PLEASE HELP THE EAR. IF YOU LIKE A CERTAIN BLOG POST, SPREAD THE WORD. FORWARD A LINK TO IT OR, SHARE IT or TAG IT (not just “Like” it) ON FACEBOOK. Performers can use the extra exposure to draw potential audience members to an event. And you might even attract new readers and subscribers to the blog.
By Jacob Stockinger
The new Apple Music Classical app (logo is below) — before now available exclusively for Apple Music subscribers and the Apple OS operating system — is now available for Android operating systems and PCs through the Google Play store.
The streaming app, which costs about $10 a month (you need just a subscription to one of the music apps to get both), has been generally praised and highly rated by both professional critics and ordinary consumers. Most point out the wide variety of repertoire, performers and recordings, both current and historic or out-of-print; the quality of the sound; and the use of background documents about the music, the composers and the performers.
Here are links to two stories about Apple Music Classical for Android.
The first one, from TechCrunch, is the more general and comprehensive article.
The second story, briefer and written more for audiophiles, is from The Verge and contains more specific background information and technical specifications.
PLEASE HELP THE EAR. IF YOU LIKE A CERTAIN BLOG POST, SPREAD THE WORD. FORWARD A LINK TO IT OR, SHARE IT or TAG IT (not just “Like” it) ON FACEBOOK. Performers can use the extra exposure to draw potential audience members to an event. And you might even attract new readers and subscribers to the blog.
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?
PLEASE HELP THE EAR. IF YOU LIKE A CERTAIN BLOG POST, SPREAD THE WORD. FORWARD A LINK TO IT OR, SHARE IT or TAG IT (not just “Like” it) ON FACEBOOK. Performers can use the extra exposure to draw potential audience members to an event. And you might even attract new readers and subscribers to the blog.
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?
PLEASE HELP THE EAR. IF YOU LIKE A CERTAIN BLOG POST, SPREAD THE WORD. FORWARD A LINK TO IT OR, SHARE IT or TAG IT (not just “Like” it) ON FACEBOOK. Performers can use the extra exposure to draw potential audience members to an event. And you might even attract new readers and subscribers to the blog.
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?
PLEASE HELP THE EAR. IF YOU LIKE A CERTAIN BLOG POST, SPREAD THE WORD. FORWARD A LINK TO IT OR, SHARE IT or TAG IT (not just “Like” it) ON FACEBOOK. Performers can use the extra exposure to draw potential audience members to an event. And you might even attract new readers and subscribers to the blog.
By Jacob Stockinger
Will you watch and follow the coronation of King Charles III (the official royal logo is below)? It takes place this Saturday, May 6, 2023. Live coverage will begin airing at 5 a.m. EDT for most media outlets.
Here is some other information you might want to know to get the most out of the rarely held historic event and even to act as your own music and culture critic.
As Prince of Wales, Charles was an avid listener and a talented amateur musician who played the piano, guitar and cello (below in a photo by Getty Images).
Given that background, it is little wonder that the king has lined up many royal commissions for the coronation by composers and performers of new classical music:
And if you want to celebrate the coronation in a more pop music or rock music way — yes to The Beatles and Harry Styles but no to The Rolling Stones and Elton John — here is another playlist on Spotify by “DJ” King Charles (below):
PLEASE HELP THE EAR. IF YOU LIKE A CERTAIN BLOG POST, SPREAD THE WORD. FORWARD A LINK TO IT OR, SHARE IT or TAG IT (not just “Like” it) ON FACEBOOK. Performers can use the extra exposure to draw potential audience members to an event. And you might even attract new readers and subscribers to the blog.
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?
PLEASE HELP THE EAR. IF YOU LIKE A CERTAIN BLOG POST, SPREAD THE WORD. FORWARD A LINK TO IT OR, SHARE IT or TAG IT (not just “Like” it) ON FACEBOOK. Performers can use the extra exposure to draw potential audience members to an event. And you might even attract new readers and subscribers to the blog.
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.”
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:
PLEASE HELP THE EAR. IF YOU LIKE A CERTAIN BLOG POST, SPREAD THE WORD. FORWARD A LINK TO IT OR, SHARE IT or TAG IT (not just “Like” it) ON FACEBOOK. Performers can use the extra exposure to draw potential audience members to an event. And you might even attract new readers and subscribers to the blog.
By Jacob Stockinger
The Ear has heard of many Russian musicians who — like major Russian politicians, military figures and business oligarchs — are being boycotted because they support Russian President Vladimir Putin and the Russian war in Ukraine.
But until I read the following story, I hadn’t heard that the banished group of artists — living under artistic sanctions, if you will — included the Ukrainian pianist Valentina Lisitsa (below), who last played a recital in Madison about 10 years ago at the Wisconsin Union Theater.
It’s a fall from grace that is too bad. For a while, Lisitsa seemed like a feminist role model of a self-made female musician who bucked the system and could inspire other women and would-be internet arts influencers and performers.
You may know her more from attending a live performance or because of the many YouTube videos that established her concert career while she lived in the southeast United States.
But after you read the following story, perhaps you will also agree that she deserves to be boycotted.
