By Jacob Stockinger
With limited space — after all there are only so many days in the week and the local classical music scene keeps getting more and more crowded — sometimes The Ear has to combine performers and events. And that is the case today.
Several smaller concerts, some featuring performers with a loyal local following and all being offering for FREE, will take place this week and weekend.
DUO-PIANISTS VARSHAVSKI AND SHAPIRO
On Thursday night at 7 p.m. in the Oakwood Village West Center for Arts and Education, 6205 Mineral Point Road on Madison’s far west side near West Towne, duo-pianists Stanislava Varshavski and Diana Shapiro (below) will perform.
The program includes the “Allegro Brilliante” by Felix Mendelssohn; the “Lebenssturme” (Life Storm) by Franz Schubert; and “Petrushka” by Igor Stravinsky as arranged by Varshavi and Shapiro. (At the bottom you can hear a YouTube video in which the two women perform a beautiful Barcarolle from a suite by Sergei Rachmaninoff.)
For more information about the duo-pianists and samples of their music, visit:
THE KAT TRIO
On this Friday at 7:30 p.m., the Kat Trio -– short for the Ekaterinberg Trio that uses the violin, clarinet and piano — will perform a FREE concert at First United Methodist Church, 203 Wisconsin Avenue in Madison.
The original violin, clarinet and piano ensemble (below) from Ekaterinburg, Russia, was formed in May of 1998 in Ekaterinburg by three friends: Victoria Gorbich (violin), Vladislav Gorbich (clarinet) and Vasil Galiulin (piano). They had just graduated from the Ural State Music Conservatory.
Today’s “The Kat Trio” (below) -– which is well-known to Madison audiences -– is made up of Victoria, Vladislav and pianist Justin Snyder (below standing). Victoria and Vlad are doctoral graduates of Arizona State University. Justin is a graduate of University of Michigan and recently finished studying in London at the Guildhall School of Music and Drama.
According to publicity materials, Kat Trio concerts showcase unique Russian arrangements and transpositions of timeless melodies and feature classical works, well-known inspirational songs, and even American pop standards, including Scott Joplin’s rags.
This week’s program includes: a trio by Aram Khachaturian, plus works by Vladimir Vavilov, Johannes Brahms, Robert Schumann, Peter Tchaikovsky, Louis Moreau Gottschalk; Amy Beach; Samuel Barber; Michael Joncas; Joseph Lamb; Jerry Bock; and Peter Schickele (aka PDQ Bach).
The concert begins at 7:30 p.m., but the three performers will do an audience Q&A prior to their performance, so you might arrive early.
The concert is FREE and OPEN TO THE PUBLIC. A free will offering will be taken.
This week will also see two performances by the Madison-based woodwind quintet Black Marigold (below).
Black Marigold will perform on this Friday, March 14, at the First Unitarian Society of Madison’s FREE Noon Musicale from 12:15 to 1 p.m. They will perform in the Landmark Auditorium of the historic building that was designed by Frank Lloyd Wright.
Then on Sunday, Black Marigold will perform on “Sunday Afternoon Live From the Chazen.” The FREE concert will be held from 12:30 to 2 p.m. in Brittingham Gallery 3 of the Chazen Museum of Art on the University of Wisconsin-Madison campus. The concert will also be broadcast live by Wisconsin Public Radio (WERN 88.7 FM in the Madison area).
The program for both concerts includes: the Quintet, Op. 88, No. 2, by Anton Reicha; Six Bagatelles by Gyorgy Ligeti; “The Rite of Spring” by Igor Stravinsky, and arranged by Jonathan Russell; and “Vignettes Balletiques” by Brian DuFord.
For more information about Black Marigold, visit or write to:
By Jacob Stockinger
This weekend will find us not only in the fading grip of the Polar Vortex but also in the full force of The Piano Vortex.
Here is an overview, with a complete schedule and list of names and repertoire, from Fanfare, the terrific new music blog at the University of Wisconsin-Madison School of Music written and compiled by concert and publicity manager Kathy Esposito:
“Piano Extravaganza! will feature well-known pianists as well as rising stars”
“Hear the UW’s best collegiate pianists, faculty and high school talents at an all-day festival this Saturday at UW-Madison. Masterclasses, workshops and performances hosted by UW-Madison faculty and students. This year’s Piano Extravaganza will feature piano works influenced by jazz and blues.”
Here is the schedule of events, all of which are FREE and OPEN TO THE PUBLIC:
FRIDAY, FEB. 28
8 p.m. in Mills Concert Hall: A FREE recital by Christopher Taylor, Faculty Concert Series. Here is what Taylor said about his program to the UW’s Fanfare blog about his program of the Sonata No. 6, Op. 82 (1939) by Sergei Prokofiev (1891-1953) and the Symphony No. 3 in E-Flat Major (“Eroica”), Op. 55, by Ludwig van Beethoven (1770-1827), as transcribed by Franz Liszt (1811-1886).
Taylor writes: “I find altogether exhilarating the opportunity to re-experience works that inspired me even before taking my first piano lesson.
“Although, needless to say, a pianist cannot hope to duplicate the precise effect of Beethoven’s orchestrations, the attempt to simulate a few of them gives rise to endlessly fascinating pianistic possibilities.
“Virtually every technical resource of fingering, voicing, articulation, and pedaling (even the middle pedal, a device that Liszt himself lacked till late in his career) proves useful in these mighty transcriptions.
“While tonight’s version of the Eroica can obviously never displace the original form, I do hope that the pairing of a single musician with one versatile instrument can produce a fresh view of this immortal work, whose turbulent historical genesis and juxtaposition of heroism, tragedy, and redemption complement the Prokofiev so aptly.”
