By Jacob Stockinger
Thank you, Middleton Community Orchestra.
Surely The Ear can’t be the only person who is starting to feel unpleasantly overwhelmed with holiday music — to say nothing of holiday shopping and holiday cards, with holiday this and holiday that.
Holiday music seems ever-present this time of the year. It is in stores and malls, on the radio and TV, in the churches and even in the many concert halls. And it has been going on for weeks, if not months.
So coming into the home stretch of Christmas Week, The Ear is feeling particularly grateful to the Middleton Community Orchestra (below), a largely amateur group that also includes some very accomplished professionals.
The MCO rarely, if ever, disappoints me. But this upcoming concert, which is NOT billed as a “holiday” concert, seems especially inviting since it promises to offer the gift of music –- not just holiday music, but real music.
Coming into Christmas Week, I find this to be a very welcome offering, a pitch perfect program.
The concert not only features terrific music but also the right length at the right cost, and includes some post-concert meet-and-greet socializing so you can meet the musicians and other audience members.
Here is the announcement from MCO co-founders Mindy Taranto and Larry Bevic:
The Middleton Community Orchestra’s December concert is this coming Monday, Dec. 22, at 7:30 p.m. at the Middleton Performing Arts Center, which is attached to Middleton High School, at 2100 Bristol Street, a simple right turn off University Avenue going west towards the Beltline a few blocks before Parmenter Street.
The MCO is excited to be sharing the stage with Madison Symphony Orchestra principal clarinetist Joe Morris (below top) who will be performing the Concerto for Clarinet and Strings by the 20th-century English composer Gerald Finzi.
You’d be counting down the days if you have heard Joe play (below top, in a photo by Cheryl Savan), and the work by Gerald Finzi (below bottom) is a beautiful piece through which Joe’s amazing clarinet playing soars.
Don’t miss the chance to hear Joe, the MCO and this beautiful concerto. How many 24-year-olds do you know who have won an audition from among 60 other clarinettists vying for the job? Come hear one of our local treasures.
The concert will be conducted by Middleton High School music teacher Steve Kurr (below).
The program starts with the popular and rousing “Academic Festival Overture” by Johannes Brahms (below), which uses tunes from German drinking songs and which Brahms composed to celebrate an honorary degree he received.
Then, after the lovely Finzi concerto, please stay so you can experience the irresistible energy and drive of Symphony No. 7 by Ludwig van Beethoven (below), which concludes the program. It is many people’s favorite Beethoven symphony and was highly thought of by the composer and other famous composers including Richard Wagner who famously called it “the apotheosis of the dance” because of its lively rhythms.
We hope to see you Monday. Tickets are $10, with students admitted free of charge. Advance tickets are available at Willy Street Coop West or at the door on the night of the show starting at 7 p.m. You can also call (608) 212-8690 to reserve tickets in advance.
There will be a reception (below) for the audience and musicians after the concert.
For information about the Middleton Community Orchestra, including how to support it and how to join it, here is a link to its website:
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 for 20 years hosted an early music show every other Sunday morning on WORT FM 89.9 FM. He serves on the Board of Advisors for the Madison Early Music Festival (MEMF) and frequently gives pre-concert lectures in Madison. And he also provided the performance photos for this review.
By John W. Barker
Trevor Stephenson (below top) and his Madison Bach Musicians (below bottom) have established a solid tradition of offering a December “holiday” concert as a triumphant antidote to the debasement of musical life that the Christmas season seems to bring inevitably with it.
It was further testimony, also, of Stephenson’s thriving collaboration with Marc Vallon of the University of Wisconsin-Madison School of Music faculty. Vallon chose a good many of the selections, organized the program, conducted (below top) some of it, and played the dulcian (Baroque bassoon, below bottom on the right).
In that last, Vallon was joined by his wife, Martha Vallon, on viola da gamba as well as by Anna Steinhoff on the same instrument, violinists Kangwon Kim and Brandi Berry, plus Linda Pereksta on recorder.
There was also a fine vocal quartet of soprano Chelsea Morris (below, far left), alto Sarah Leuwerke (far right), tenor Kyle Bielfeld (center left) and bass Davonne Tines.
