By Jacob Stockinger
It was nothing short of a triumph for the Bach Dancing and Dynamite Society.
The Ear surely couldn’t be the only listener who came away Saturday night deeply moved from the Overture Center’s Playhouse — and from the fourth concert of the six that the Madison-based BDDS is offering this month — with one overpowering thought: We need more of this!
We need more concerts with first-rate songs and first-rate singing. And we need more concerts that have a narrative and tell the personal story behind the music and musicians they feature.
A lot of musical groups and individuals today offer brief introductory remarks to help prepare audiences. And that is fine. Experts say that providing that kind of listener-friendly context will help draw younger, newer and bigger audiences.
In this 22nd summer season, when the theme of card playing is highlighted, BDDS trumped that wisdom and raised the stakes by going one better, by upping the ante: Co-founder and co-director pianist Jeffrey Sykes, who got his doctorate at the UW School of Music and now teaches at the University of California-Berkley, showed his inventive theatrical side by creating an original story about the complex romances of Robert Schumann, his wife Clara Wieck Schumann and the young Johannes Brahms –- whose photographic portraits were projected on the backdrop (below).
Moreover, Sykes’ two-act mini-drama -– an experimental scissors-and-paste tapestry woven together with snippets of letters, diary entries and of course music -– proved successful on every count. It was greeted with cries of Bravo! and an enthusiastic, prolonged standing ovation.
Of course, Sykes was not alone in bringing this successful experiment off. He had the help of his co-founder and co-director flutist Stephanie Jutt.
Most importantly, for this concert he had the top-flight talents of bass-baritone Timothy Jones (below top), whose diction and tone are superb, and of the UW-Madison graduate and Lyric Opera of Chicago soprano Emily Birsan (below bottom), who possesses equally beautiful tone and excellent German as well as French.
BDDS also drew on the talents of Madison Symphony Orchestra and Madison Opera maestro John DeMain, a willing sport who did terrific double-duty as a pianist and as Clara’s difficult father Friedrich Weick. The singers also did double duty with Jones playing Robert Schumann and Birsan playing Clara Weick.
Flutist Jutt played Romances by both Robert and Clara Schumann, the first transcribed from the oboe and the second from the violin. Her performances and her readings too were expressive and fit right in with the playing and recitations from others.
The excerpts that Sykes chose from song cycles were spot on, especially from the heart-wrenching cycle by Schumann’s “A Woman’s Life and Loves.”
But nowhere was the formula of tinkering with tried-and-true classics more successful than in Robert Schumann’s song “Widmung” (Dedication), which was used to mark the consummation of the romance when a German court decides, over father Friedrich Wieck‘s libelous objections, that Roberta and Clara can indeed marry.
The song, usually sung by either a male or female voice, was shared. (For the usual interpretations, see the YouTube videos at the bottom with Jessye Norman and Hermann Prey.) And the duet was profoundly moving as Jones’ Robert and Birsan’s Clara walked free and in love off the stage and arm-in-arm to conclude the first half (below).
Similarly, when Birsan’s Clara sang “Now you have hurt me for the first time” after her beloved Robert had died, was there a dry eye in the house? Not where I sat – and I doubt where many others sat too.
Sykes wove his tapestry seamlessly. He also took a letter about a short musical theme or motif that came to the delusional Robert Schumann in the insane asylum, where his wife Clara was forbidden from visiting him until two days before he died. And then he wrapped a letter by Robert around it as well as a letter that Brahms later wrote to introduce to Clara his variations on that theme same for piano-four-hands, performed by Sykes and DeMain as the conclusion finale.
Of course one can nitpick. Given how much solo piano music, filled with bittersweet longing, that both Robert Schumann and Johannes Brahms composed, I kept wondering why the program didn’t include the short and deeply moving Romance in F-sharp Major by Schumann which Clara asked her grandson Ferdinand to play while she lay expiring on her deathbed. (It is below top, in a YouTube video) Or play the late Romance in F Major, Op. 18, No. 5, by Brahms (below bottom, in a YouTube video by Evgeny Kissin). How The Ear would have loved to hear Sykes, with his rich tone and natural lyricism, perform these miniature gems.
