By Jacob Stockinger
The Madison Bach Musicians, perhaps the premier local early music group in Madison that draws bigger audiences and offers terrific education through pre-concert lectures, will open its 11th season this coming weekend.
On this Saturday evening, Oct. 4, at Christ Presbyterian Church, and Sunday afternoon, Oct. 5, at St. Stephen’s Lutheran Church in Monona, the Madison Bach Musicians will perform a program of cantatas and concertos by Johann Sebastian Bach.
Included are two cantatas: Cantata 82, “Ich habe genug” (I Am Content); and Cantata 58, “Ach Gott, wie manches Herzeleid” (O God, How much Heartache); plus the well-known Harpsichord Concerto in D minor (you can hear the irresistibly energetic first movement played by the Concert des Nations in a YouTube video at the bottom) and the Concerto for Oboe and Violin in C minor.
Featured soloists are bass-baritone Joshua Copeland (below top), who is flying in from England for the performances; and soprano Chelsea Morris (below, bottom) the recent winner of the second annual Handel Aria Competition during the Madison Early Music Festival in July), who has moved from Chicago to Madison; harpsichordist Trevor Stephenson; baroque oboist Luke Conklin; and baroque violinist Kangwon Kim.
The concert will be played entirely on 18th-century period instruments.
Beginning 45 minutes before the concert, MBM founder and director Trevor Stephenson (below) will give a pre-concert lecture about the music and the period instruments. Ticket information can be found at madisonbachmusicians.org or by calling (608) 238-6092.
Here are specifics about the two performances
Saturday, Oct. 4, 7:15 p.m. for the lecture, 8 p.m. for the concert – at Christ Presbyterian Church, 944 E. Gorham St.
Sunday, Oct. 5, 2:45 p.m. for the lecture, 3:30 p.m. for the concert — at St. Stephen’s Lutheran Church, 5700 Pheasant Hill Rd.
Tickets for Madison Bach Musicians concerts may be purchased in advance or at the door. Advance outlets include the Willy Street Coops east and west; Orange Tree Imports on Monroe Street; Farley’s house of Pianos near West Towne Mall; A Room of One’s Own, downtown; and the Ward Brodt Music Mall, off the West Beltline.
NOTE: Cash or checks only. Please make checks payable to Madison Bach Musicians.
For this weekend, advance ticket prices: $25 general, $20 students and seniors over 65; tickets at the door are $30 general, $25 for students and seniors.
Season tickets are also available.
The Madison Bach Musicians will also perform other concerts this season -– an always reliable holiday program in December at the First Congregational United Church of Christ and a concert “Pygmalion,” an opera-ballet by Jean-Philippe Rameau in April at the First Unitarian Society of Madison. For the lineup and details, go to:
By Jacob Stockinger
There are “train wrecks,” as the Wise Critic likes to call competing or conflicting music events.
And then there are TRAIN WRECKS!!!!!!!!!
Take the afternoon of this upcoming Sunday, Sept. 28, 2014.
The best The Ear can figure, you have a choice of five trains to ride into the wreck, possibly two if you plan really carefully and everything — including the length of concerts, transportation time and the availability of parking — falls into place.
There are just too many events and too few weekdays to do separate blog posts on all of them. Besides, it will probably be helpful for scheduling –- if discouraging –- to see them all listed together.
Here, in timetable order, we go:
PRO ARTE STRING QUARTET
The Pro Arte Quartet (below top, in photo by Rick Langer), which is wrapping up its centennial anniversary and six centennial commissions with a gala FREE world premiere concert and dessert reception at the Wisconsin Union Theater on this Friday night at 8 p.m., will repeat the program in a FREE concert at the Chazen Museum of Art on Sunday at 12:30 p.m. in the Brittingham Gallery No. 3 (below middle). It will be streamed live by Audio for the Arts. Go to www.chazen.wisc.edu on the day of the concert for a link.