Stephenson himself, held much of it together playing on a dandy “orgel positif” or chamber organ, made all of wood.
The program was a nicely varied mix of vocal and instrumental music, and going back further than the usually featured 18th century.
Of the vocal works, all but one were sacred in character and function, though few were specifically related to the Christmas season.
The 16th century was represented by Orlando di Lasso (1532-1594) in four Latin pieces for the vocal group alone. (One was an extraordinary chromatic study, typical of the composer’s experimentation with tonic bypassing of the old modal system.) The rest of the material was effectively from the 17th century, a time of wide explorations of the new Baroque idiom.
After an organ fugue by Giovanni Gabrieli, the explicitly instrumental pieces came from the pens of Johann Schenck (1660-1716), and Antonio Bertali (1605-1669), with varying instrumentations—the one by Schenck for two gambas (below, with Martha Vallon on the left and Anna Steinhoff) was particularly delicious.
Again in varying combinations, singers and players joined in selections by Heinrich Schütz (1585-1682), Johann Froberger (1616-1692), and Johann Schelle (1648-1701), as well as by two members of the musically prolific Bach family, of generations before Johann Sebastian Bach: Heinrich Bach (1615-1692), and Johann Michael Bach (1648-1694). The latter’s double-choir German motet provided a chance for all 11 performers to come together for a grand finale (singers in one choir, instruments in the other).
German was the predominant language of these vocal works. But an interesting curiosity was an adaptation that Heinrich Schütz made (his SWV 440), fitting a German translation to Italian composer Claudio Monteverdi’s Italian madrigal, “Chiome d’oro” (the Monteverdi version is in a YouTube video at the bottom).
All the performers were expert in their work, though the two gamba players were particularly appealing among the instrumentalists, while — with no disrespect to the others — Morris and Leuwerke were truly wonderful in their singing assignments.
What matters most is that Stephenson and his colleagues have once again demonstrated that the realms of early music have endless treasures to offer — ones most particularly welcome on the parched December scene.
A large and enthusiastic audience testified to public recognition of that fact.
ALERT: The Madison Symphony Orchestra has started its annual holiday cut-rate ticket sale. And you can get some great deals. Between now and Christmas Eve (Dec. 24), you can buy seats for $20 (with a value up to $44) and $45 (valued up to $88). The spring has four concerts, two of which feature piano concertos by Johann Sebastian Bach, Frederic Chopin and Franz Liszt plus a concert of music by exiles from Nazi Germany in Hollywood during World War II and the Ninth Symphony by Ludwig van Beethoven and a violin concerto by Leonard Bernstein. For more information, visit: http://www.overturecenter.org/events/madison-symphony-orchestra/
By Jacob Stockinger
Well, today is another Shopping Day left before Christmas and other holidays.
With that in mind, The Ear usually offers lists that other media suggest about the best classical music recordings of 2014.
If you recall, I have already posed a link to the 57th annual Grammy Award nominations, which can be useful when it comes to holiday gift-giving.
Here is a link to that post:
And below is a link to the Top 10 classical albums that appeared on the appeared on the NPR (National Public Radio) blog Deceptive Cadence over the weekend. It is an eclectic list that features early music, well-known classics and new music.
You will find music by composers John Dowland, John Adams (below and at bottom in a YouTube video), John Luther Adams and Thomas Adès as well as Carl Philipp Emanuel Bach, Jean Sibelius and Carl Nielsen.
Performers include violinist Augustin Hadelich (below), who has played twice with the Madison Symphony Orchestra, and Leon Fleisher, who performed at the Wisconsin Union Theater; mezzo-soprano Joyce DiDonato; the New York Philharmonic under music director and conductor Alan Gilbert; and the Danish String Quartet playing works by Danish composers.
The list also shows CD covers and feature sound snippets and samples.
By Jacob Stockinger
(The Ear will forget for a while the stories about how blind hearing tests with professional violinists showed that new or modern instruments outscored the centuries-old masterpieces.)
For whatever reason last weekend brought two terrific stories about what goes into making world-class violins – in specific the violins, worth millions of dollars, by Antonio Stradivari (below) and other master crafters and luthiers in Cremona, Italy.