But you can’t have everything and what we got was plenty generous. It cohered. It moved you. And it provided an intelligent context for understanding the romance behind the great Romantic music of these Romantic composers.
All paintings need a frame, and so does a lot of music. This frame could not have been better designed and executed or more beautiful.
But that Schumann-Brahms drama-concert was not the only reason to take in the second of the three weekends of music by the BDDS.
Just the night before at the refurbished Stoughton Opera House, the group used the same singers to perform another great concert. The program was timely and relevant, given both the Afghanistan War and the anniversary of the America Civil War.
The musical offerings featured Timothy Jones in Ned Rorem’s movingly spiky and grim “War Scenes” songs drawn from Walt Whitman’s Civil War notebooks (“The real war will never get in the books’) and Emily Birsan in “Sonnets to Cassandra” by the French Renaissance poet Pierre de Ronsard by the underplayed and underrated Swiss composer Frank Martin.
The concert began with a flute quartet by Ferdinand Ries, a student of Beethoven who nicely fit the theme of a “Stacked Deck” since history has largely overlooked and forgotten him. (But, you know, Beethoven really wasn’t much of a flute guy anyway.)
The real gem came when several local string players – violinist Suzanne Beia and cellist Parry Karp of the UW-Madison’s Pro Arte Quartet and principal violist Christopher Dozoryst of the Madison Symphony Orchestra – joined pianist Sykes in playing a superb rendition, by turns turbulent and lyrical, of Gabriel Faure’s Piano Quartet No. in G Minor (below).
It was yet another reminder of how, like BDDS, Faure is a first-rate composer, with a sound and style unmistakably his own, who deserves a much higher profile and a much wider hearing.
Next weekend brings two final BDDS concerts — in Madison, Stoughton and Spring Green — with violinist Naha Greenholtz (concertmaster of the Madison Symphony) and San Francisco Trio members violinist Axel Strauss (now teaching at McGill University in Montreal) as well as cellist Jean-Michel Fonteneau in music by Copland, Mozart, Brahms, Korngold, Beethoven and Dick Kattenburg.
For more information about the times and venues, the programs, the performers and tickets, here is a link:
If you love classical music, to miss these BDDS performance is to deprive yourself of great pleasure and great insight, of new exposure to works both well-known and neglected. Why would you want to do that?
By Jacob Stockinger
It’s not as if the music of Robert Schumann (1810-1856) hasn’t found a secure place in the repertoire. His piano music, chamber music, songs and orchestral music are all pretty standard fare and are performed and heard often.
And yet Robert Schumann (below, in a photo from 1850), who started out as a music critic and would-be concert pianist before turning to composing, still remains an enigmatic figure whose personal life and musical compositions offer many mysteries to explore. This is especially true of the role of his mental illness and the quality of his late-life compositions.
Two weeks ago, NPR and its terrific blog “Deceptive Cadence” offered a mini-seminar on Schumann. It used many audio samples, including playing and insightful commentary by the contributor Jonathan Biss (below, in a photo by Jillian Edelstein) and others, including Maurizio Pollini, Sviatoslav Richter, Andras Schiff and Radu Lupu.
The young American pianist has recorded several outstanding CDs for EMI of major solo piano works of Schumann. His latest release is a terrific new recording of Schumann’s upbeat and extroverted Piano Quintet, coupled with Dvorak’s Piano Quintet, with the Elias String Quartet for the Onyx label).
Biss has also just published an outstandingly informative and personally revealing e-book on Schumann called “A Pianist Under the Influence” (below, $1.99 at amazon.com). Biss has also launched a season-long major project and international 30-concert tour — called “Schumann: Under the Influence” — of performing Schumann’s works with other instrumentalists and singers.
Biss also played the piano for NPR, which offers samples on its website.
HERE ARE THE SELECTIONS OR TOPICS OF THE WEEK-LONG EXPLORATION, IN ORDER FROM TOP TO BOTTOM EQUALING FIRST TO LAST. THE EAR LEARNED A LOT ABOUT SCHUMANN AND HOPES YOU DO TOO.