And here is a profile of Christopher Taylor that local critic Greg Hettmansberger wrote for Madison Magazine:
And here is a link to the complete Fanfare blog entry:
And here is a previous post with some background:
AND BECAUSE THE EAR FEELS THAT STUDENT MUSICIANS DESERVE TO GET AT LEAST AS MUCH MEDIA COVERAGE AND PUBLIC ATTENTION AS STUDENT ATHLETES, I HAVE INCLUDED A LENGTHY AND MUCH LONGER THAN USUAL LIST OF THE PIANO CONTESTANTS, REPERTOIRE, PARTICIPANTS AND JUDGES.
PIANO EXTRAVAGANZA! of Concerts, a Masterclass, a Young Pianists Competition (For High School Students) at the University of Wisconsin-Madison School of Music on Friday, February 28—Saturday, March 1, 2014. (1st Prize: $1,500; 2nd Prize: $1,000; 3rd Prize: $500)
SATURDAY, MARCH 1
8:30-11 a.m.: Piano Extravaganza Competition
11 a.m.-noon: Professor Johannes Wallmann, Jazz Improvisation Workshop
1:30-3:30 p.m. Masterclass and Q&A with UW-Faculty
3:45-6:30 p.m.: Jazz and Blues in Classical Music Extravaganza (Performed by UW-Madison Piano Majors)
ALL EVENTS ON SATURDAY TAKE PLACE IN MORPHY RECITAL HALL (below) ARE FREE AND OPEN TO THE PUBLIC
SATURDAY, MARCH 1, 2014
8:30-11 a.m.: Piano Extravaganza Competition
FINALISTS WERE SELECTED FROM PRELIMINARY RECORDING ROUND.
8:30 a.m.: Anthony Cardella (17, from Porterfield, WI): Sonata Op. 2, No. 3, I. Allegro con brio –by Ludwig van Beethoven; Toccata, Op. 11, by Sergei Prokofiev
9:15 a.m.: Vivian Wilhelms (15, from Waunakee, WI); French Suite No. 6, BWV 817- Johann Sebastian Bach; Sonatine, I. Modéré – Maurice Ravel
9:30 a.m.: Michelle Xie (16, from Verona, WI): Sarcasm, Op. 17, No. 1 Tempestoso – Sergei Prokofiev; Sonata Op. 31, No. 1, I. Allegro – Ludwig van Beethoven
9:45 a.m.: Garrick Olson (17, from Madison, WI): Fantasy in C Major, II. Mäßig. Durchaus energisch – Robert Schumann; Etude No. 6, Omaggio a Domenico Scarlatti – Marc-Andre Hamelin
10 a.m.: Theodore Liu (15, from Waunakee, WI): Sonata in D Major, Op. 10, No. 3, I. Presto- Ludwig van Beethoven; Nocturne in D-flat Major, Op. 27, No. 2- Frederic Chopin
10:15 a.m. Quentin Nennig (15, from Sherwood, WI): Waldesrauschen”- Franz Liszt; Concerto in E-flat Major, KV 449 – Wolfgang Amadeus Mozart
10:30 a.m. Kaitlin Lalmond (17, from Germantown, WI): Prelude and Fugue in C-sharp Major, BWV 848 – Johann Sebastian Bach; Sonata in E-flat Major, Op. 7, I. Allegro molto e con brio – Ludwig van Beethoven
11 a.m.-Noon: Jazz Improvisation Workshop with Professor Johannes Wallmann (below): “Milestones,” John Lewis (1920-2001) of The Modern Jazz Quartet; “Night and Day,” Cole Porter (1891-1964); “Sonnymoon For Two,” Sonny Rollins (b. 1930). All selections performed by Johannes Wallmann (below) and local guest artist Dave Stoler
Noon-1:30 p.m.: Lunch
1:30-3:30 p.m.: Masterclass and Q&A with UW-Faculty
3:45-6:30 p.m.: Jazz and Blues in Classical Music Extravaganza, Performed by UW-Madison Piano Majors
Opening Remarks by Susan C. Cook, Professor of Musicology and Director of the School of Music
“Alla Turca Jazz,” (1993) Fazil Say, Jason Kutz (b. 1970)
“Nightmare Fantasy,” (1979) William Albright, Oxana Khramova (1944-1998)
“Prelude No. 1,” (1926) George Gershwin, Yana Groves (1898-1937)
From “Preludes, Book 2” (1912-1913) Claude Debussy, “General Lavine Eccentric” (1862-1918); Emili Earhart
“Fantasy on Bill Evans’ “Turn Out the Stars,” Jonathan Thornton (b. 1985), Jonathan Thornton
“Lonely House” from Street Scene (1947) Kurt Weill (1900-1950), Thomas Leighton, Tenor, & Emily O’Leary
Impromptu, Op. 66, No. 2 (2004) Nikolai Kapustin (b. 1937) ; Haley O’Neal
“The Serpent’s Kiss” (Rag Fantasy) (1969), William Bolcom, Sara Giusti (b. 1938)
Sonata for One Piano, Four Hands (1919), Francis Poulenc (1899-1963), Prelude Rustique
Ian Tomaz and Jason Kutz
“Milonga del Angel” (1965), Astor Piazzolla (1921-1992), Cody Goetz
From Gershwin Songbook (1932) George Gershwin (189801937): “My One and Only,” “Fascinatin’ Rhythm” and “I Got Rhythm,” Dino Mulic
“Etudes on Gershwin Songs,” (1973) Earl Wild (1915-2010), “Embraceable You,” Yusuke Komura
Excursions,” Op. 20, No. 1 (1942), Samuel Barber, Andrew Mlynczak (1910-1981)
“Carnaval Noir,” (1997) Derek Bermel, Ying Wang (b. 1967)
“Bamboula,” (1844-45) Louis Moreau Gottschalk, Duangkamon Wattanasak (1829-1869)
“A Little Jazz Exercise,” (1970) Oscar Peterson (1925-2007), Evan Engelstad
“Jazz Waltz” from Suite Impressions (1996) by Judith Lang Zaimont, Shengyin Chen (b. 1945)
“Magnetic Rag” (1914) Scott Joplin, Zach Campbell
“Deuces Wild” (1944) and “The Duke and the Count” (1944), Mary Lou Williams (1910-1981), Henry Misa
“Dreadful Memories” (1978), “Down by the Riverside” (1979) Frederic Rzewski (b. 1938) Sungho Yang
From Preludes, Book 1 (1909-1910) Claude Debussy (1862-1918) ”Minstrels,” Jace Rockman
Sonata No. 2 in G Major for Violin and Piano (1927), II. Blues, Maurice Ravel (1875-1937) Elspeth Stalter-Clouse, violin, and Tiffany Yeh
From “Carnival Music” (1976), George Rochberg (1918-2005), Emily O’Leary