The stories followed the great violins — and also violas and cellos — from the special Italian spruce trees grown in the dolomite Alps, which are celebrated and serenaded with music, to the actual makers of the instruments and the overall cooperative music culture of Cremona, Italy.
The other was a great segment on CBS’ “60 Minutes.” It has great visuals and interviews. Here is a link:
And at bottom in a YouTube video, is a comparison test of old and new violin sounds. Listen to it, take it and see how you do.
What do you think of the comparison results?
The Ear wants to hear.
By Jacob Stockinger
If you follow this blog, you know the high respect that The Ear has for the Madison Bach Musicians (below) and its founder-director Trevor Stephenson, who is also a first-rate keyboard player and a supremely talented explainer whose talks are unfailingly instructive and entertaining.
Stephenson writes to The Ear about this weekend’s upcoming holiday concert, which will feature a lot of vocal music and compositions that are rarely heard in the usual holiday concert programs. Each year, he says, attendance keeps growing steadily for the early holiday music performed on period instruments with historically informed performance practices.
Here is what Trevor Stephenson (below) says:
This Saturday evening, Dec. 13, at 8 p.m. the Madison Bach Musicians will present its fourth annual Holiday Concert (below is a photo from the 2012 holiday concert) in the beautiful sanctuary of the First Congregational United Church of Christ, at 1609 University Avenue, near historic Camp Randall stadium.
The preconcert lecture is at 7:15 p.m. and the concert begins at 8 p.m. Tickets are $25 for the public, $20 for students and seniors over 65, and they are available at Orange Tree Imports, Willy Street Co-op (east & west), Farley’s House of Pianos, Room of One’s Own and Ward Brodt. For tickets bought at the door, add $5. Student rush tickets will be available for $10 with a valid student ID. For more information about tickets and about MBM, visit www.madsionbachmusicians.org
This year, MBM has set the “Way-Back” machine for the 16th and 17th centuries.
We’ll open with a set of five masterworks for a capella or unaccompanied vocal quartet by Orlando di Lassus.
In addition to soprano Chelsea Morris (below, who now lives in Madison and who won the second Handel Aria Competition last summer at the Madison Early Music Festival), and alto Sarah Leuwerke (who also lives here in Madison), two outstanding young singers from New York City will be featured. Bass Davone Tines and tenor Kyle Bielfield are both recent graduates in voice from the Juilliard School and both are concertizing extensively throughout the world. Here are their websites. http://www.davonetines.com/ and
The 16th and 17th centuries were full of religious upheaval, scientific advancement, global exploration and great advances in the dissemination of knowledge through the publishing revolution. The music printing presses as well really start rolling during these centuries.
The astoundingly beautiful music of Orlando di Lassus (below), which will open our upcoming concert, might have been largely unknown and –- after his death — even completely lost had it not been for the publishing houses (many of them in the Netherlands) that saw a strong market for this work.
It’s staggering really to think of the dozens, probably hundreds, of musicians pre-dating the advent of broad publication whose works existed only in a few handwritten copies that have not survived. Of course, even after publishing gets going in the latter part of what we now call the Renaissance in the 16th century, only a few composers enjoyed consistent press
What strikes me over and over again me about Lassus’ music is how the incredible complexity of its counterpoint is consistently directed toward a clear spiritual point. Remarkably, this miracle of style is still present 200 years after Lassus in the music of Johann Sebastian Bach, where the density of the countrapuntal fabric actually helps keep the emotion centered. Claude Debussy remarked how in Bach’s music “the issue is never lost.”
Also, Lassus treats the human voice so well; all four singers have beautiful, independent lines that weave together into a mesmerizing curtain of sound. Legend has it that Lassus’ voice itself was so compelling that as a young singer he was “absconded with” more than once.
For the second work on the program I’ll play a fugue on the positive organ. This type of organ weighs only about 200 pounds and is relatively portable; MBM borrowed this beautiful instrument, made by the Dutch builder Klop, from Stephen Alltop in Evanston, Illinois.
