The Well-Tempered Ear

The Madison Bach Musicians will open its new season with a virtual online concert of Haydn and Mozart this Saturday night and Sunday afternoon

October 1, 2020
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By Jacob Stockinger

The Ear has received the following announcement, about a promising contrast-and-compare concert, from the Madison Bach Musicians:

The Madison Bach Musicians (MBM) will start its 17th season this Saturday night and Sunday afternoon, Oct. 3 and 4, with a virtual chamber music concert and livestream event featuring the irrepressibly joyous, witty and poised music of Classical-era masters Joseph Haydn (1732-1809) and Wolfgang Amadeus Mozart (1756-1791).

The performances features period instruments and historically informed performance practices.

See details near the bottom about the schedules and how to buy tickets.

Performers are violinist Kangwon Kim and cellist James Waldo (on gut-strung period instruments), fortepianist Trevor Stephenson, and soprano soloist Morgan Balfour — winner of the 2019 Handel Aria Competition. (Below top is Kangwon Kim; below middle is James Waldo; and below bottom is Morgan Balfour.)

The broadcast will begin with a 30-minute pre-concert lecture by MBM artistic director Trevor Stephenson (below, in a photo by Kent Sweitzer) illuminating the program’s repertoire, the lives of Haydn and Mozart, and the aesthetic aims of the period instruments.

While most of the pieces on the program are buoyant and full of celebration, the concert will begin with a pensive and melancholy work commensurate with our current pandemic times.

Mozart composed the Sonata in E minor for violin and fortepiano in 1778 at the age of 22 while on tour in Paris. His mother, who was with him on the tour, became suddenly ill and died unexpectedly. This sonata is the only piece of instrumental music Mozart ever composed in the key of E minor, and its blend of gravitas, sparseness and tenderness is heartbreakingly poignant.

Mozart’s Piano Trio in G major, composed in 1788, shows him at his sunniest and most affable, with one brilliant and catchy tune after another suspended effortlessly — at least in Mozart’s hands! ― within the balance of Classical form.

The program’s first half ends with five of Mozart’s songs. Mozart truly loved the soprano voice, and he lavished some of his greatest writing upon it. The set includes perhaps his best-known song, Das Veilchen (The Violet)―which is also, oddly enough, Mozart’s only setting of a text by the German poet Goethe.

The second half of the concert is devoted to the music of Mozart’s near contemporary, Joseph Haydn, who was just 24 years older than Mozart.

Though the two composers came from very different musical and socioeconomic backgrounds.

Haydn (below) was lower working class, rural, and musical but not professionally trained.

Mozart (below) was urban, solid middle class, musically trained, sophisticated, and ambitious.

Both managed to carve out successful careers in the fertile musical culture of Vienna and its environs. They certainly knew each other and even made music together on occasion, playing in string quartets — with Haydn on violin and Mozart on viola.

Haydn composed two sets of English Canzonettas (songs) during his visits to England during the early 1790s.

The Mermaid, with its flirtatious beckoning, stretches the confines of the parlor setting (where this music was most likely performed) and suggests a cabaret environment. Fidelity, on the other hand, stays within the parlor style, emphasizing how the bond of devotion can overcome physical separation. Haydn brilliantly interweaves stormy, naturalistic episodes with declarations of unbending loyalty.

The concert will close with Haydn’s mercurial Piano Trio No. 27 in C major. Also composed during his London visits in the 1790s, this trio is the first of a set of three dedicated to the London-based virtuoso pianist Therese Bartolozzi. The Presto finale―with its unbridled high spirits―is a supreme example of Classical Era cheeky, theatrically conceived wit. (You can hear the finale in the YouTube video at the bottom.)

SCHEDULE AND TICKETS

As a result of public health guidelines in response to Covid-19 that do not allow for an in-person audience, we will livestream our concert from Grace Episcopal Church, downtown on Capitol Square, on Saturday evening for at-home viewing. (Below are Trevor Stephenson and Kangwon Kim rehearsing in masks at Stephenson’s home.)