PLEASE HELP THE EAR. IF YOU LIKE A CERTAIN BLOG POST, SPREAD THE WORD. FORWARD A LINK TO IT, or SHARE IT or TAG IT (not just “Like” it) ON FACEBOOK. Performers can use the extra exposure to draw potential audience members to an event. And you might even attract new readers and especially new SUBSCRIBERS to the blog.
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
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.
PLEASE HELP THE EAR. IF YOU LIKE A CERTAIN BLOG POST, SPREAD THE WORD. FORWARD A LINK TO IT OR, SHARE IT or TAG IT (not just “Like” it) ON FACEBOOK. Performers can use the extra exposure to draw potential audience members to an event. And you might even attract new readers and subscribers to the blog.
By Jacob Stockinger
Dan Cavanagh (below) from Texas has been named the next director of the UW-Madison School of Music, effective July 1, 2023.
Cavanagh’s appointment concludes a national search led by Associate Dean Susan Zaeske of the College of Letters and Science; music professors Mimmi Fulmer, Christopher Taylor, Scott Teeple, Conor Nelson and Daniel Grabois; and School of Music Assistant Director Wendy Johnson.
The Ear can’t be the only person wondering what a jazz and pop musician — a performer, arranger and composer — means for the school that has always selected its leaders from classical music and music education as the top administrators.
But there is no doubt about Cavanagh’s impressive credentials.
Here is the official press release from the University of Wisconsin-Madison’s Mead Witter School of Music.
“I am thrilled that Dan will bring to the directorship of the Mead Witter School of Music a cutting-edge vision of research and curricular excellence combined with the wherewithal to get things done thanks to his many years of experience as a music and liberal arts administrator,” Dean Zaeske said.
Cavanagh is a composer and pianist who has garnered numerous awards in both areas. As a composer he has written or arranged for Latin Grammy-winning AfroBop Alliance, the legendary Patti LaBelle, and a wide range of classical and jazz performers across North America and Europe. He has released five critically acclaimed jazz CDs as a leader.
His music can be heard on many other recordings both classical and jazz and he continues to be commissioned and programmed around the world. Cavanagh has also performed extensively in North America and internationally. He has been a finalist in the EuropaFest Jazz Contest in Bucharest, and in the Jacksonville Jazz Festival Piano Competition.
“I am very excited to join UW–Madison as the next Pamela O. Hamel/Music Board of Advisors Professor and Director of the Mead Witter School of Music,” Cavanagh said. “The school’s national reputation is bolstered by its amazing faculty, talented students, and accomplished staff.”
Cavanagh is currently the interim Dean of the College of Liberal Arts at the University of Texas at Arlington. Prior to serving as interim Dean, Cavanagh held various academic leadership roles, including program director, music department chair, and associate dean. He has also served in high-profile shared governance roles in the University of Texas System, including as Chair of the Faculty Advisory Council representing over 21,000 faculty members across the 14 institutions in the system.
From 2015-2020, he served as the Co-Chair of Region VI for the Society of Composers and currently serves on the executive board of a2ru (the Alliance for the Arts in Research Universities). Cavanagh serves on the board of directors for Downtown Arlington Management Corporation (Arlington, TX), chairs Downtown Arlington’s Cultural Arts District Partners group and serves as the Vice Chairman of the Board of Trustees for the Dallas Winds, a five-time Grammy nominated professional Wind Symphony.
Cavanagh succeeds Director Susan C. Cook, who will be on sabbatical during the 2023-24 academic year after serving 10 years as director of the School of Music.
“I look forward to engaging with the Board of Advisors, colleagues across the University, and individuals throughout the community to continue growing the impact, reach and excellence the School of Music creates every day, and to advance the ideals of the Wisconsin Idea through the creative work and scholarship we will produce together,” Cavanagh said.
Do you have any questions or comments you want to share?
How do post-pandemic concert attendance and programming in Madison compare to the rest of the U.S.?
6 Comments
PLEASE HELP THE EAR. IF YOU LIKE A CERTAIN BLOG POST, SPREAD THE WORD. FORWARD A LINK TO IT OR, SHARE IT or TAG IT (not just “Like” it) ON FACEBOOK. Performers can use the extra exposure to draw potential audience members to an event. And you might even attract new readers and subscribers to the blog.
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.
Share this:
Like this:
Tags: #BlogPost, #BlogPosting, #COVID-19, #FacebookPost, #FacebookPosting, #TheU.S., #YouTubevideo, Arts, audience, band, Beethoven, blog, box office, celebrate, Cello, Chamber music, choral music, city, Classical music, Cleveland, commentary, comments, compare, comparison, composer, Concert, concerto, core, covid, data, Detroit, Disney, Early music, ease, explore, Facebook, fear, film, group, hopeful, idea, Jacob Stockinger, Johann Sebastian Bach, link, local, Ludwig van Beethoven, Madison, Madison Opera, Madison Symphony Orchestra, major, mariachi, Michigan, Midwest, Missouri, Mozart, Music, nation, New York Times, news, Ohio, opera, optimistic, Orchestra, Overture Center, paint, pandemic, Piano, Picture, Pixar, program, programming, publish, question, rebound, recover, recovery, repertoire, repertory, research, rise, sales, score, sense, share, Sonata, soundtrack, St. Louis, statistics, story, symphony, tag, The Ear, trend, U.S., United States, University of Wisconsin–Madison, Viola, Violin, vocal music, Wisconsin, Wisconsin Chamber Orchestra