The fugue I’ll play is by Giovanni Gabrieli, music director at the magisterial St. Mark’s church in Venice, which still stands today. Pieces like this fugue were typically composed in “open score,” simply four independent lines with no instrumental designation — the counterpoint is so great, the music works in any medium. I always imagine what it might have sounded like on four sackbuts (Renaissance trombones) positioned in opposing galleries in a resonant space like St. Marks.
The program also features two viola da gambas, bowed though fretted instrument in roughly the same register as a cello (there are also tenor and treble gambas).
Gambists Martha Vallon and Anna Steinhoff will perform a sonata by Heinrich Schenck based upon the famous Rhinemaidens legend, though this work comes two centuries before Richard Wagner went ballistic on the idea in hid “Ring” cycle.
The first half of the program will end with instrumental sonatas by the Italian virtuoso violinist Antonio Bertali (below and in a YouTube video at the bottom), who worked most of his career in Vienna, and was known for importing early Italian opera into the Austrian region. We’ll mix baroque violins, gambas, recorder, dulcian and organ in the Bertali set.
The second part of the program opens with two pieces by German composer Heinrich Schütz (below).
The first is a celebratory Christmas piece (Christ the Lord is Born Today) for voices and instruments. That will be followed by a very secular piece, Golden Hair–for soprano, alto, two violins, and continuo—about how “you torture me with your beauty. Why won’t Venus send me some comfort! I languish and die.”
Seventeenth-century or whenever — how some things never change! Schütz worked at the Dresden court during the incredibly turbulent times of the Thirty Years War; some of his music is even designed for reduced ensembles, due to the ravages of the war. As a young man he traveled to Italy and studied with Monteverdi. Some of Schutz’s music is even directly borrowed, or adapted from Monteverdi, as is the case with Golden Hair as Schutz converts it from Italian to German.
Next are two works by Heinrich Bach (below), Johann Sebastian Bach’s great uncle. First is an instrumental transcription of “Have Mercy Upon Us, O Lord God” for two violins and two gambas. Second is the mezzo-soprano solo, with instrumental accompaniment, “Oh, had I tears enough in my head to wash away my sins.” This unusual work sounds almost like 20th-century expressionism in many places. The harmony is very gnarled, twisted and gothic. To me, Alban Berg’s Wozzeck is just around the corner.
Following this is a rare vocal work by the great 17th-century keyboard composer Johann Froberger (below). The inventive texture mixes three voices and instruments and the text celebrates the vanquishing of death and the ecstatic speaking in tongues by the Apostles when visited by the Holy Spirit. The vocal lines are very nimble and suggest the animation of “speaking in all languages.”
Johann Schelle’s wrote a good deal of seasonal music and this Christmas piece is a prayer to the infant Jesus imploring him to rest in our hearts so that we will never again forget him.
The sentiment is very close to that found in the final aria in J. S. Bach’s St. Matthew Passion, “Mache dich mein herze rein,” in which the soul expresses its longing to have the Savior entombed and enshrined within our hearts, so that we may live in grace. Schelle was the Kapellmeister at Leipzig during much of the latter part of the 17th century — two generations before J. S. Bach took the job in the early 1720s.
The final composer featured on this Holiday program, Johann Michael Bach, was the son of Heinrich Bach and was also the father of Johann Sebastian Bach’s first wife, Maria Barbara Bach. Put another way, Johann Michael Bach was J. S. Bach’s father-in-law. The text is from the Christmas gospel, where the angels implore the shepherds not to be afraid, but to rejoice, for the Savior has come to earth. J. M. Bach set the text for antiphonal choirs, and MBM will do this by having voices in dialogue with the instrumental band.
Here is the complete program:
Orlando de Lassus (c. 1532–1594): Ave Regina Coelorum; Adoramus te; Carmina Chromatico; Missa pro defunctis; Introit Jubilate Deo
Giovanni Gabrieli (1557–1612): Fuga del nono tono
Johann Schenck (1660–1716?): Sonata III for two viols from “Le Nymphe di Rheno”
Antonio Bertali (1605–1669): Sonata in A minor for two violins and continuo; Sonata in G major for recorder, violin and dulcian
Heinrich Schütz (1585–1682): Heute ist Christus der Herr geboren; Güldne Haare
Heinrich Bach (1615–1692): Erbarm dich ein, O Herre Gott (instrumental version).