Three Preludes (2000), Shuai Zhang (b. 1979), I. Rubato: appassionato abandano, II. mesto misterioso, III. estemporale impetuoso, Zijin Yao
MEET THE UW-MADISON KEYBOARD FACULTY
Martha Fischer (below) is Professor of Piano and heads the Collaborative Piano Program at the University of Wisconsin-Madison. American Record Guide recently wrote: “…she is a marvelous pianist, profound interpreter, and expert collaborator.” She has recorded extensively and will soon release the complete works for two pianists at one keyboard by Robert Schumann with her frequent duet partner and husband, Bill Lutes. The Washington Post described their performance of Schubert’s F minor Fantasie as “bursting with heartfelt intensity.” A singer as well as pianist, Fischer is an expert on the works of Gilbert and Sullivan and has also presented unique recitals of art song in which she accompanies herself. A dedicated teacher, she has participated in international festivals, symposia, and competitions.
Jessica Johnson (below left, with UW percussionist Anthony Di Sanza) serves as Professor of Piano and Director of Graduate Studies in Piano Pedagogy at UW-Madison, where she was the 2006 recipient of the prestigious Emil Steiger Distinguished Teaching Award. She frequently commissions and programs contemporary solo and chamber works, regularly performing with Sole Nero, duo for piano and percussion. Johnson has been featured in workshops and recitals throughout North America, Europe and China. A two-time winner of AMT’s Article of the Year Award, Johnson has articles published in American Music Teacher, Piano Journal of EPTA, Klavier Companion and Piano Pedagogy Forum. Passionate about community engagement and arts outreach, she serves as Director of Piano Pioneers, a program that brings high quality piano instruction to low-income community members and high-risk youth in Wisconsin.
John Chappell Stowe (below) is Professor of Organ and Harpsichord at the University of Wisconsin-Madison School of Music. He graduated from Southern Methodist University and Eastman School of Music, studying organ with Robert Anderson and Russell Saunders. Stowe holds the Doctor of Musical Arts degree and Performer’s Certificate from the Eastman School and was the first-place winner in 1978 of the National Open Organ Playing Competition of the American Guild of Organists. In his appearances throughout the United States as a solo organist, Stowe’s recital repertoire includes a wide variety of literature extending from 1550 to the present day. His programming reflects both strong commitment to contemporary music and dedication to great repertoire of past generations.
Christopher Taylor (below) has performed extensively around the world, having appeared in recent years not only throughout the U.S. but in Russia, China, Korea, the Balkans, and elsewhere. Critics hail him as “frighteningly talented” (The New York Times) and “a great pianist” (The Los Angeles Times), and nu-merous awards have confirmed his high standing in the musical world (a Van Cliburn Competition Bronze Medal, an Avery Fisher Career Grant, an American Pianists’ Association Fellowship). Apart from concertizing, he has taught at UW-Madison since 2000 and pursues a wide variety of additional interests — most recently using his mathematical and computer skills in the design and construction of a new double-manual keyboard instrument.
Johannes Wallmann (below) joined UW Madison as Director of Jazz Studies in 2012. He previously taught at California State University East Bay, New York University, and at the New School for Jazz and Contemporary Music. As a pianist, composer, and bandleader, Wallmann has released four critically acclaimed CDs, The Johannes Wallmann Quartet (1997), Alphabeticity (2003), Minor Prophets (2007), and The Coasts (2012). Over twelve years in New York City and five years in the San Francisco Bay Area, Wall Coasts (2012). Over 12 years in New York City and five years in the San Francisco Bay Area, Wallmann also established himself as a prolific sideman in styles as diverse as mainstream jazz and electric fusion, American spirituals, Cantonese pop music, and 20th century classical music. He has toured throughout North America and in Europe and Asia.
Todd Welbourne (below, in a photo by Katrin Talbot) is a pianist and chamber musician with appearances in this country as well as in Europe and South America. He has performed and given presentations on new music at national conferences of the Society of Electro/Acoustic Music (1995, 1997, 2009), the International Society for Electronic Arts, (1993, 1997, 2010), College Music Society (2001, 2003, 2006), and Music Teachers National Convention (1999, 2004) and has lectured and performed at new music festivals around the country. Welbourne uses the Yamaha Disklavier in his teaching providing students with the latest in teaching techniques and he has been an innovator in the area of interactive music performance systems using the Yamaha Disklavier and Max/MSP. He currently serves as Director of Graduate Studies at the School of Music.