The program includes the world premiere of the Clarinet Quintet “Howl” (based on the Beat poem by Allen Ginsberg) by American composer Pierre Jalbert (below bottom) by as well as String Quartet No. 2 in A Major (1824) by Spanish composer Juan Crisostomo Arriaga and the gorgeous Clarinet Quintet by Wolfgang Amadeus Mozart.
Here is a link: http://proartequartet.org
Originally scheduled for Friday, Sept. 26, the Ancora Quartet (below top, in a photo by Barry Lewis), with guest violinist Wes Luke (below bottom, in a photo by Barry Lewis) filling in for Leanne League. The three regular quartet members are, from left, violinist Robin Ryan, violist Marika Fischer Hoyt and cellist Benjamin Whitcomb.
They will instead perform the Ancora’s opening concert of the season on Sunday afternoon at 2 p.m. in the Landmark Auditorium of the First Unitarian Society where the quartet has been artists-in-residence. The program includes the “Sun” Quartet, Op. 20, No. 4, by Franz Joseph Haydn; the one-movement Quartet for Strings by Amy Beach, which uses Inuit tunes; and the final String Quartet in F minor, Op. 80, composed by Felix Mendelssohn in honor of the death of his beloved sister Fanny. A champagne reception is included. Tickets at the door are $15; $12 for seniors; and $6 for children under 12.
Other performances of this program will take place on Saturday, Sept. 27, at 7:30 p.m. at Eaton Chapel on the Beloit College campus, and on Sunday, Oct. 26, at 4 p.m. at St. Peter’s Episcopal Church in Fort Atkinson. In addition, the quartet has added the following dates: Monday, Oct. 20, at 7 p.m. at Oakwood Village West on Madison’s far west side at 6902 Mineral point Road, with FREE admission, followed by a Meet & Greet with the musicians; and on Thursday, Oct. 23, at 7:30 p.m. at the Loras College Visitation Center: Gallagher Hall, in Dubuque, Iowa.
UW SYMPHONY ORCHESTRA AND SOPRANO ELIZABETH HAGEDORN
At 2 p.m. in Mills Hall, the University of Wisconsin-Madison Symphony Orchestra (below top, in photo by John W. Barker) with guest UW-Madison professor soprano Elizabeth Hagedorn (below middle) and conductor James Smith (below bottom) will perform a FREE concert.
The program includes the “Totenfeier” (Funeral Rites) music (the first draft of the First Movement from the Symphony No. 2 “Resurrection”; and the “Rueckert Lieder,” both by Gustav Mahler; and also the Symphony No. 1 “Spring” by Robert Schumann.
EDGEWOOD COLLEGE CHAMBER ORCHESTRA
At 2:30 p.m. in the St. Joseph Chapel, 1000 Edgewood College Drive, at Edgewood College, the Edgewood Chamber Orchestra (below top, in an old poster), conducted by Blake Walter (below bottom, in a photo by John Maniaci), will perform the “Ojai Festival Overture” by Peter Maxwell Davies, “Historic Scenes,” Op. 66, by Jean Sibelius and Symphony No. 53 in D Major “Imperiale” by Franz Joseph Haydn. Tickers are $5 at the door, free with an Edgewood College ID.
SOPRANO CHELSEA MORRIS AND FORTEPIANIST TREVOR STEPHENSON
At 3 p.m. in Christ Presbyterian Church, 944 East Gorham Street, there will be a voice concert and CD-release party with soprano Chelsea Morris and fortepianist Trevor Stephenson (both are below), the founder and leader of the Madison Bach Musicians, to celebrate the release of their new CD of songs by Mozart, Haydn and Franz Schubert. This past summer, Morris won top spot in the second annual Handel Aria Competition during the Madison Early Music Festival.
Trevor Stephenson will bring his 5-octave, 18th-century German fortepiano to accompany Ms. Morris and he also will play solo fortepiano works by Mozart and Beethoven.
He will give a brief talk about the Classical style and discuss how the fortepiano creates a thrilling sense of theatrical immediacy in the music of the 18th-century masters. Selections on the concert from Morris and Stephenson’s new CD: Songs by Mozart, Haydn & Schubert. A CD autograph signing will be held after the concert.