Johann Froberger (1616-1667): Ach, dass ich Wassers genug hätte; Alleluia Absorta est mors.
Johann Schelle (1648–1701): Ach mein herzliebes Jesulein
Johann Michael Bach (1648–1694): Fürchtet euch nicht
By Jacob Stockinger
This year, the holiday gift-giving season went into high gear on Thanksgiving Day, not just Black Friday. That was followed by Small Business Saturday and Cyber Monday and on and on.
Doesn’t such commercialism of the holidays just make you want to break into “Joy to the World” or the “Hallelujah” Chorus?
Traditionally, The Ear has offered many lists and compilations for suggested classical recordings for the holidays — Christmas, Hanukkah, Kwanzaa, whatever.
Over this past weekend, the nominations for the 57th annual Grammy Awards were announced.
Of course, this event – no matter how hyped and prestigious for helping music — is an industry honoring and promoting itself. So of course classical music is way down on the list, far behind more money-making and better selling genres.
But over the years The Ear has found that the nominees are actually more useful than the much shorter list of winners, which doesn’t come out anyway until well after the holidays.
So here is a link to the complete list of Grammy nominations. Just go the website, and scroll down to Category 72 though Category 81.
Sure, the Big Labels and Gray Ladies – such as Deutsche Grammophon and EMI – are represented.
And so are some pretty big New Names, including the astonishingly gifted prize-winning young pianist Daniil Trifonov (below), who, The Ear thinks, show get a Grammy for his Carnegie Hall recital. (Just listen to the YouTube video, taken from that live recital, at the bottom. It features a difficult Chopin prelude and notice the virtuosic ferocity combined with lyricism, the voicing, and the flexibility of tempo or rubato.)
But once again The Ear notices how many recordings are being done by labels that have been established by the performing groups themselves or by smaller labels. Decentralization continues. So does the rediscovery of Baroque opera and early music as well as new music.
In addition, there continues to be an emphasis, established in recent years, on newer music and lesser known composers. So specialization also continues.
Notice too that veteran independent record producer Judith Sherman (below, holding the Grammy she won in 2012) is once again up for Producer of The Year – she has won it several times already.
Sherman is the same person who recorded the impressive first double CD of four centennial commissions for the University of Wisconsin-Madison Pro Arte Quartet. That release included string quartets by John Harbison and Walter Mays as well as Piano Quintets by Paul Schoenfield and William Bolcom.
This spring Judith Sherman is coming back to the UW-Madison School to record the last two commissions: the terrific Clarinet Quintet based on Allen Ginsberg’s Beat poem “Howl’ by American composer Pierre Jalbert (below top) and for the String Quartet No. 3 by Belgian composer Benoît Mernier (below bottom, in a photo by Lise Mernier).
More such suggestions for classical music gifts are to come.
Usually critics from The New York Times and The Wall Street Journal weigh in, as does Alex Ross of The New Yorker magazine and the Deceptive Cadence blog for NPR (National Public Radio), and The Ear will include those.
And often The Ear throws in his own idea for gifts, which often involves linking a local live concert with a CD or a book and a CD. Stay tuned.
And here is a link to more about the Grammys, including background
ALERT: This just in: This afternoon’s performance at 2:30 p.m. in Overture Hall of the Madison Symphony Orchestra‘s Christmas concert, with guest soloist and local groups under the baton of John DeMain (below, in a photo by Bob Rashid) is virtually SOLD OUT. But you can call the Overture Center Box Office (608-258-4141) to determine any availability.
By Jacob Stockinger
Sure, you look at the entirety of classical music history and you can name your favorite composers and favorite works: Johann Sebastian Bach and Ludwig van Beethoven’s Fifth Symphony and Ninth Symphony, right?
But there are surprises awaiting you, if you restrict the choices to the past century.
Looking over the past 100 years — starting Jan, 1, 1914 — who would have guessed, for example, that: Music for 18 Musicians (at bottom, in a complete performance in a YouTube video by the acclaimed and Grammy Award-winning new music group eighth blackbird) by contemporary minimalist composer Steve Reich (below, in a photo by Wonge Bergmann) would pull out ahead of George Gershwin, Dmitri Shostakovich, Bela Bartok, Charles Ives, Alban Berg and all others in last year’s Q2 Music poll?