GUEST ARTIST AND ALUMNUS
Madison native Dave Stoler (below) is one of the busier professional musicians in the Midwest, and was named 2009 Isthmus Jazz Personality of the Year. His current projects include the Tony Castaneda Latin Jazz Sextet and his own group, which has performed at Smalls Jazz Club in New York City. His CD “Urban Legends” features drummer Billy Hart, bassist Ron McClure and tenor saxophonists Rich Perry and Rick Margitza. He received a Master of Music degree from the University of Miami-Coral Gables in Jazz Performance, and a Bachelor of Music degree in Music Composition from the University of Wisconsin-Madison. He was a semi-finalist in the Thelonious Monk Piano Competition and the American Jazz Piano Competition, and a finalist in the Jacksonville Jazz Piano Competition.
Sponsors of The Piano Extravaganza are The Evjue Foundation, the charitable arm of The Capital Times, and UW-Madison Chancellor Emeritus Irving Shain.
ALERT: The concert of chamber music by Mozart, Verdi and Puccini next Tuesday night, Feb. 25, by the Rhapsodie Quartet (below, in a photo by Greg Anderson) of the Madison Symphony Orchestra has been CANCELLED.
By Jacob Stockinger
Word reaches The Ear with an intriguing and appealing tavern concert with some outstanding music by the laudable local chapter of a national populist movement that brings classical music to non-traditional audiences in non-traditional venues such as bar, cafes and coffee houses. Many of the members and performers come from the University of Wisconsin-Madison School of Music:
“Classical Revolution Madison will be back with a jam-packed show of classical and contemporary favorites at Brocach Irish Pub (below) on the Capitol Square, 7 West Main Street) on Thursday, February 20th at 7 p.m.
From 7-8 p.m., members of CRM (below) will present a dynamic program featuring works by Brahms, Shostakovich, Haydn, and more! (See below for more information on the pieces and performers)
Then, from 8-9 p.m., we will open up the floor for anyone who wants to sight read or jam, so come with your fiddle or the sheet music of your favorite chamber work if you would like to join in on some casual music making!
We look forward to seeing you there!
Zou Zou Robidoux and Emily O’Leary
Here is the program for the Brocach appearance:
Clarinet Quintet by Johannes Brahms
Kai-Ju Ho, clarinet (below)
Thalia Coombs and Nathan Giglierano, violins
Mara Rogers, viola
Zou Zou Robidoux, cello
II. Poco adagio; cantabile
Tony Oliva and Keisuke Yamamoto, violins
Marissa Reinholz, viola
Chris Peck, cello
Excerpts from “Duo” by the 20th-century American composer Walter Piston (below)
Mara Rogers, viola
Tori Rogers, cello
Tom Leighton, tenor
Emily O’Leary, piano
III. Allegro non troppo
Thalia Coombs and Teddy Wiggins, violins
Mikko Utevsky, viola (below)
Rachel Bottner, cello
ALERT: The University of Wisconsin School of Music’s Guest Artist series will present flutist Sarah Frisof (below) of the University of Kansas and pianist-composer Daniel Pesca in a FREE recital on this Sunday night at 7 p.m. in Morphy Recital Hall. The program includes Ballade by Frank Martin; Sonata in E minor by Carl Philipp Emanuel Bach; “A Memory of Melisande” and “Brief Pause” by Daniel Pesca; and Sonata No. 1 in A Major for Violin by Gabriel Faure (transcribed by Stallman).
Frisof trained at the University of Michigan, the Juilliard School theEastman School of Music. She was a semi-finalist in the 2009 Kobe International Flute Competition, and 2nd Prize winner of both the National Flute Associations’ Young Artist Competition in 2008 and the Heida Hermann?s International Woodwind Competition in 2007. Dr. Frisof is the principal flute of the Dallas Wind Symphony and a frequent performer with the Dallas Symphony. She has performed with the Chicago Symphony, New York Philharmonic, Detroit Symphony and Boston Symphony. Daniel Pesca (b. 1985) is currently pursuing a DMA in Composition at the Eastman School of Music. He is the recipient of many commissions; his work for wind ensemble. Pieces by Pesca have been performed by the Rochester Philharmonic Orchestra, the Huntsville (Alabama) Symphony Orchestra, and Eastman’s Musica Nova.
By Jacob Stockinger
The 40-year-old German heart-throb tenor from Munich, Jonas Kaufmann is on a roll.
Well, truth be told, he has been for years.
But this week seems a kind of trifecta for Jonas (pronounced Yonas) Kaufmann.
On Friday, Feb. 17, Maestro Hunka-Hunka opens the Metropolitan Opera’s new production of French composer Jules Massenet’s “Werther,” the opera based on the famous and influential early 19th century Storm-and-Stress novel by Johann Wolfgang von Goethe.
Then two days later, Kaufmann makes his Carnegie Hall debut – presumably and unfortunately, if you have seen his Met production of Wagner’s “Parsifal” (below, in a photo by Sara Krulwich of The New York Times), with his shirt on — with a recital of Romantic songs by Robert Schumann, Franz Liszt and Richard Wagner. It seems rather late for his first appearance at Carnegie Hall, but I bet it is a sell-out.
The Ear hopes they have some smelling salts handy, just in case.
All that plus Sony Classical is releasing an album of Franz Schubert’s famous and season-appropriate song cycle “Winterreise” (Winter Journey, below top) on the heels of Kaufmann’s bestselling and critically acclaimed CDs for Decca Records of arias by Richard Wagner (below bottom) and Giuseppe Verdi (below bottom and in a YouTube video of “La donna e mobile” from “Rigoletto” at the bottom of the post).
Well, what can you say such success?
But you can read about how Kaufmann’s career has developed and what kind of rather modest and thoughtful person lies behind the glamorous and charismatic tenor, who may be the first really BIG vocal and operatic talent to emerge in this century.
