.com/donate/?cmd=_s-xclick&hosted_button_id=7A4R7CA8VDRMG&source=url

Just Bach co-founder and graduate student soprano at the UW-Madison Sarah Brailey (below) will provide the opening welcome remarks at this Wednesday’s program.

Our guest artists this month, the Madison-based baroque ensemble Sonata à Quattro (SAQ, below top in a photo by Barry Lewis) will perform the instrumental Sinfonia from Cantata 146, featuring organist Mark Brampton Smith (below bottom). You might recognize this as the first movement of the well-known Harpsichord Concerto in D Minor, BWV 1052.

Members of SAQ, who normally use period instruments and historically informed performance practices, will play modern instruments this time because of the organ pitch. SAQ members will continue the program with movements from the solo Cello Suite in G Major and the solo Violin Sonata in G Minor.

Sarah Brailey returns to lead the final chorale from Cantata 146, which uses the familiar tune from “Jesu, Joy of Man’s Desiring.” (You can hear “Jesu, Joy” in the YouTube video at the bottom.) 

We encourage viewers to sing along by following the chorale sheet music, which will be displayed on the computer screen, as Mark Brampton Smith accompanies on the organ. 

We need this soul-centering music now more than ever. So we invite the music community to join us at noon this Wednesday, Oct. 21, for a wonderful program of music by J.S. Bach. 

OCT. 21 PROGRAM:

• Cantata 146: Opening Sinfonia

• Solo Cello Suite in G Major, BWV 1007: Menuets I and II, Courante

• Solo Violin Sonata in G Minor, BWV 1001: Adagio, Presto

• Cantata 146: Final chorale: Freu dich sehr, o meine Seele (Rejoice greatly, oh my soul)

Guest Ensemble: Sonata à Quattro, whose members are: Christine Hauptly Annin, violin; Nathan Giglierano, violin; Leanne League, violin; Marika Fischer Hoyt, viola; Charlie Rasmussen, cello; and Mark Brampton Smith, organ.

Sarah Brailey provides the welcome and leads the chorale.

Dave Parminter is the videographer.

Just Bach is also trying something new: a Zoom meeting at 12:30 p.m. to serve as a virtual Meet and Greet with performers and some of the artistic team, to answer questions and chat with interested viewers. Here is the link: 

Here, in order, are links to: the Just Bach webpage; the Just Bach Facebook page; and the Just Bach YouTube channel:

https://justbach.org

facebook.org/JustBachSeries

youtube.com/channel/UCcyVFEVsJwklHAx9riqSkXQ

 


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Salon Piano Series offers a free video of pianist Maxim Lando playing quiet Beethoven to ease the burden of the pandemic

October 15, 2020
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By Jacob Stockinger

The Ear has received the following note from the Salon Piano Series to post:

During these uncertain times, we appreciate remembering time spent together enjoying music.

Please take a break from your day to see and hear the young, prize-winning pianist Maxim Lando (below) perform the theme-and-variations third movement of Beethoven’s Sonata No. 30 in E Major, Op. 109, “Andante molto cantabile ed espressivo” (Slowly, very singing and expressive).

The 15-minute video – posted and viewable now- — was recorded live at Farley’s House of Pianos, as part of the Salon Piano Series, on Nov. 17, 2019.

Over the years, you have supported Salon Piano Series with your attendance, individual sponsorships and donations. We look forward to bringing you world-class musical performances in our unique salon setting again soon.

For updates and more information, go to: https://salonpianoseries.org

Here is the Lando video: 

Editor’s note: Here is a Wikipedia entry with more impressive information about Maxim Lando’s biography and many concert performances around the world including China and Russia as well as the U.S.: https://maximlando.com

If you want to hear the entire Beethoven Sonata, you can hear a performance by Richard Goode in the YouTube video below.


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The third LunART Festival celebrates Black women in the arts with FREE streaming concerts and events this Saturday night, Oct. 10, and next Saturday night, Oct. 17

October 9, 2020
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By Jacob Stockinger

The Ear has received the following announcement to post:

The LunART Festival is back for its third season, continuing its mission to support, inspire, promote and celebrate women in the arts, with a special presentation, “Human Family,” available via two FREE video livestreams on LunART’s website and Facebook page on Saturday, Oct. 10, and Saturday, Oct. 17, at 7 p.m. CDT. 