The event will begin with a pre-concert talk by Trevor Stephenson at 7:30 p.m., and after the 8 p.m. concert, the musicians will remain on stage to answer questions submitted by our audience.

On Sunday, starting at 3 p.m. we will rebroadcast the Saturday evening recording and follow that with a live question-and-answer session with our musicians from their homes.

After purchasing tickets for $15 per household, you will be sent a link to access the performance. The recorded lecture and video will be available for up to 72 hours after they take place.

To purchase tickets, go to: https://madisonbachmusicians.org/oct-3-4-haydn-mozart/ or to: https://madison-bach-musicians.square.site/product/haydn-mozart-oct-3-4-livestream/54?cs=true

For information about the Madison Bach Musicians’ full season, go to: https://madisonbachmusicians.org/season-overview/

 


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Classical music: UW-Madison’s Pro Arte Quartet resumes its FREE Beethoven cycle virtual and online this Friday night with two other programs this semester

September 29, 2020
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By Jacob Stockinger

The University of Wisconsin-Madison’s Pro Arte Quartet (below, performing the first all-Beethoven program in Collins Recital Hall) will resume its complete cycle of Beethoven’s 16 string quartets online and virtually this coming Friday night.

This third concert is free, and as you might have read in previous reviews, The Ear found the first two to be outstanding performances that also mixed works from early, middle and late periods.

The cycle is being undertaken to mark the Beethoven Year, which culminates this December with the 250th anniversary of the birth of the composer (below).

Cellist Parry Karp (below) – the longest-standing member of the quartet and the person who often speaks for the quartet – sent the following note for posting:

“I thought I should bring the public up to date with the Pro Arte Quartet’s Beethoven cycle. Obviously things have had to change because of the coronavirus pandemic.

“Before the pandemic, we were doing three quartets per concert. Since we now need to give the performances virtually and online, we have decided to perform two quartets per concert. Sitting at a computer for two hours at a time seemed a bit too much!

“We will be continuing the Beethoven cycle starting this Friday, Oct. 2, at 7:30 p.m. CDT. The program will consist of the early String Quartet in A Major, Op. 18 No. 5; and the late String Quartet in A Minor, Op. 132, with the famous “Sacred Hymn of Thanksgiving” (heard played by the Alban Berg Quartet in the YouTube video at the bottom).

The link to watch that concert is at: https://youtu.be/Mf-Mpt3EyNk

“Charles Dill (below, in a photo by Katrin Talbot), professor of musicology at the UW-Madison’s Mead Witter School of Music, will give a short lecture about each quartet before the Pro Arte Quartet performs.

“Although the concerts will be taking place in the bigger Mead Witter Foundation Concert Hall in the new Hamel Music Center, the hall will be closed to the public for reasons of safety and public health.

“We will be playing with masks and with more separation or social distance from each other, which is a challenge and takes some adjusting to. It will also be odd to perform without a live audience.

“Unfortunately, because of copyright questions and royalties from the music editions we are using, the online concerts will not be archived for later viewing

“The other two concerts in the Pro Arte Quartet’s Beethoven cycle this semester will be on Friday, Oct. 23, at 7:30 p.m. CDT and Friday, Nov. 20, at 7:30 p.m. CST.

“We plan to complete the Beethoven cycle during the spring semester of 2021.

The programs for this semester are listed below.”

SEMESTER I SCHEDULE

Beethoven String Quartet Cycle will be performed by the Pro Arte Quartet with pre-performance lectures of the quartets by Professor Charles Dill

Pro Arte Quartet members (below in photo by Rick Langer) are: violinists David Perry and Suzanne Beia; violist Sally Chisholm; and cellist Parry Karp.

For history and background about the Pro Arte Quartet, which is the oldest active string quartet in the history of music, go to: https://www.music.wisc.edu/pro-arte-quartet/.

PROGRAM 3

This Friday, Oct. 2, 2020 at 7:30 p.m. CDT in the Mead Witter Foundation Concert Hall.