I mean, Kaufmann has it all: strength and endurance, great tone, variety and handsome looks.
Did I mention handsome looks?
Yep. Kaufmann is thoroughly beautiful in his singing and thoroughly believable in his acting. Now that is a combination devoutly to be wished, don’t you think?
Here is a link to the comprehensive profile of Jonas Kaufmann by Zachary Woolfe that shows just how much consideration goes into Kaufmann’s personal life and professional career. All that talent, plus he seems like a nice guy:
ALERT: Young local pianist Garrick Olsen will play a FREE recital at the Friday Noon Musicale at the First Unitarian Society of Madison, 900 University Bay Drive. He will perform from 12:15 to 1 p.m. in the historic Landmark auditorium of the Meeting House that was designed by architect Frank Lloyd Wright. His program includes music that is both virtuosic and poetic: the Etude, Op. 10, No. 1, by Frederic Chopin; the Fantasy in C Major, Op. 17, by Robert Schumann (listen to the soulful final movement played by Claudio Arrau in the YouTube video at the bottom); and the dramatic, flashy Hungarian Rhapsody No. 6 by Franz Liszt (also at the bottom played fantastically by George Cziffra in a popular YouTube video). In the spring, on May 2, 3 and 4 — Olsen, who won the Madison Symphony Orchestra’s concerto competition two years ago with Maurice Ravel’s Concerto for the Left Hand, will perform George Gershwin’s “I Got Rhythm” Variations for piano and orchestra with the MSO under John DeMain.
By Jacob Stockinger
Edgewood College will present its 86th Annual Christmas Concerts this coming weekend, at 7 p.m. on both Friday night, December 6, and Saturday night, December 7, in the St. Joseph Chapel, 1000 Edgewood College Drive, in Madison.
Featured performers of joyous seasonal holiday music include the Guitar Ensemble, the Chamber Singers (below), the Women’s Choir, the Men’s Choir, the Concert Band and the Jazz Ensemble.
Sorry, The Ear has no details about programs.
The annual Christmas celebration is one of Edgewood College’s oldest traditions. A highlight each year is the invitation for audience members to join in singing traditional carols.
A limited number of tickets may be available at the door each night (cash or check only, please). Edgewood College strongly encourages patrons to purchase tickets online.
All proceeds for these concerts benefit Edgewood College students through the Edward Walters Music Scholarship Fund.
ALERT: UW-Madison cellist Parry Karp (below), who heads the UW School of Music’s chamber music program and who perform with the Pro Arte Quartet, will give a FREE and PUBLIC recital on Saturday night at 8 p.m. in Mills Hall. He will perform with his father and mother, Howard and Frances Karp, as piano accompanists. The program includes: “Poem for Cello and Piano” by Charles Tournemire; “Eight Pieces” by Theordor Kirchner; “Pieces in the folk Style for Cello and Piano” by Robert Schumann; and the late Sonata for Clarinet (or viola) and Piano in E-flat Major, Op. 120, No. 2, by Johannes Brahms as transcribed by Parry Karp.
By Jacob Stockinger
Word has reached The Ear:
Sister violinists Alice and Eleanor Bartsch (below respectively, in a photo by Katrin Talbot) will join the Madison Symphony Orchestra’s organist, Samuel Hutchison, in a recital of music for organ and violin on this Friday, Nov. 8, at 7:30 p.m. in Overture Hall at the Overture Center.
The generous program includes Johann Sebastian Bach’s Concerto for Two Violins; the Double Concerto in D Minor by Antonio Vivaldi; the Finale from Sonata No. 6 by Felix Mendelssohn; the Suite for Violin and Organ by Josef Rheinberger; the Prelude and Fugue in B Major by Marcel Dupre; the Coronation March from “Le Prophete” by Giacomo Meyerbeer; and the “Preludium and Allegro in the Style of Pugnani” by Fritz Kreisler (heard at the bottom in a very popular YouTube by superstar violinist Itzhak Perlman.)
Adds Teri Venker, the marketing director, in a press release for the Madison Symphony Orchestra:
“Sisters Alice and Eleanor Bartsch are a dynamic pairing: both are members of the Madison Symphony Orchestra’s first violin section with impressive performance credits.
“Each sister has also won prestigious competitions at the University of Wisconsin-Madison (UW) School of Music, where they are students.
“Currently, Eleanor is a first-year master’s student at UW and a Paul Collins Distinguished Graduate Fellow, and Alice is a senior at UW working toward a bachelor of music degree in performance.
“The Madison Symphony Orchestra’s Samuel Hutchison (below, in a photo by Joe DeMaio) is a seasoned recitalist and will round out the powerful trio.
“When asked about playing on Overture Stage, Eleanor Bartsch (below) said, it “still takes our breath away! There’s actually a ‘sweet spot’ on stage: If you stand exactly right, the sound seems to ‘jump’ out of the violin and soar all the way to the balcony. I wish I could practice in Overture Hall every day!”
“Alice Bartsch said, “The Bach Double Violin Concerto is a piece we have been performing since we were little girls. The concert has a little bit of everything from the romanticism of Kreisler and Rheinberger to the powerful ”Chaconne” by Tomaso Vitali. For baroque music lovers, we will play the lively Double Concerto by Vivaldi.”
Both Alice and Eleanor agree that they have a “sister vibe” about timing and musical phrasing that makes playing together easy, fun, and rewarding.
For more information about the Bartsch sisters and their major funders including retired Citibank executive Paul Collins, retired UW chemistry professor Kato Perlman and retired UW-Madison Chancellor Irving Shain, read the fine posting by Public Relations Director and Concert Manager Kathy Esposito on the UW School of Music’s new blog “Fanfare” :
In addition to accompanying the Bartsch sisters, Hutchison will also perform solo works for organ by Marcel Dupré, Herbert Howells, Josef Rheinberger, and Tomaso Vitali.
