By Jacob Stockinger
Instead, on the day before Labor Day, friends, students and family members will gather to celebrate the life of professor, pianist and musical patriarch Howard Karp (below, playing with his son, fellow UW-Madison School of Music professor and Pro Arte Quartet cellist Parry Karp), who taught and performed for many decades at the University of Wisconsin-Madison School of Music, in a memorial event.
The memorial is set for Sunday, August 31, at 3 p.m. in Mills Hall. Initial plans call for playing recorded live performances by Howard Karp; for selected speakers; and perhaps for some live music performances. As details develop, this blog will pass them along.
On June 30, in Colorado. Howard Karp died at 84 of cardiac arrest. He was so loved and so respected that news of his death brought this blog a record number of comments and remarks (more than 70 so far), and close to a record number of “hits” or views:
Here is a link to the post, which has a lot of photos provided by the family, that broke the news:
Here is a link to the obituary that appeared two Sundays ago in The Wisconsin State Journal (below, Howard Karp is seen performing at a recent Labor Day Concert with his wife Frances Karp and his two of his four grandchildren, actors Isabel and Ariana Karp):
Two stories have also celebrated Howard Karp as the patriarch of Madison’s First Family of Music (below in a past photo by Mike DeVries of The Capital Times, are, from left, violinist-pianist and doctor son Christopher Karp, who works for the Bill and Melinda Gates Foundation; daughter-in-law biologist and violist Katrin Talbot; Howard Karp; cellist son Parry Karp; and pianist wife Frances Karp):
One is from Isthmus by Sandy Tabachnick, who got statements from fellow pianists and teachers Christopher Taylor, Bill Lutes, Martha Fischer and Jessica Johnson:
Another memorable story about Howard Karp (below with his wife of 63 years Frances, who survives him) was filed by Susannah Brooks, who also spoke with UW-Madison School of Music head Susan Cook (below bottom), for the University of Wisconsin-Madison News Service:
And here is a wonderful appreciation of Howard Karp and the new 6-CD set of Karp’s live recordings by UW-Madison and WYSO alumnus Kenneth Woods (below). Woods is a composer, professional cellist and now the conductor of the English Symphony Orchestra, who is also an acclaimed blogger (“A View From the Podium”) and an honored recording artist whose releases include world premiere recordings of music by Hans Gal.
And, finally, here is a small excerpt from that new 6-CD set on Albany Records. It is a triumphant recording of the first movement of the epic Fantasy in C Major, Op 17, by the Romantic composer Robert Schumann, which was written to raise money for a memorial statue to Ludwig van Beethoven.
In mood and meaning, the masterpiece is a fitting tribute to Howard Karp and to the art, generosity and devotion to both beauty and love with which he lived his life. As a teacher, a friend, a family man and a performer, Howard Karp lived his long, rich life in the service of bringing and sharing whatever beauty he could to other people.
By Jacob Stockinger
The deadline for applying to be the new Program Coordinator of Grace Presents was originally this past Tuesday, July 15. But it has now been extended through the end of the month, to July 31. For details, see below.
In a city with a lot of FREE and accessible high-quality concerts, Grace Presents nonetheless offers an outstanding series that fits right in with the church’s mission of community service.
The program was the brainchild of founder and first director Bruce Croushore, who worked long and hard to ensure its success. The Ear has heard memorable and enjoyable vocal and instrumental music, from violin sonatas and a solo piano recital to art songs and opera arias, at Grace Presents. (At bottom is a YouTube video of the “Liebeslieder Waltzes” by Johannes Brahms.)
But now Croushore, a longtime reader and friend of this blog, has asked for help in advertising the position, and The Ear is happy to help.
Here is what Croushore, a retired businessman and consultant, writes:
“Grace Presents is a series of FREE noontime concerts that began in the spring of 2011 at Grace Episcopal Church, in downtown Madison on the Capitol Square.
“To date, three dozen diverse musical performances have been enjoyed by audiences that range in size from 30 to as many as 300. Most concerts take place at noon on Saturdays, so as to attract Dane County Farmers’ Market shoppers (below).
Grace Presents’ mission is to open the doors of Madison’s historic landmark, Grace Church, by continuing the ancient tradition of music in the marketplace. (Below are photos of Grace’s exterior and its interior, which features beautiful furnishings and great acoustics.)