String Quartet in A Major, Op. 18 No. 5 (1798-1800); and String Quartet in A Minor, Op. 132 (1825)

PROGRAM 4: Friday, Oct. 23, 2020, at 7:30 p.m. CDT in the Mead Witter Foundation Concert Hall

String Quartet in C Minor, Op. 18 No. 4 (1798-1800); and the String Quartet in E-Flat Major, Op. 127 (1825)

PROGRAM 5: Friday, Nov. 20, 2020 at 7:30 p.m. CST in the Mead Witter Foundation Concert Hall

String Quartet in D Major, Op. 18 No. 3 (1798-1800); String Quartet in E Minor, Op. 59 No. 2 (1806)

 


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Can American film director Ron Howard make a sensitive and accurate biopic of Chinese superstar pianist Lang Lang? Or is it a cultural appropriation that deserves to be condemned?

September 27, 2020
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By Jacob Stockinger

The self-appointed PC diversity police have struck again.

This is getting silly and tiresome, insulting and embarrassing.

Some advocates of cultural diversity are crying foul over the latest project of the American and Academy Award-winning Hollywood film director Ron Howard: making a biopic of the superstar Chinese classical pianist Lang Lang (below).

The script will be drawn from the pianist’s bestselling memoir “Journey of a Thousand Miles” — which has also been recast as an inspirational children’s book — and the director and scriptwriters will consult with Lang Lang.

It seems to The Ear a natural collaboration, as well as a surefire box office hit, between two high-achieving entertainers. Check out their bios:

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

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

But some people are criticizing the project in the belief that because Ron Howard  (below) is white and Western, he cannot do justice to someone who is Chinese or to Asian culture.

Here is an essay, found on the website of Classic FM, by one objector. She is Chinese film director Lulu Wang (below), who says she has no interest in doing the project herself: https://www.classicfm.com/artists/lang-lang/pianist-biopic-ron-howard-faces-criticism-lulu-wang/

Talk about misplaced alarm over “cultural appropriation.”

Don’t you think that Lang Lang will have a lot to say about how he is depicted?

Do you wonder if Wang thinks cultural appropriation works in reverse?

Should we dismiss Lang Lang’s interpretations of Bach, Haydn, Mozart, Beethoven, Schubert, Chopin, Schumann, Brahms, Tchaikovsky, Rachmaninoff, Prokofiev and Bartok simply because he is non-Western and Chinese rather than German, French or Russian?

Of course not. They should be taken on their own merits, just as the interpretations of any other Asian classical musician, and artists in general including Ai Weiwei, should be.

But however unfairly, cultural appropriation just doesn’t seem to work in reverse.

Mind you, The Ear thinks that cultural appropriation is a valid concept and can indeed sometimes be useful in discussing cross-cultural influences.

But it sure seems that the concept is being applied in an overly broad and even misdirected or ridiculous way, kind of the way that the idea of “micro-aggressions” can be so generously applied that it loses its ability to be truthful and useful.

Take the example of the heterosexual Taiwanese movie director Ang Lee. He certainly proved himself able to depict American culture in “The Ice Storm” and the gay world in “Brokeback Mountain.”

Let’s be clear. The Ear is a piano fan.

But if he objects to the project, it is because he doesn’t like Lang Lang’s flamboyant playing, his Liberace-like performance manners and showmanship, and his exaggerated facial expressions.

Yet there is no denying the human appeal of his story. He rose from a young and suicidal piano student (below) who was emotionally abused by his ambitious father – shades of the lives of young Mozart and Beethoven and probably many other prodigies – to become the best known, most frequently booked and highest paid classical pianist in the world. 

Yet not for nothing did some critics baptize him with the nickname Bang Bang.

Still, the Curtis Institute graduate does all he can to foster music education, especially among the young and the poor.

And there is simply no denying his virtuosity. (See Lang Lang playing Liszt’s Paganini etude “La Campanella” in the YouTube video at the bottom.)

So there is plenty to object to about Lang Lang the Piano Star besides the ethnicity of Ron Howard, who also did a biopic of opera superstar Luciano Pavarotti, in telling his story.

What do you think?