Hutchison said, “It is a great privilege to be joined by Alice and Eleanor Bartsch in this program for organ and violins. Each brings a great joy and freshness to this music, which will be infectious for the audience. We look forward to sharing some audience favorites as well as some new pieces with our listeners in Overture Hall.”
General admission for the concert is $20, and tickets can be purchased at http://www.madisonsymphony.org/bartsch, the Overture Center Box Office or (608) 258-4141. Student rush tickets are $10 the day of the show with a valid student ID. (See http://www.madisonsymphony.org/studentrush).
The performance is sponsored by Kato L. Perlman, and by Alfred P. and Ann M. Moore, with additional funding from Pleasant T. Rowland Foundation and the Diane Endres Ballweg Fund. With a gift from Pleasant T. Rowland Foundation, the Madison Symphony Orchestra commissioned the Overture Concert Organ, which is the dramatic backdrop of all MSO concerts.
For more Overture Concert Organ information, visit http://www.madisonsymphony.org/organseason
ALERTS: French pianist Philippe Bianconi (below in a photo by Bernard Martinez), who is in town this weekend to play three performances of the Brahms Piano Concerto No. 2 with the Madison Symphony Orchestra under the baton of John DeMain, will be the guest on Norman Gilliland’s “The Midday” program on THURSDAY from noon to 1 p.m on Wisconsin Public Radio WERN 88.7 FM in the Madison area. And on Friday from 12:15 to 1 p.m., guitarist Steven Waugh plays Johann Sebastian Bach, John Dowland, Isaac Albeniz, Charlie Parker, Errol Garner and more for the First Unitarian Society’s weekly FREE FRIDAY Noon Musicale at 900 University Bay Drive.
By Jacob Stockinger
Three years ago, University of Wisconsin-Madison tenor James Doing (below) launched an ambitious and much appreciated project that helps to acquaint classical music fans – especially fans of singing – with some basic and well-known repertoire and basic vocal techniques. The format is much like a master class to acquaint the general public with the music from the inside and to help non-musicians understand the process of learning how to sing.
The second installment of the series of four recitals will be this Saturday night at 8 p.m. in Mills Hall. Admission is FREE and open to the public.
Here is how Doing recently explained the special concert to Kathy Esposito for “Fanfare,” the terrific new blog at the University of Wisconsin School of Music.
It is the kind of reinventing of the classical music recital that The Ear thinks should be done more often to attract new audiences, younger audiences and non-specialty audiences. I was there and it was terrific. It was especially moving to see teacher and students sing together as partners, which is in fact what they: master and apprentice. It is the oldest educational method in the world — and it still works.
Here is a letter that Doing has sent out via email to his many friends and fans and to The Ear:
“Three years ago I presented a “Teaching Favorites for the Voice Studio” recital complete with program notes about vocal technique, diction and so on, and it was well received. (A YouTube video with a lovely sampling from that first concert, of James Doing singing Reynaldo Hahn’s song, is at the bottom.)
Jacob Stockinger had some nice things to say in his blog The Well-Tempered Ear: http://welltempered.wordpress.com/2010/02/16/classical-music-review-uw-tenor-james-doing-successfully-reinvents-the-art-song-recital/
The songs I sang on that recital are posted on my YouTube Channel, which has a link at the bottom.
On this Saturday night, Oct. 19, at 8 p.m. in Mills Hall, my students and I are going to be singing another “Teaching Favorites for the Voice Studio.” The pianist will be UW professor Martha Fischer (below, in a photo by Katrin Talbot).
Admission is FREE. And I would love to have many singers and teachers from the community come and share the evening with me and my students.
I’ll be performing 18 songs and five of my female voice students will assist by singing eight selections. (The students are: CatieLeigh Laszewski, Jenny Marsland, Olivia Pogodzinski, Melanie Traeger and Sheila Wilhelmi.)
The generous and varied program of English, Italian, German and French art songs and opera arias includes:
“Strike the Viol” by Henry Purcell (1659?-1695) from “Come, ye Sons of Art”; “Se Florinda è fedele” by Alessandro Scarlatti (1660-1725) from “La donna ancora è fedele”; “Total eclipse” by George Frideric Handel (1685-1759) from “Samson” and “V’adoro pupille” from “Giulio Cesare”, with CatieLeigh Laszewski, soprano; “Sebben, crudele” by Antonio Caldara (1670?-1736) from “La costanza in amor vince l’inganno”; “Và godendo” by George Frideric Handel (below) from “Serse” (Xerxes) with Melanie Traeger, soprano; “An die Musik” by Franz Schubert (1797-1828); “Das Veilchen” (The Violet) by Wolfgang Amadeus Mozart (1756-1791); “Du bist wie eine Blume” (You Are Like a Flower) by Robert Schumann (1810-1856); “Sonntag” (Sunday) by Johannes Brahms (1833-1897); “Auch kleine Dinge” (And Small Things) by Hugo Wolf (1860-1903); “Ständchen” (Serenade) with Olivia Pogodzinski, soprano, by Richard Strauss (1864-1949).
And that is just before intermission. Then comes the second half.