Anyway, the terrific classical music blog “Deceptive Cadence” recently posted a story about the Q2 Music poll.
It included an entry form that will allow readers to pick up to FIVE works and composers as they participate in this year’s poll that dates back to Jan. 1, 1915.
Voting closes on Dec. 20, 2014.
Then, starting on Saturday, Dec. 27, as a way to close out the old year and ring in the new, a marathon countdown will begin and all the works will be played in reverse order of the survey results.
No word if it will be webcast, but The Ear suspects you can easily tune into Q2 Music by going to the website for WQXR.
Here is a link to the NPR story by Anastasia Tsioulcas and to the poll entry form.
And here is a link to WQXR where you can find a way to listen (at the top of the page), to sign up for the Q2 Music Newsletter and also see the results of the Q2 polls for 2011, 2012 and 2013 as well as the upcoming 2014. It makes for some interesting reading and listening.
And here is a link to a Dec. 2 concert, now archived at NPR, in which some of the best new recordings and music from 2014 was performed:
As for the Q2 Music poll, The Ear hopes someone chooses – make that that many people choose – the gorgeous Violin Concerto by the American composer Samuel Barber, who was less hot and controversial but much more gifted as a composer.
But whatever happens, have fun choosing and voting.
Don’t forget to use the COMMENTS section to tell The Ear and his readers what works you entered.
And don’t forget to fill in your date book for some happy listening to new music.
By Jacob Stockinger
This will be brief and is offered in case you haven’t yet heard the news.
Starting tomorrow, Dec. 7, WPR will expand the popular “Sunday Brunch” program -– now about two years old — with creator, programmer and host Anders Yokom (below, in a photo in his radio studio by James Gill) — into a third hour. It will air from 10 a.m. until 1 p.m.
It will also spread samples from new releases throughout the entire program, and not just during the last hour.
Then at 1 p.m., WPR will feature “Wisconsin Classical.” It offers recorded music from around the state of Wisconsin, with Lori Skelton serving as host. The Ear doesn’t consider it a good or adequate replacement for the cancellation of “Sunday Afternoon Live from the Chazen” (below), held FREE at the art museum on the campus of the University of Wisconsin-Madison.
Live music can just be so much more exciting than classical music.
Last spring, after 36 years of successful broadcasts and big audiences, WPR abruptly cancelled that program of LIVE chamber music and recitals by musicians from around the state.
That led to a lot of public disapproval and dozens of reader or listener responses, as you can judge from the following link:
But the new format is intended to give listeners the chance to hear some recorded — not LIVE — music from mainstream groups like the Madison Symphony Orchestra, the Wisconsin Chamber Orchestra and the Milwaukee Symphony Orchestra as well as by smaller groups, chamber music and solo recitals as well as faculty performances from the University of Wisconsin System and other private and public educational institutions in the state.
So tune in and listen and use the COMMENTS section to let us know what you think about the changes.
The Ear wants to hear.
ALERT: Two one-hour performances of the FREE Choral Prism Concert, featuring all of UW-Madison choral choirs, will take place on Sunday afternoon at 2 p.m. and 4 p.m. in Luther Memorial Church (below), 1021 University Ave. Performing short pieces of seasonal music — winter, Christmas, Hanukkah — under conductor and director Beverly Taylor are the UW Chorale, UW Concert Choir, UW Madrigal Singers, UW Masters Singers and Women’s Chorus Opera and Voice. There is an optional sing-along for the audience. Sorry, The Ear has received no word on specific composers and works.
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 for 20 years hosted an early music show every other Sunday morning on WORT FM 89.9 FM. 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
After almost 25 years, as the first and longest-surviving group bringing early music to Madison on a regular basis, the Wisconsin Baroque Ensemble (below) is still going strong.
And two days after Thanksgiving, on the tail end of a University of Wisconsin-Madison football game, it came up with a remarkably rich and generous program, performed at a familiar venue, the historic Gates of Heaven synagogue (below) in James Madison Park.