Grace Presents also offers free concerts of exceptional quality by local performers representing a wide variety of musical styles including classical, jazz, world and folk. (Below, Madison Symphony Orchestra violinist Laura Burns and pianist Jess Salek perform the complete violin sonatas by Johannes Brahms at Grace Presents.”)
Grace Presents attempts to attract and enrich a broad audience, including downtown neighborhood residents, secondary school and university students, farmers’ market shoppers, local business people, state workers, local visitors, tourists, and people who are homeless.
Grace Church’s close proximity to Overture Center, Monona Terrace and downtown shops, restaurants, museums and offices encourages attendees to walk, ride bikes or to use public transportation, and reduces the carbon footprint of an excellent cultural event.
Grace Presents seeks a Program Coordinator whose duties include:
1. Engaging musicians to perform 8-12 concerts throughout the calendar year. This includes scheduling dates that work for the musicians, Grace Church and the community at large. Dates should be far enough in advance to allow for promotion of each concert. At times, program content may be specific to a given audience (i.e., children or shelter meal participants).
2. Preparing and disseminating publicity through various media, including online and print listings, social media and similar promotional opportunities.
3. Arranging payment for musicians, including completing paperwork and coordinating checks with the church’s Finance Administrator.
4. Preparing and arranging the printing of programs, posters and flyers for the concerts.
5. Acting as a liaison between performers and the venue of Grace Church.
6. Attending the concerts to assist with day-of logistics and taking care of musicians’ needs, except in special circumstances.
7. Attending periodic meetings of Grace Presents’ Task Force.
8. Completing and submitting grant applications with the assistance of task force members.
QUALIFICATIONS: This is an excellent opportunity for someone interested in gaining experience in concert promotion and arts administration. That includes students at the University of Wisconsin-Madison and Edgewood College.
Strong organizational and communication skills, as well as a working knowledge of social media, are necessary.
Familiarity with the Madison music scene, both commercial and educational, is a plus.
COMPENSATION: T he program coordinator receives a quarterly honorarium of $500, paid in advance.
APPLICATION DEADLINE: Apply by email with a resume attached by not later than July 31, 2014.
Although the Grace Presents’ concert series is booked through December 2014, the task force intends to fill the position in the near future so that the current program director will be able to train a successor over the summer.
CONTACT: Write to Bruce Croushore at firstname.lastname@example.org
ALERT: Here is a reminder that tonight, Wednesday, July 16, at 7 p.m., the Wisconsin Chamber Orchestra under conductor Andrew Sewell will perform the most classical Concert on the Square of this summer season. For the program “A Little Night Music,” the guest soloist will be WCO Concertmaster violinist Suzanne Beia (below), an accomplished and always busy musician who also plays in the University of Wisconsin-Madison Pro Arte Quartet.
The concert is on the King Street corner of the Capitol Square, and blankets may be placed on the lawn at 3 p.m.. It is road construction season, so remember to allow plenty of time for travel. It will be cooler than normal too, so bring something warm as to wear as the sun sets.
Click here for Suzanne Beia’s biography:
The program includes: The first movement from “Eine Kleine Nachtmusik” by Wolfgang Amadeus Mozart; the first movement from the Violin Concerto in E Minor by Felix Mendelssohn; the first movement from the Symphony No. 6 “Pastorale” by Ludwig van Beethoven; and the third movement from the Symphony No. 6 “Pathetique” by Peter Tchaikovsky.
By Jacob Stockinger
This won’t take long.
The Ear just wants to remind you about a FREE 45-minute organ concert by prize-winning Korean-American organist Ahreum Han (below), a graduate of the prestigious Curtis Institute of Music in Philadelphia, that will take place this Saturday, July 19, at 11 a.m. in Overture Hall at Overture Center for the Arts.
Here is the press release:
“Step into the cool expanse of Overture Hall on Saturday, July 19, during the Dane County Farmers’ Market (below top) on the Capitol Square to enjoy the gift of beautiful music with the Madison Symphony Orchestra‘s Overture Concert Organ (below bottom) that was custom-built by Klais Organ Works in Bonn, Germany.