The second half features: “Plaisir d’amour” by Johann-Paul Martini (1741-1816); “Lydia” by Gabriel Fauré (1845-1924); “Claire de lune” and “L’heure exquise” by Reynaldo Hahn (1874-1947); “Si mes vers avaient des ailes” (If mY Word Had Wings) and “Les Papillons” by Ernest Chausson (1855-1899); and “Apparition” with Olivia Pogodzinski, soprano, by Claude Debussy (1862-1918); from “Le Nozze di Figaro” by Wolfgang Amadeus Mozart (1756-1791), “Giùnse alfin il momento . . . Deh vieni, non tardar” with CatieLeigh Laszewski, soprano, and “Voi, che sapete” with Sheila Wilhelmi, mezzo-soprano; “Go, lovely rose” by Roger Quilter (1877-1953); “The Green Dog” with Jenny Marsland, soprano, by Herbert Kingsley (1858-1937 … I think!); “Love’s Philosophy” with Olivia Pogodzinski, soprano, by Roger Quilter; “At St. Patrick’s Purgatory” from “Hermit Songs” by Samuel Barber (below, 1910-1981); and “When I have sung my songs” by Ernest Charles (1895-1984).
Historical notes are being provided by Chelsie Propst (below), a fine young soprano who completed her Masters of Music in voice with Paul Rowe and is now a PhD candidate in Musicology. I add some Performance Notes/Suggestions and Diction pointers.
For this concert of 26 songs we will provide the full notes on about 10 songs and I will provide my own translations and International Phonetic Alphabet (IPA) transcriptions for all of them (except the final set of English songs).
This concert is the second in a series of four with number three taking place April 3, 2014 in Mills Hall and number four taking place during the 2014-15 school year.
The goal or plan at this point is to eventually complete a book tentatively entitled 100 Teaching Favorites for the Voice Studio. The book will begin with some chapters on vocal pedagogy, diction, ornamentation, and other issues followed by the 100 songs. Each song will have historical background written by Ms. Propst, followed by performance and diction pointers, translations and IPA.
Would you be so kind as to spread the word and announce this concert at your choir rehearsal?
Thank you so much. If you are able to attend please come and say hello after the performance.
Feel free to forward this e-mail to anyone you like:)
All the best,
Jim Doing, Tenor, Professor of Voice, University of Wisconsin School of Music, NATS National Voice Science Advisory Committee
REMINDER: At 7:30 p.m. tonight in Mills Hall, the UW Chamber Orchestra (below) under conductor James Smith performs a FREE concert. The program features the “Overture, Scherzo, and Finale” by Robert Schumann; the Symphony No. 88 by Franz Joseph Haydn and the “Siegfried Idyll” by Richard Wagner.
By Jacob Stockinger
Here is a special posting, a review written by frequent guest critic and writer for this blog, John W. Barker. Barker (below) is an emeritus professor of Medieval history at the University of Wisconsin-Madison. He also is a well-known classical music critic who writes for Isthmus and the American Record Guide, and who hosts an early music show every other Sunday morning on WORT-FM 89.9. He serves on the Board of Advisors for the Madison Early Music Festival and frequently gives pre-concert lectures in Madison.
By John W. Barker
Last weekend witnessed the acclaim justly given to John DeMain for what he has built the Madison Symphony Orchestra into during his 20 years with it. But on Sunday evening, there was a demonstration of the debt we owe to another conductor and his orchestra.
James Smith (below) has built his orchestral programs for the UW School of Music into something quire remarkable in their own terms. Evidence of this was on display at Sunday night’s concert in Mills Hall on the University of Wisconsin-Madison campus. A considerable, if hardly capacity audience, but an enthusiastic one, heard the 2013 season opening event for the UW Symphony Orchestra, in a really meaty program, to say the least.
To begin, Smith yielded the podium to Kyle Knox (below), a graduate student and conducting assistant, for Ludwig van Beethoven’s “Egmont” Overture. His was a young man’s projection of the familiar piece, not without nuances, but basically a propulsive and dramatic reading. The orchestra sounded confident and secure under his baton.
Smith then took over for a work of special appeal for me: the Third Symphony of Jean Sibelius.
For most of the public, it is the First, Second, and Fifth of Sibelius’s seven Symphonies that are likely to be familiar. Beyond those, some may know the austere Fourth, the enigmatic Sixth and the hyper-concise Seventh. But the Third has been overlooked consistently, which is a great pity.
The symphonies by Sibelius (below) are each highly individual and different from each other–with the exception of the Third and the Fifth. They are really two peas from the same pod, and, to be blunt, the Third is the fresher (and less hackneyed) of the two.
Its three-movement structure is for the most part a blueprint Sibelius then used for the Fifth. But, following the blowsy Second, I find that the Third has the spontaneity of a new and revitalized start in the composer’s self-definition. Quite frankly, it is my personal favorite among the Seven.
Smith seemed to find exactly that freshness in the work. His body language showed that he put himself wholly into projecting this inventive and colorful score. If only other conductors had his courage and gave this work more exposure!
The “biggie” of the concert was, of course, what followed the intermission. We have been rediscovering this year just how provocative and shocking Igor Stravinsky’s Le Sacre du printemps, or “The Rite of Spring,, can still be. When new, the work Stravnsky (below) was regarded by many musicians as unplayable. Now, any orchestra worth its salt can take it on — even a “student” orchestra.
But the UW Orchestra (below in a photo by John W. Barker) is no mere ”student” ensemble. James Smith has worked it up to a level of professionalism matching the standards and capabilities of ever so many big-city orchestras today. Oh, sure, a few very trifling and inconsequential fluffs at odd instants here and there, what any orchestra might risk. But this group has become an instrument on which Smith could play miracles. The players were totally with him, while his clear heat and precise cues gave them safe guidance.
Smith seemed to aim at an emphasis on rhythmic power, though he found passages to remind us of the work’s underlying Russian-ness amid all the “primitivism.” In his careful preparation of the many climaxes, he had his orchestra pour out torrents of sound that were extraordinarily compelling.
There were many individual players one might single out. For me, though, I found most fascinating the first of the two timpanists, a young woman who threw herself into her work with athletic abandon.