Part of the richness was the idea of a partial theme: commemorating the 300th anniversary year of the birth of Carl Philipp Emanuel Bach (below, 1714-1788).
Of eight program slots, three were devoted to C.P.E.’s music. The opening item was a Trio Sonata in D minor, for two flutes and basso continuo, played by flutists Brett Lipshitz and Monica Steger, with cellist Anton TenWolde cellist (below) and harpsichordist Max Yount. (You can hear the Trio Sonata in D minor at the bottom in a YouTube video.)
Written during C.P.E.’s service to the flute-obsessed Frederick the Great of Prussia, it is a conservative piece that still looks back to the late Baroque styles of the composer’s famous father, Johann Sebastian Bach. On the other hand, three short practice Sonatinas from the very end of C.P.E.’s life (played by Yount) can be related to the piano sonatas that Wolfgang Amadeus Mozart was writing exactly at the same time.
Most fascinating of all, however, was a Sonata for Viola da gamba and Harpsichord obligato, dating from 1759. An intricate and demanding work, it has its own musical substance, the opening of which Eric Miller (below, in photo by Katrin Talbot) brought off brilliantly, with Yount. But clearly as a duet for two equal instruments (abandoning the old keyboard continuo function), it gave hints of Ludwig van Beethoven’s cello sonatas, to come a half-century and more later.
As against the works of the birthday boy, instrumental pieces by three other composers were offered, composers roughly parallel in lifespan to C.P.E., but whose individual differences made nice contrasts to the latter’s style.
Rather conventionally post-Baroque was a sonata for cello and bass by the Dutch composer Pieter Hellendaal (1721-1799). But pre-Classical virtuosity was the hallmark of a Sonata for traverse flute and continuo by Johann Philipp Kirnberger (1721-1783), played with wonderful flair by Lipshutz, with Steger shifting to the harpsichord as partner.
Particularly interesting, though, was a chamber work by a dimly remembered French composer of the day, Louis-Gabriel Guillemain (1705-1770). The scoring of this sonata pitted a seemingly unbalanced trio of two flutes and gamba against the basso continuo: the manipulations of color and texture were full of wit and cleverness, especially in the last of its four movements.
There were also two vocal works, for some added contrast. Soprano Consuelo Sañudo (below) sang a cantata, on a text about tempestuous love by slightly earlier Baroque French master Michel Piglet de Montéclair. She displayed in this her usual combination of precision and stylistic flair.
And then, for the program’s closer, she sang a Spanish “villancico” by Juan Hidalgo de Polanco, whose life span (1614-1685) was almost exactly identical with C.P.E. Bach’s, by one century earlier. This was, in fact, composed for four vocal parts with basso continuo, but for this the other three vocal parts were rendered instrumentally, thus bringing the full group of six performers together in a grand finale.
This was, in all, an unusually long program, but one filled with surprises, discoveries and delights. It proved another reminder of the WBE’s endless gifts to Madison’s musical life.
By Jacob Stockinger
Was Shinichi Suzuki (seen below teaching British students in 1980) a fraud?
You might recall that he is the man who invented the famous Suzuki Method for learning strings and other kinds of musical instruments, including the piano. Entire schools are based on his method.
O’Connor (below) is the same musician who teaches at the prestigious Berklee School of Music in Boston and who plays and records best-selling CDs like “Appalachian Journey” with bassist Edgar Meyer and superstar cellist Yo-Yo Ma.
Now The Ear suspects there will be millions, probably tens or hundreds of millions, of parents and young people – all Suzuki students at one time – who might wish to disagree with O’Connor.
And it sure seems like the Suzuki has led to a lot of Asian students and others who learned through Suzuki playing in major orchestras and attending major conservatories.
At the bottom is YouTube method by a Dallas-based Suzuki teacher who tries to explain and defend the Suzuki Method as a “natural” method that is based on the idea of a “mother tongue.”
But you should make up you own mind about such matters, which are as ethical as they are pedagogical or musical and which force us to confront the practicality and efficacy of competing teaching methods.
Be sure to read the more than 100 comments from readers.
See what you think and then let us know.
The Ear wants to hear.