The events will be co-hosted by LunART founder and flutist Iva Ugrcic (below top), and by vocalist and art administrator Deja Mason (below bottom).

In response to the most recent and ongoing racial inequality and in solidarity with the Black Lives Matter movement, LunART will present the “Human Family” virtual festival featuring art created by Black women.

These FREE streamed events will feature a palette of emerging and established artists drawn from Madison’s rich arts scene, while also celebrating those who have paved the way for generations to come.

Radical inclusivity has been part of LunART’s mission from its conception. While women have historically been underrepresented in the arts, we cannot deny that there are segments of women that have been doubly marginalized, including women of color, women in the LGBTQIA+ community, older women and women with disabilities. 

Part of creating a more just, inclusive world means recognizing that even within the space of underrepresentation, there remain disparities.

Works from the past include Florence Price’s “Five Folksongs of Counterpoint” for string quartet (heard in the YouTube video at the bottom), which is deeply rooted in the African-American spiritual tradition; Margaret Bonds’ Spiritual Suite for solo piano, written in a neo-Romantic classical style infused by jazz harmonies and rhythms; Afro-American Suite for flute, cello and piano by Undine Smith Moore, based on authentic spiritual songs used to express and record everyday life of slaves in America. 

Florence Price (below), Margaret Bonds and Undine Smith Moore all fought against both racial and gender discrimination throughout their lives. To be a woman composing classical music in the mid-20th century was unusual; to be a Black woman composer was even more so. And yet, these women forged ahead, making history and paving the way for the women who would follow them.

Along with these pioneers of the past, LunART will also celebrate contemporary Black women who are making a big impact in the world of arts, culture, advocacy and activism, following the footsteps of their predecessors. 

“Voodoo Dolls” for string quartet by Jessie Montgomery (below in a photo by Jiyang Chen) is influenced by West African drumming patterns that are interwoven with lyrical motifs in the improvisatory style. 

“Fanmi Imen,” a work for flute and piano by Valerie Coleman (below) — LunART’s 2019 Composer-in-Residence) — is based on a powerful poem by Maya Angelou, “Human Family.” Angelou calls for peace and unity, while acknowledging differences due to ethnic and cultural background in her famous refrain: “we are more alike, my friends, than we are unalike.”

The chamber music will be performed by Madison’s finest musicians: Isabella Lippi, Karl Lavine, Peter Miliczky, Magdalena Sas, Marie Pauls, Satoko Hayami, Yana Avedyan and Iva Ugrcic.

Celebrating women’s creativity across many art forms has been a core component of LunART’s artistic mission from its inception, and this year is no exception. While music will create a sound painting, “Human Family” will also feature women who use words and movement to tell their story.

Enter a world of phenomenal talent with emerging singer-songwriters Danielle Crim and Akornefa Akyea performing their most recent original songs; magically moving poems and spoken-word pieces by Jamie Dawson and Shasparay Lighteard; and join dancer and choreographer Kimi Evelyn in self-exploration of what happens when the body and the soul are left in complete solitude through her powerful piece “Body, Sweet Home.”

To commemorate the Festival events, LunART has commissioned digital artwork (below) by local artist and activist Amira Caire, which is inspired by the “Human Family” concept. This stunning piece of art will be available for purchase in printed form on LunART’s website. 

We are calling our community to eat local, drink local and support local. By supporting LunART, you are also supporting local nonprofits and small businesses. 

This project would not be possible without the generosity of Madison’s creative media agency Microtone Media, The Piano Gal Shop from Sun Prairie, Dane Arts and a grant from the Madison Arts Commission at  https://www.cityofmadison.com/dpced/planning/madison-arts-commission/1580/, with the additional funds from the Wisconsin Arts Board.

Events are free and available for anyone to watch online, and donations are welcomed. For more details about the artists, events, programs and links, and donation methods, please visit https://www.lunartfestival.org


Posted in Classical music
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