Five Things You Didn’t Know About Schumann, with some audio samples to highlight the discussion:
Pianist and Schumann enthusiast Jonathan Biss Shoots Down Schumann Detractors:
How the Schumann’s (below) – Robert Schumann and Clara Wieck — used an unusual joint written Journal more than conversation to communicate:
How Schumann created and furthered a Culture of Musical Nostalgia:
I love Schumann’s sense of bittersweet melody and harmony, his sense of longing and search for belonging, and have many favorite pieces.
But perhaps my most favorite work is the second section of “Kreisleriana,” which is about his longing for Clara before they were married and which was dedicated to Chopin. (Chopin dedicated his Ballade No. 2 to Schumann, and Chopin’s career was launched early by published praise from Schumann, who was writing as a critic.)
Perhaps because I heard it early on, I find the performance by Martha Argerich particularly moving. Here is that movement performed by Argerich. (Biss’ outstanding and beautiful recording of the complete “Kreisleriana,” which runs to more than 33 minutes, is also available on YouTube.):
By Jacob Stockinger
Today is Father’s Day.
Successful composers and performers have been influenced by all kinds of fathers — and father figures.
Mozart’s father Leopold (below, in 1765) was exploitative, if well meaning and knowledgeable about music. He helped the young Wolfgang who nonetheless resisted later advice once he was a mature artist and man.
Then there is the Bach family where many fathers, including Johann Ambrosius Bach (below), the father of Johann Sebastian Bach, passed down the musical trade to their sons, just as Johann Sebastian passed the trade or art down to Wilhelm Friedemann, Carl Philipp Emanuel and Johann Christoph.
And Richard Strauss’ composer and performer father Franz Joseph (below, son on the left and father on the right) also proved an influence on the late Romantic composer.
What better way, then, is there for classical music fans to mark Father’s Day than to explore some of the ways that fathers have influenced the field throughout history.
And I have found no better way than a recent story that Miles Hoffman, a professional violist, told last week on NPR.
Even the childless “Papa” Haydn came in for some remarks as being the “father” of the string quartet, the piano trio and the symphony.
But Hoffman left out one famous, or infamous, case: Johann Beethoven (below), on the other hand, was a drunk who was abusive and who would wake the young Ludwig and make him practice in the middle of the night, hoping that his son would become a profitable prodigy like Mozart. It is amazing Ludwig turned out as creative and productive as he was.
Here is a link. Enjoy! And Happy Father’s Day.
And there other famous father stories about classical music that classical fans should know about?
By Jacob Stockinger
In any case, if you are looking for pieces of classical music to play or listen to that are appropriate to celebrate Valentine’s Day, you have a lot of choices.
The Ear can think of specific pieces by Bach, Handel, Mozart, Beethoven, Schubert, Chopin, Brahms, Verdi, Wagner, Tchaikovsky, Rachmaninoff, Dvorak, Faure and Poulenc, to name just a few of my favorites.
Many of them composed “romances” or pieces that could easily pass as a romance, some embodying requited love and some embodying unrequited love.
But I still think that the one composer who should be most identified with Valentine’s Day is Robert Schumann (1810-1856 and below in a photo from around 1850).
His deep and endless longing for Clara Wieck (with him, below), the young concert pianist who eventually became his wife — and after his death his champion — against the vociferous objections of her father, is palpable so much of his music in just about every form or genre including solo piano music, songs, chamber music and symphonic works.
In fact, I think one can argue that Schumann’s uncanny ability to capture love and passion in memorable and great sound makes him THE central Romantic composer of them all. Love and longing infuse his works.
I offer the following favorite Schumann moments as evidence, examples or case studies:
First, the slow movement from Schumann’s Piano Quartet:
Now, the second movement from his piano suite “Kreisleriana”:
Then there is the second of his Three Romances, the one in F-sharp major, for solo piano:
And from the song cycle “A Woman’s Life and Loves,” “Du, Ring an Meinem Finger” (You, Ring on My Finger):
And from the song cycle “Dichterliebe” (A Poet’s Loves), “Ich grolle nicht” (I won’t complain):
And then there is the magnificently poetic Piano Concerto, which is filled throughout its three movements with great moments of longing.
Here is a short but touching and memorable story about the role that the Schumann Piano Concerto played in two college students’ romance, courtship and love life:
And here is the opening of the first movement of that same Piano Concerto, dedicated to my own Valentine: I love you. Always have and always will.