To sum up, this was a simply thrilling performance, within a totally wonderful concert.
It is a crying shame that the tightly limited attention paid by our journalistic establishment to Madison’s musical riches is so particularly restrictive in its recognition of the music-making available on campus. In any other place and circumstance, to have an orchestra and conductor such as the UW School of Music has blessed us with would be celebrated with due pride and attention.
But Madison’s audiences really should pay heed to what is being done on the UW campus.
Above all, it should give proper recognition to the wonderful work of the versatile James Smith (below in a photo by Jack Burns) with his various orchestra ensembles, which include the UW Symphony Orchestra, the UW Chamber Orchestra (which performs a FREE concert of Schumann, Haydn and Wagner tonight at 7:30 in Mills Hall) and the University Opera. (Smith is also the music director of the Wisconsin Youth Symphony Orchestras.)
I recall an incident when a local politician sneered: “Why should a university have a symphony orchestra?” To which the logical rejoinder might be: “Why should a university have a football team?”
REMINDER: The UW Chamber Orchestra (below) performs a FREE concert tomorrow, on Tuesday night, Oct. 1, at 7:30 p.m in Mills Hall. The program, under conductor James Smith, features Robert Schumann’s “Overture, Scherzo and Finale,” Franz Joseph Haydn’s Symphony No. 88 and Richard Wagner‘s “Siegfried Idyll.”
By Jacob Stockinger
But one of the most enjoyable events is also one of the most low-profile.
I am speaking about the weekly Friday Noon Musicales (below) that take place in the Landmark Auditorium of the First Unitarian Society’s historic Meeting House, near University Hospital, at 900 University Bay Drive off, just University Avenue on the city’s near west side.
It is not surprising that the Friday Musicales exist because the Unitarians in Madison — which has the highest concentration of Unitarians in the U.S. — always place a major emphasis on music, as did its famous architect Frank Lloyd Wright. (An excerpt from an All-Mozart Sunday is in a YouTube video at the bottom.)
You can bring lunch, drink coffee or tea, or, as I do, eat before and take along a small dessert.
But so often the midday music concert is itself the dessert, the real treat. Imagine the fun of hearing live music for a daytime break. It is like a parenthesis, a time-out or an oasis in the day. Often I have walked into the concert with less enthusiasm and energy than I left with. The music recharges me and provides a spark to get through the rest of the day.
The setting and presentation are informal. But I have found the audiences very appreciative and generally quiet and well-behaved, though sometimes the knitters and readers, especially if they are in the front rows, strike me as rude and disrespectful to the performers.
I have heard singers and solo pianists, string trios and string quartets, all kinds of soloists and ensembles and music.
The Musicale series starts again this week, this Friday Oct. 4. So The Ear asked the First Unitarian Society’s music director Dan Broner to provide some background.
The many-talented Broner (below) not only plans the concerts and performers, he also plays the pianist himself as an accompanist in many of the concerts.
Here is Dan Broner’s email Q&A with The Ear:
How long have the Free Friday Noon musicales been held? Are they expensive to put on and how are they funded?
They have been held since 1987. They are an outreach program to the community and funded by the First Unitarian Society’s operating budget. The costs are that portion of my salary for administering and performing in the series, plus piano tuning and minimal utility expenses.
The musicians donate their services, and the 45-minute concerts (they run 12:15 to 1 p.m.) are free and open to the public.
How successful have they been? What is the typical attendance and how it is trended in recent years? Do certain kinds of concerts (instrument, voice, program, performer) attract a bigger or smaller audience?
The Musicales attract listeners of all ages, but are particularly attractive to seniors, and workers who can attend during their lunch break.
They regularly attract between 50 and 75, numbers, which have been consistent for the past 11 years of my tenure.
Attendance would most likely be higher if it we had more parking. But we share the lot with the Meeting House Nursery School, which limits availability.
Generally instrumental performances attract a larger audience, and more well-known artists will generate a larger crowd as well.
What do you hear from the public as a reaction to the concerts?
Almost every week I will receive favorable comments from attendees who enjoy the Musicales. Some have stated that they are their favorite musical events.
The Musicales are scheduled between October and May and many folks have said that they are eager for the season to begin.
How do you line up artists and programs? Do they come to you or you come to them?
Many artists contact me. They are attracted by the historic Frank Lloyd Wright landmark venue (below): the architecture, acoustics and the fully restored 1889 Steinway Model A grand piano.
Often they are students and teachers from the University of Wisconsin School of Music and other area universities who would like a trial run of recitals they are preparing.
Every summer I send out an email to every artist who has performed in the series and many elect to perform again.
Are there special programs you would like to point out for the current season?
There are many intriguing musicales this season, but a few do stand out for me personally. I’m eager to hear the young Madison pianist Garrick Olsen (below top), who is playing on Dec. 6. I always enjoy hearing the fine violinist, Kangwon Kim (below middle), and I look forward to collaborating with her on the Johannes Brahms’ Sonata in G for Violin and PIano on Friday, Jan. 10.
The fine Chicago area virtuoso pianist Mark Valenti will be performing at the Musicales for the first time on Jan. 31. Madison native pianist Kathy Ananda-Owens, from the St. Olaf College music faculty, plays on Feb. 7 and the Black Marigold Woodwind Quintet (below bottom), which is always fun, performs on March 14.
Is there anything else you would like or add or say?
Thank you for the opportunity to comment on this unique series. We welcome new listeners and musicians interested in performing.
Please join us for the first Musicale on this Friday, October 4, at 12:15 p.m. Violist Shannon Farley (below), with guitarist Christopher Allen and pianist Greg Punswick, will be performing music of J.S. Bach, Franz Schubert, Robert Schumann and Cesar Franck.