Is it culturally all right for Ron Howard to direct a film about Lang Lang?

Do you look forward to the movie and seeing it?

What do you think of Lang Lang as a pianist and a celebrity?

The Ear wants to hear.

 


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The Metropolitan Opera has canceled the rest of this season and announced the following season of Live in HD. How will the cancellation affect concert seasons here and elsewhere?

September 25, 2020
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By Jacob Stockinger

Unfortunately, it seems like The Ear’s prediction on Monday is coming true.

Given the coronavirus spikes and complications of vaccine production, testing, distribution and administration, The Ear said, it looks like live concerts are likely to be canceled for the rest of this season and perhaps even for the fall of 2021.

Here is that post:

https://welltempered.wordpress.com/2020/09/21/looks-like-there-will-be-no-live-concerts-for-the-rest-of-this-2020-21-season-and-maybe-until-early-2022/

Then yesterday the Metropolitan Opera (below) in New York City announced exactly that: It is going to cancel the whole season, and not just the fall productions, as originally planned. (You can hear general manager Peter Gelb discuss the plans for this season and the next season in the YouTube video at the bottom.)

Given that the Met is the largest performing arts organization in the United States, it promises to be a Big Domino with a lot of influence and side effects.

Here is the Met story, with more quotes, details and information, from The New York Times:

https://www.nytimes.com/2020/09/23/arts/music/metropolitan-opera-cancels-coronavirus.html

Perhaps to provide some reassurance and attenuate the negative news of the decision to cancel, the Met also announced its Live in HD season for the 2021-22 season, which is based on live productions.

Here it is on the website Opera Wire: https://operawire.com/met-opera-2021-22-season-here-is-all-the-information-for-this-seasons-live-in-hd-performances/

And if you want to know what the Met (below, from the stage) is planning to offer instead, here is a link to the Met’s own website: https://www.metopera.org.

What do you think will be the local effects of the Met decision to cancel the entire season?

Will other musical organizations follow suit, cancel the entire new season of in-person events and go safely online with virtual events?

The Ear wants to hear.

 


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Did Beethoven and his Fifth Symphony foster racism, exclusion and elitism in the concert hall? The Ear thinks that is PC nonsense. What do you think?

September 19, 2020
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By Jacob Stockinger

Controversy has struck big among classical music critics and fans — just in time for the Beethoven Year that will celebrate the 250th anniversary of the composer’s birth this December. Plans call for celebrations by the Madison Symphony Orchestra, the Wisconsin Chamber Orchestra, the UW-Madison’s Mead Witter School of Music, and others. 

At question is what seems yet another fallout and dust-up from the Black Lives Matter movement and the current struggle to foster social justice and racial equality.

In some ways, it all seems inevitable.

Now the history-denying advocates of cancel culture are suggesting that Beethoven (below) and his music – especially the popular Fifth Symphony (you can hear the famous opening in the YouTube schematic video at the bottom)  –  fostered white privilege and the rise of racism, sexism and homophobia in the concert hall.

That seems like quite an accusation for a single composer and a single piece of music that was premiered in 1808.

The assertion is food for thought. But not much.

In the end The Ear finds it a stretch and a totally bogus argument. He thinks that Beethoven attracted far more performers and audiences than he repelled. Others, including famed critic Norman Lebrecht in his blog Slipped Disc and a critic for the right-wing newspaper The New York Post, agree:

https://slippedisc.com/2020/09/beethovens-5th-is-a-symbol-of-exclusion-and-elitism/

https://nypost.com/2020/09/17/canceling-beethoven-is-the-latest-woke-madness-for-the-classical-music-world/

The Ear also thinks it is political correctness run amok, even for someone who, like himself, advocates strongly for diversity of composers, performers and audiences – but always with quality in mind — in the concert hall.

Just because Beethoven was such a great creative artist is hardly cause to blame him for the inability of other artists to succeed and for non-white audiences taking to classical music. Other forces — social, economic and political — explain that much better.