“Bring your family and friends for a relaxing 45-minute concert. No tickets or reservations are needed and all ages are welcome!”
Here is more information and a detailed program from the MSO website:
Jacques Offenbach (1819-1880), transcribed by Ahreum Han, “Overture to Orphée aux enfers” (Orpheus in the Underworld); Johann Sebastian Bach (1685-1750), Sinfonia from Cantata 29; Johannes Matthias Michel (b.1962), Three Jazz Preludes, I. Swing Five (Erhalt uns, Herr); II. Bossa Nova (Wunderbarer König); III. Afro-Cuban (In dir ist Freude); Camille Saint-Saëns (1835-1921) “My Heart at Thy Sweet Voice” from “Samson and Delilah”; Louis Vierne (1870-1937), Naïdes from Fantasy Pieces, Op. 55, No. 4, and the Finale from his Symphony No. 6 in B minor, Op. 59.
The program and artist subject to change.
For a full and very impressive biography of Han, who now lives and works in Davenport, Iowa, here is a link to the MSO website:
By Jacob Stockinger
This week, in conjunction with the 15th annual Madison Early Music Festival that is running from Saturday, July 12, to Saturday, July 19, the second annual Handel Aria Competition will take place this Thursday, July 17, at 7:30 p.m. in Music Hall, 925 Bascom Mall, at the foot of Bascom Hill on the campus of the University of Wisconsin-Madison. A free pre-concert lecture will be given at 6:30 p.m. in Room 2650 of the nearby UW-Madison Mosse Humanities Building by John W. Barker, who writes music criticism for Isthmus and for this blog and who is a big and longtime Handel enthusiast.
NOTE: The Handel Smack-Down will NOT take place in Mills Hall, as it did last summer, because Mills Hall at the UW-Madison School of Music, is closed while it undergoes an upgrading of its electrical system.
The Handel Aria Competition was established in 2013 to encourage emerging singers to explore the repertoire of Handel. Founders Dean and Orange Schroeder (below bottom), who own Orange Tree Imports on Monroe Street, are enthusiasts of the vocal repertoire of George Frideric Handel (below top) and are lifelong supporters of the arts.
Here is a link to the Q&A Dean Schroeder gave The Ear last summer:
An ongoing partnership with the Madison Early Music Festival has helped to continue the program, which is not actually part of MEMF.
This year over 60 singers applied. Seven were selected as finalists who were then invited to compete for scholarship awards to be used toward their professional development as young artists. That number, by the way, is fewer than last year, which should make the concert more manageable and enjoyable for both the public and the performers.
The live competition of the final round is what is being held Thursday.
The finalists for the 2014 Handel Aria Competition are: Nan Li, Sarah Brailey, Daniel Moody, Chelsea Morris, Michael Roemer, Yukie Sato, and Daniel Shirley. (At bottom is a YouTube video of Elisa Sutherland, who won last year’s competition. You can also hear other competitors on YouTube.)
Full biographies are available on the Handel Aria Competition website. Here is a link:
This year’s competition is “new and improved,” it seems. Last year, just a solo harpsichord – finely played by two early music keyboard players – accompanied the singers. This time, they will be accompanied by a consort that includes a harpsichord, two violins, a viol and a viola da gamba.
Judges include faculty members and performers from the Madison Early Music Festival: Kristina Boerger, Drew Minter, Ian Pritchard, and Nell Snaidas. (Below are last year’s judges taking notes.)
Tickets are $10 and are available in advance through Brown Paper Tickets and are online at www.handelariacompetition.com.
You can also phone 1-800-838-3006.
On the day of the show, tickets go on sale in person at Music Hall at 6 p.m. – CASH ONLY — with doors to the theater opening at 7 p.m.
Please note: As the event is in Music Hall this year due to renovations taking place in Mills Hall, seating is limited to 375 audience members. Last year nearly 500 people attended the concert. Advance purchase is highly recommended.
For complete information, including performer biographies and qualifications of the judges, visit www.handelariacompetition.com
By Jacob Stockinger
Last night, I heard a fine concert of works by Felix Mendelssohn and Franz Joseph Haydn performed by the Madison Area Youth Chamber Orchestra (MAYCO). The youth group was founded and is still directed and conducted by the young violist and conductor Mikko Utevsky, who is a scholarship student at the University of Wisconsin-Madison School of Music.