Yes, Beethoven is a towering and intimidating figure. And yes, his works often dominate programming. But both musicians and audiences return to him again and again because of the originality, power and first-rate quality of his many works.

Beethoven himself was deaf. That would certainly seem to qualify him as inclusive and a member of an important category of diversity.

No matter. The writers are happy to blame Ludwig and his work for exclusion and elitism. They argue that people of color, women and LGBTQ people have all felt alienated from classical music because of Beethoven’s legacy.

Of course, there is elitism in the arts. People may be equal, but creative talent is not.

And clearly, Beethoven was a towering and intimidating figure – more for the quality of his music than for the simple fact that it exists. Such exclusion and elitism have to do with other factors than the composition of the Fifth Symphony.

If The Ear recalls correctly, when he died Beethoven was given the largest state funeral up to that time for a non-royal, non-politician or non-military person.

And how do you explain that Beethoven’s music, so representative of Western culture, appeals deeply to and attracts so many Asians and Asian-Americans, and became both banned and symbolically central to those opposed to Chairman Mao’s Cultural Revolution in China?

But these days being provocative can become its own reward.

You can read the analysis and decide about its merits for yourself, then let us know what you think in the Comment section.

Here is a link to the opinion piece in Vox Magazine, a free online journal: https://www.vox.com/switched-on-pop/21437085/beethoven-5th-symphony-elitist-classism-switched-on-pop

What do you think about the idea that Beethoven played a large and seminal role in fostering an elitist and exclusive culture in classical music?

Did you ever feel alienated from classical music because of Beethoven or know others who have?

What is your favorite Beethoven composition?

The Ear wants to hear.

 


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Season 3 of the free monthly Just Bach concerts begins at noon TODAY virtual and online. Each concert will be available for the following week. Here is the 2020-21 schedule

September 16, 2020
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By Jacob Stockinger

The Ear has received the following announcement from the Just Bach monthly concert series – featuring singers as well as period instruments and historically informed performance practices — to post:

“We are thrilled to share the timeless beauty of Johann Sebastian Bach (below) with music lovers in Madison and beyond for another year.

“Our host venue, Luther Memorial Church at 1021 University Ave., has resumed their weekly ‘Music at Midday’ concert series: https://www.luthermem.org/music-at-midday/

“As part of this series, the one-hour Just Bach concerts will take place at noon on the third Wednesday of each month. Here are the dates for the new 2020-21 season: today Sept. 16; Oct. 21; Nov. 18; Dec. 16; Jan. 20; Feb. 17; March 17; April 21; and May 19.

“Because of the coronavirus pandemic, it is still too risky to have an in-person audience. So Music at Midday concerts will be virtual and online, posted on the Luther Memorial website.

“In addition, Just Bach concerts will be posted on the Just Bach website, the Just Bach Facebook page, and the Just Bach YouTube Channel.

“The concert footage should be available online for at least a week following the concert. At least that is the plan.

“Viewing the concerts is FREE, but we ask those who are able, to help us pay our musicians with a tax-deductible donation.

“Today’s concert program opens with the Pastorale in F, BWV 590, performed by organist Mark Brampton Smith (below).

“Violinist Kangwon Kim (below), concertmaster and assistant artistic director of the Madison Bach Musicians, will continue, with the Partita No. 2 in D Minor, with the famous Chaconne, for solo violin, BWV 1004 (see a brief preview in the YouTube video at the bottom).

“Co-founder and violist Marika Fischer Hoyt  (below) will lead the final chorale sing-along, from Cantata 99, Was Gott tut, das isn wohlgetan (What God does, is well done).

“The chorale sheet music (below) will be displayed on the screen, and Mark Brampton Smith will accompany on the organ. Cantata 99 is a timely choice. It was composed for the 15th Sunday after Trinity, which is next Sunday, Sept. 20.

“We need this soul-centering music now more than ever. We invite the music community to join us today and other Wednesdays for a wonderful program of J.S. Bach.”