Mikko (below) is very accomplished and clearly started viola lessons when he was very young, as I suspect most of the outstanding orchestra musicians and the exceptional piano soloist Thomas Kasdorf did. By the time he was a student at Madison East High School, Mikko had founded MAYCO. He had also spent many years in the Wisconsin Youth Symphony Orchestras.
He is articulate and impressive, to be sure.
Truth be told, I am always impressed by the achievements of young musicians, whether they are pre-school or elementary school students in Suzuki classes or in piano recitals, or middle school and high school students.
But what about adult students?
The Ear knows many newly retired people who say they want to take music lessons but are reluctant and think it is simply too late to start and have any success.
Now, I will admit that feel lucky that I play the piano, which I think is easier to pick up again later in life, largely because the notes are there right under your fingers and you don’t need a great ear.
But other instruments — strings, winds and brass — can also be learned or resumed late in life.
As a way of encouraging such people, I offer this story from NPR. It is an interview with Ari L. Goldman (below top and in a YouTube video at the bottom), a journalism professor at Columbia University in New York City, about his new book, a first-person account of resuming cello studies and participating in “The Late Starters Orchestra” (below bottom), which is an orchestra made up of fellow late-starters, of older people and adult students.
Enjoy –- and start practicing if that is what you really want to do — because it is possible.
Here is a link to the NPR story and interview:
By Jacob Stockinger
The Ear’s loyal friend and good source Kent Mayfield, who brings classical music to rural areas of southwest and south-central Wisconsin, writes:
“Music for a Summer Evening” — the annual series of concerts sponsored by the Rural Musicians Forum — moves to the Hillside Theater (below) at architect Frank Lloyd Wright’s historic Taliesin compound on this coming Monday, July 14.
There is no admission charge for the concert. However, a free-will offering assists in underwriting the concert series.
The concert will feature “Songs of Norway,” an evening with the works of Norwegian composers, who capture the musical landscape of Norway in a haunting, tender way.
Fulmer will open the concert with a piece that she remembers her grandmother, a Finnish immigrant, singing to her.
“I’m sure she sang several pieces,” she says, “but one song that remains a vivid memory is “Tuoll’ on mun kultani.” I sing it without accompaniment, just the way I remember her singing it, and it casts a spell every time. I feel as if I am channeling her voice and her experience of coming through Ellis Island, missing her home country, and connecting to Finland by singing the song.”
Fulmer (below) will also sing a winsome array of pieces by prominent composers of Norway.
For his part, Madison pianist Michael Keller will focus on the works of Edvard Grieg (below). Grieg is best known for his Piano Concerto in A minor and Peer Gynt (which includes “Morning Mood,” “Anitra’s Dance” and “In the Hall of the Mountain King”). His solo piano works include his “Lyric Pieces” as well as longer, less folk music-inspired pieces like the Ballade.
The Ear likes the program a lot and finds it very appealing and welcome, despite the day being Bastille Day, which should celebrate France, the French and the French Revolution. The lovely and accessible music of Edvard Grieg is simply too often overlooked and underplayed, even on the radio.
Adds Mayfield: “It was said that Grieg painted the people, the scenery, and the moods of Norway in music. His use and development of Norwegian folk music in his own compositions put the music of Norway in the international spectrum, as well as helping develop a national identity. In many ways, Edvard Grieg is to Norway what George Washington is to America and William Shakespeare to England: his country’s most celebrated human icon.”
“To close the program, Keller will be joined by violinist Steven Bjella (below) with the Sonata No. 2 in G major Op. 13 for violin and piano, which allows Grieg’s unique and colorful character to shine through with great power and elegance.” (You can listen to the haunting violin sonata played by violinist Vadim Repin and pianist Nikolai Lugansky in a YouTube video at the bottom.)
In all, the concert promises to be a moving tribute to Edvard Grieg and his fellow Scandinavian composers in the unique architectural space at Taliesin’s Hillside Theater. The theater is located at 6604 State Highway 23, in Spring Green near the Wisconsin River. The concert begins at 7:30 p.m. Seating is limited.
By Jacob Stockinger
It has been a good summer for the Bach Dancing and Dynamite Society.