Sept. 16 program:

  • Pastorale in F, BWV 590
  • Partita in D Minor for solo violin, BWV 1004
  • Chorale: Was Gott tut, das ist wohlgetan (What God does, is well done)

Performers: Kangwon Kim, violin 1; Mark Brampton Smith, organ

For more information go to: https://justbach.org and Facebook.org/JustBachSeries

 


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UW-Madison will forego in-person concerts through the fall and go virtual. The FREE online concerts start TONIGHT, Monday, Sept. 14, at 6-8:30 p.m. with a graduate student recital

September 14, 2020
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PLEASE NOTE: The following post has been updated with more information since it first appeared.

By Jacob Stockinger

In ordinary times, the yearlong schedule would be set and concerts at the University of Wisconsin-Madison’s Mead Witter School of Music would be already well underway.

But these are not ordinary times – as you can tell from the silence about the UW season that usually presents some 300 events.

It has taken time, but the music school has finally worked out the basic approach to concerts during the pandemic. It will allow worldwide listening.

Audiences will NOT be present for any Mead Witter School of Music concerts or recitals this fall. Instead, a live stream of faculty recitals and all required student recitals, many of them in the new Hamel Music Center (below), will be available.

The portal to the live streaming, along with a scheduling clock and time countdown, can be found at: youtube.com/meadwitterschoolofmusic

The concert season starts tonight at 6:30 to 8 p.m. The performer is graduate student flutist Heidi Keener (below), who is giving her recital for the Doctor of Musical Arts degree. The recital was postponed from March 23 due to the coronavirus pandemic.

On the school of music’s concert website you will find a biography and the program — just hover the computer’s cursor over the event: https://www.music.wisc.edu/event/recital-heidi-keener-dma/.

The same information will also be on the YouTube website for the actual concert. Just click on MORE: https://youtu.be/gA6S3OXUKCc

Given so few calendar listings so far, clearly the format is still a work-in-progress.

For updated listings of other events, go to: https://www.music.wisc.edu/events/

The next events are slated for Oct. 2 with a student recital and another installment of the Pro Arte Quartet’s Beethoven cycle (below).

That other programs and dates are still missing is not surprising.

The entire UW-Madison from classes to sports, is in a state of flux about how to deal with the pandemic, with in-person classes paused through Sept. 25, and possibly longer.

Many questions about concerts remain as the process plays out.

All live-stream concerts will be free. But they will NOT be archived, so they will be taken down as soon as they end.

A donation link to the UW Foundation will be included to help cover the costs of the livestreaming and also other expenses.

Will choral concerts even take place, given that singing is especially risky because the singers can’t wear masks and social distancing is nearly impossible to provide with groups?

What about chamber music groups like the Pro Arte Quartet, the Wingra Wind Quintet and Wisconsin Brass Quintet? Many faculty members, who have to teach virtually and online right now, are no doubt concerned about the possible health risks of playing in groups.

And what about the excellent UW Symphony Orchestra, which The Ear considers a must-hear local orchestral ensemble? Those musicians too will have a hard time social distancing – unless individual safe performances at home or in a studio are edited and stitched together.

So far, though, we know that the University Opera will offer “I Wish It Were So,” an original revue of the American opera composer Marc Blitzstein on Oct. 23.

Here is a link to a story with more details about the production: https://welltempered.wordpress.com/2020/08/07/classical-music-the-university-opera-announces-a-new-season-that-is-politically-and-socially-relevant-to-today-the-two-shows-are-a-virtual-revue-of-marc-blitzstein-and-a-live-operatic-version-of/

What do you think of the plans for the concert season?

Do you have any suggestions?

The Ear wants to hear.


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Classical music: Today is Sept. 11, 2020. Here is music to mark the 19th anniversary of the terrorist attacks during the coronavirus pandemic. What would you choose?

September 11, 2020
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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.

CORRECTION: The Virtual Gala fundraiser for the Handel Aria Competition started last night, and will end on Thursday, Oct. 1 – NOT on Oct. 11, as mistakenly stated in yesterday’s blog headline. Here is a link with more information: https://welltempered.wordpress.com/2020/09/10/classical-music-the-worldwide-virtual-and-online-gala-fundraiser-for-the-handel-aria-competition-starts-today-and-runs-through-oct-10-donations-will-be-matched-up-to-2000/

By Jacob Stockinger

Today marks 19 years since the terrorist attacks of Sept. 11, 2001.

For the basic information, here is a Wikipedia summary: https://en.wikipedia.org/wiki/September_11_attacks

There are many ways to remember and honor the dead and the injured in New York City, the Pentagon in Washington, D.C., and Shanksvillle, Pennsylvania. And in past years, The Ear has offered many different ones.

There are the well-known requiems by Mozart, Brahms, Verdi and Faure; passions by Bach; and other works.

There are also the pieces especially composed for the commemoration, including “On the Transmigration of Souls,” a Pulitzer Prize-winning work by John Adams that incorporates police tapes and phone calls, and Steve Reich’s “WTC 9/11.”

But this year there is the coronavirus to deal with and complicate the commemorations.

Here is a story from NBC News about how the official commemorations, both real and virtual, will be affected by the pandemic.

And somehow in such circumstances, it feels like back to basic is a good approach.

So here, in the YouTube video at the bottom, is the most universal piece of mourning that The Ear knows: American composer Samuel Barber’s “Adagio for Strings” as played by Leonard Slatkin conducting the Detroit Symphony Orchestra.

It serves to mark 9/11 but perhaps also the more than 190,000 American deaths so far from the Covid-19 pandemic.

You can find other versions and other pieces on YouTube:

What piece would you want to hear to mark this sad and solemn occasion?

The Ear wants to hear.


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Classical music: The worldwide virtual and online gala fundraiser for the Handel Aria Competition starts today and runs through Oct. 1. Donations will be matched up to $2,000

September 10, 2020
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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 received the following announcement to post from Orange and Dean Schroeder, the co-founders of the now well-established Handel Aria Competition.

As you may already know, the in-person competition has been postponed until 2021.

The Schroeders say that a virtual online competition for this year was considered, but then dismissed. It would have been too risky to the health of the singers, many of whom have to travel nationally and internationally to compete, and to the accompanying players from the Madison Bach Musicians.

The sound quality also did not meet the standards that the organizers say is necessary to do justice to competitors. Some of the performances are from past competitions But others are new and were done at home during lockdowns.

Perhaps most important of all, the Schroeders wanted to raise money to help the young competitors, whose careers have suffered from concert cancellations during the coronavirus pandemic.

Here is the message:

“Today – Thursday, Sept. 10 — is the start of the Handel Aria Competition’s Virtual Gala to raise funds for our past finalists. It will start at 7:30 p.m. CDT.

“The program includes performances by Morgan Balfour, Elisa Sutherland, Chelsea Shephard, Sarah Coit, Andrew Rader, Nola Richardson, Amanda Achen, Jonathan Woody (singing an aria from “Messiah” in the YouTube video at the bottom), Sarah Moyer, Corrine Byrne, Margaret Fox, Gene Stenger, Emily Yocum Black, Sarah Hayashi, Daniel Moody, Christina Kay, Jacob Scharfman, Brian Giebler and Kristin Knutson.

A performance by the Handel Aria Competition’s director and UW-Madison graduate student soprano Sarah Brailey (below) with Luthien Brackett and the musicians from the Trinity Wall Street Baroque Orchestra in New York City is the finale.

“People around the world can watch it on our Facebook page Handel Aria Competition; on YouTube; or on our website at https://handelariacompetition.org.

“It will be available for viewing ‪from 7:30 p.m. CDT today, Sept. 10, through Thursday, Oct. 1 — NOT Oct. 10 as mistakenly stated above.

“It is FREE but donations are encouraged to support the singers during Covid-19.

“Viewers can donate via Facebook or through our website. All funds will go to the singers, including a challenge grant of $2,000 that Dean and I have pledged in order to encourage others to support these talented young artists.

“The Handel Aria Competition Virtual Gala is supported by funds from Dane Arts and the Madison Arts Commission with additional funds from the Wisconsin Arts Board.”

 


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