Make that a GREAT summer.
It was all to mark its 23rd annual season, and mark it they did, in high style.
Thanks to BDDS, I wandered far and wide without ever leaving my seat. Here is what I did last Friday and Saturday:
I went to the movies.
And I found out that after almost a century, silent movies still work their magic. In the 1916 film “The Count” actor-director Charlie Chaplin is still brilliantly funny, and provokes loud laughs and astonished admiration for his physical pratfalls, his absurd no-win situations, his precise direction, his perfect timing, his stunts and his facial expressions.
Plus, it all happened during the duo-piano score of “Le boeuf sur le toit” (The Ox on the Roof) by Darius Milhaud and played with perfect timing and image-synching by Randall Hodgkinson and Jeffrey Sykes, who played complete with popcorn and a soda.
The Ear says “Do It Again” next summer and in the future. The mixed media event was terrific and informative entertainment.
What movies I didn’t see, I heard.
Take American composer William Hirtz’s Variations for Piano-Four Hands on Themes from “The Wizard of Oz.” From the title, it sounds goofy and too pop-like. It even seems a reach to call it classical music. But it proved an undeniably and impressively virtuosic piece for the duo-pianists Randall Hodgkinson and Jeffrey Sykes.
Fun was added by the appearance of Dorothy (BDDS executive director Samantha Crownover, below top) in her ruby slippers and one of the guards of the Wicked Witch of the West. How BDDS!
I went once again to South America, the geographical center of this BDDS season.
What took me there was the music, this time the Poem for Flute and Piano by an Argentinian named Angel Lasala (below). Never heard of him. Too bad for me. But NOW I have and am glad.
I also went there specifically through the flute, which, along with the guitar, seems the instrument of choice for the southern continent. (Remember the haunting use of the flute in “El Condor Pasa” – which would have made a great solo flute encore — and other Andean folk songs.) And it was played with such complete mastery by BDDS co-founder and co-artistic director flutist Stephanie Jutt (below) that she made a wind instrument sound percussive as well as lyrical.
I went to The Land Where Unknown Music Goes.
That is how I heard a great but neglected Trio for flute, violin and piano by Italian composer Nino Rota, more famous for his scores for movies by Federico Fellini than for his own chamber music, which is quite good. (Hollywood movie scores are getting more and more validity in the concert hall. Next season the Madison Symphony Orchestra will do a program with a lot of them written by exiles from Adolf Hitler and Nazi Germany.)
It is also how I heard neglected French composer Philippe Gaubert (below) through his rarely performed “Three Watercolors” for flute, cello and piano in which Jutt’s flute tone perfectly matched the idea of watercolor transparency and watercolor sensuality.
Even such a mainstream and popular composer as Maurice Ravel became more exotic, exciting and engaging with his Sonata for Cello and Violin with violinist Axel Strauss and cellist Jean-Michel Fonteneau (both below) of the San Francisco Trio. It is fiercely difficult and thorny to play. Ravel worked on it for two years. The Ear thinks it is Ravel’s most modern and serious work, his most unusual sounding composition. So I have to listen to it again. It’s good to rediscover something old in a new way.
But I also went to the Land of Great and Unforgettable Music.
It also always good to hear familiar music and genuine masterpieces played superbly. And that is exactly what I heard in Anton Dvorak’s Piano Trio in F Minor, Op. 65, which too often takes a back seat to the more famous “Dumky” Trio.
And I don’t think I will ever hear a better performance — despite a snapped cello string that had to be replaced mid-performance — of Dmitri Shostakovich’s dark Piano Trio No. 2 in E minor, Op. 67. It was forceful, whether biting or elegiac, and so impressed the animated audience that it — and not the more timid Gaubert — should have been the concluding work on the “Cut and Run” program. (You can hear the captivating Finale in a YouTube video at the bottom.)
We are one lucky city to hear the San Francisco Trio (below) in these works. The Ear, for one, can’t get enough of the threesome.
I don’t know what else to say except that even with the main concert season over, The Ear doesn’t think he will be making a lot of vacation plans in the future if they overlap with performances by the Bach Dancing and Dynamite Society.
And he suggests that you do the same.
By Jacob Stockinger
I have seen him live in concert and in person only once.
But over decades I have seen him many times in The New York Times and especially on PBS, particularly on “Live from Lincoln Center” and, if I recall correctly, “American Masters.”
I have heard him in regular subscription concerts and also, I think, in Mainly Mozart concerts. I think I have even heard him solo at least once or twice, maybe more.
And chances are, so have you.
The Ear is not surprised that the retirement of Glenn Dicterow this past weekend made the media in a major way.
He is a smart, talented, humorous, good-natured and articulate man and musician who has a lot to say about music and about working with some celebrated figures, including conductors Leonard Bernstein (below), Zubin Mehta, Kurt Masur, Lorin Maazel and Alan Gilbert.
The stories about Dicterow also give us a renewed and expanded appreciation of the role of a concertmaster, and how a concertmaster can affect an entire orchestra and how the orchestra sounds and how its members get along with each other and with the maestro.
Dicterow played his swan-song concert this past weekend.
Here are backstories and a review of his final “New York Phil” concert:
Here is the story that appeared on the outstanding “Deceptive Cadence” blog on NPR:
And here is a similar story, with lots of facts, including his incredible salary, from The New York Times:
Here is the story that ran in the Wall Street Journal:
Here is a review of his last concert with the New York Philharmonic performing the Triple Concerto by Ludwig van Beethoven with New York Philharmonic principal cello Carter Brey and guest pianist-in-residence Yefim Bronfman, who played two Beethoven piano concertos (Nos. 2 and 5, the “Emperor”) this past season with the Madison Symphony Orchestra under John DeMain.
Finally, and in case you thought ensemble players were necessarily less virtuosic than soloists, here is a YouTube video of Glenn Dicterow playing the fiendishly difficult “Carmen” Fantasy by composer Franz Waxman (below), who is better known for the Hollywood movie scores he wrote after he fled Nazi Germany. Dicterow plays it with the New York Philharmonic conducted by Zubin Mehta. (You can also see him perform other works and talk about his role as concertmaster on YouTube.)
Sounds like Glenn Dicterow will be a fantastic teacher at the same school in Los Angeles, California where the legendary violin virtuoso Jascha Heifetz taught for so many years:
By Jacob Stockinger
This summer, The Ear has yet to see a missed opportunity or hear a false note from the Bach Dancing and Dynamite Society, which seems headed for a perfect season.
I find that each of the two weekend programs that the BDDS offers in three venues for three weekends each summer usually rewards me with a generous share of pleasure plus important lessons and pleasant surprises. Little wonder, then, that the BDDS has had its best second weekend ever last Friday, Saturday and Sunday, according to BDDS executive director Samantha Crownover.
Last weekend certainly did offer much pleasure, plus many lessons and surprises, with the “Take a Hike” and “Hasta la Vista, Baby” programs. And there is no reason to think that this coming weekend’s two programs — “Cut and Run” and “Hightail It” — won’t do the same.
So here are some quick looks backward that are likely to serve as good looks forward.
Here is a link for more information about performers, date and times, programs and tickets:
An avid amateur pianist myself, I get to hear terrific pianists whom I can emulate and who inspire me to practice and play better.
Almost every concert features BDDS co-founder and co-artistic director Jeffrey Sykes, who teaches at University of California-Berkeley and California State University-East Bay. Sykes never disappoints. He is a master of different styles, color and dynamics — in short, an ideal collaborator.
And last weekend, this Pianist for All Seasons demonstrated yet another skill with his improvised embellishments and ornamentation on themes and passage work in a well-known Mozart piano concerto (Piano Concerto No. 23 in A Major, K. 488).
This weekend Sykes will play by himself in piano trios by Dmitri Shostakovich and Antonin Dvorak with the San Francisco Piano Trio of which he is a member. He will also perform duets and trios with his BDDS co-founder and co-artistic director flutist Stephanie Jutt. Particularly noteworthy is that this weekend, Sykes will again be joined by fellow pianist Randall Hodgkinson (below) in works for one piano, four hands, one by Darius Milhaud with a Charlie Chaplin movie to accompany it. Hodgkinson teaches at the New England Conservatory of Music and Wellesley College, and he is really good.
Still, the real piano treat last weekend was tango pianist – and also music arranger -– Pablo Zinger (below), a native Uruguayan who now lives in New York City. Zinger once arranged music for and performed the works of Argentinean tango master Astor Piazzolla. And it was in two evenings of Piazzolla’s tangos that Zinger displayed his amazing skills.
I watched how carefully he pedaled, never overdoing it. I listened to how well he balanced volume with other instruments. I heard his unfailing ability to execute complex rhythms and to quickly but naturally change tempi. I listened to what seemed an undeniably classical keyboard technique that allowed him to play multiple voices independently, as in a Bach fugue. Articulate and laconic, Pablo Zinger (below top, he is talking; below bottom, he is playing) proved nothing short of a master instrumentalist, not just some generic dance-band pianist. I don’t think I will ever forget his rendition with BDDS of Astor Piazzolla’s heartbreakingly beautiful “Oblivion,” which you can hear in a comparable chamber music arrangement in a YouTube video at the bottom.
I get to hear first-rate, terrific artists from out-of town.
Some of the performers who were familiar from past BDDS seasons included husband-and-wife cellists Anthony Ross and Beth Rapier, who both play with the Minnesota Orchestra. They are terrific separately and together, as when they played the only Concerto for Two Cellos composed by Antonio Vivaldi (below) whose appealing works we hear played live too infrequently.
Violinist Carmit Zori, who is the founder and artistic director of the Brooklyn (NY) Chamber Music Society, never fails to impress me with her sound and her expressiveness. This was especially true is the Romance, Op. 23, for Violin and Piano by Amy Beach, which I had never heard before. (You can hear it below in a YouTube video of Chicago violinist Rachel Barton Pine, who also discusses the American violinist Maud Powell to whom the Romance was dedicated and who gave the world premiere of the work. Barton Pine will perform with the Wisconsin Chamber Orchestra next season.)
The Beach Romance also reminded me of what a great strategy it is to open a concert with a slow piece to help get the audience into The Zone. In a way, it seems like back to the future, back to Baroque-era sonatas that went Slow-Fast-Slow-Fast rather than the Classical-era style of Fast-Slow-Fast in their sequence of movements. More concert programs should do the same.
Clarinetist Alan Kay, who performs in New York City and who teaches at both the Mannes School of Music and the Juilliard School of Music in New York City, proved simply sublime in the great “autumnal” Clarinet Trio by Johannes Brahms as well as other pieces. What tone, color and control the man has. He made klezmer-like passages both howl with laughter and lament with moans.
I get to hear unknown or neglected repertoire, both old and new.
Last weekend, as I said earlier, one gem was the Romance for Violin and Piano by Amy Beach; another was the chamber music arrangement by Johann Nepomuk Hummel of a Mozart piano concerto. I also liked a pampas- or gaucho-inspired work by Alberto Ginastera for cello and piano. Contemporary composer Osvaldo Golijov’s string quartet and clarinet called “The Dreams and Prayers of Isaac the Blind” (1994) was breathtaking.
This weekend I will get to hear music by composers I have never even heard of: Philippe Gaubert (below top), who, I suspect, sounds a bit like Gabriel Faure, and will feature virtuoso flutist Stephanie Jutt, BDDS co-founder and co-artistic director ; plus another Argentinean composer Angel Lasala (below bottom) and William Hirtz (below bottom right with pianist Jon-Kimura Parker on the left), who are also complete unknowns to me. That adds excitement.
I learned that the importance of dance forms in music survives.
In Baroque suites like the French and English Suites of Johann Sebastian Bach, the Concerti Grossi of George Frideric Handel and of various Italian composers, you find the allemande, gigue, minuet and sarabande among other dance forms.
In the Romantic era, it was the waltz, the polonaise, the mazurka, the polka and the Slavonic Dances of Antonin Dvorak and Hungarian Dances of Brahms.
Right into that tradition fits the Tango or, more precisely, the “new tango” or “nuevo tango.”
I could go on, but, you get the idea.
I find the Bach Dancing and Dynamite programs extremely well planned and then extremely well executed. And I am not alone, as repeated standing ovations demonstrate (below left at the Stoughton Opera House, below right at The Playhouse in the Overture Center).
To miss music and performances as fine as these is to cheat yourself.
And that just doesn’t make sense, does it?