OVERTURE CENTER ANNIVERSARY
At 3:30 p.m. in the Overture Center for the Arts, “American Kaleidoscope,” the second performance of a multi-performing arts celebration of the Overture Center’s 10th anniversary, will take place, continuing from the all-day festival on Saturday.
All the resident performing arts companies — including the Madison Symphony Orchestra, the Madison Opera, the Wisconsin Chamber Orchestra, the Bach Dancing and Dynamite Society — will do a second performance (the first is Saturday night). Here is a link:
By Jacob Stockinger
This coming Friday night will bring the FREE world premiere of the final work of the six commissions to mark the centennial of the Pro Arte String Quartet (below, in a photo by Rick Langer) at the University of Wisconsin-Madison School of Music.
The work is a Clarinet Quintet, written Pierre Jalbert (below), a prize-winning American composer with French-Canadian roots. It will receive its world premiere at 8 p.m. on Friday night in the newly renovated Wisconsin Union Theater. A FREE dessert reception in the Memorial Union follows. There is also a FREE and OPEN TO THE PUBLIC rehearsal, with the composer advising the string quartet, from 9 a.m. to noon on this Thursday morning in Mills Hall.
Here is a link to the Pro Arte Quartet’s website
And here is the official press release about the new work and the upcoming concert. It was researched and written by Mike Muckian (below), who also writes and blogs for Brava Magazine and the Wisconsin Gazette.
MADISON, Wis. – When Beat Generation poet Allen Ginsberg (below) published “Howl” in 1956, he may have anticipated the obscenity charges he faced because of the work’s highly charged content. Chances are he didn’t foresee his epic poem, now considered a significant work of American literature, as the source of inspiration for a 21st-century chamber music composition.
Pierre Jalbert, an American composer of French-Canadian descent, thought otherwise. When commissioned by the University of Wisconsin-Madison Pro Arte Quartet to compose an original work to help the quartet celebrate its centennial season, Jalbert chose Ginsberg’s poem as his source of inspiration.
Jalbert’s “Howl” for clarinet and string quartet will receive its world premiere by the Pro Arte on Friday, Sept. 26, at the Wisconsin Union Theater in the historic Memorial Union on the University of Wisconsin-Madison campus.
The event, free and open to the public, will be the first classical music concert to take place in the venerable theater’s newly refurbished Shannon Hall (below top).
The 8 p.m. concert will be preceded by a 7 p.m. concert preview discussion with Pierre Jalbert in Shannon Hall. In addition to Jalbert’s composition, the evening’s program includes the String Quartet No. 2 in A Major (1824) by Juan Crisóstomo Arriaga (below top) -– known as “the Spanish Mozart” — and the gorgeous Clarinet Quintet in A Major (1791) by Wolfgang Amadeus Mozart (below bottom).
The Pro Arte Quartet (below, in a photo by Rick Langer) includes violinists David Perry and Suzanne Beia, violist Sally Chisholm and cellist Parry Karp.
PLEASE NOTE: The Pro Arte Quartet concert will be repeated Sunday, Sept. 28, at 12:30 p.m. in Gallery III at the Chazen Museum of Art, also on the UW-Madison campus. The concert will be streamed live worldwide on the Internet by the Madison-based Audio for the Arts. Check the Chazen Museum of Art’s website (www.chazen.wisc.edu) on the day of the concert. Details of the Chazen music series for 2015 will be announced on Sunday at the concert. The new series is designed to replace the “Sunday Afternoon Live From the Chazen” series (below) of live chamber music concerts that was abruptly canceled by Wisconsin Public Radio last spring after 36 years. Sunday’s concert is FREE and OPEN to the public; however, Chazen Museum of Art members can call 608-263-2246 to reserve seating.
Joining the Pro Arte for both concerts will be guest clarinetist Charles Neidich (below, in a photo by Sallie Eichson), a regular member of the New York City-based Orpheus Chamber Orchestra and noted guest performer with orchestras and string quartets worldwide. Here is a link to Neidich’s own impressive website:
“The Jalbert quintet is a very exciting composition, often very rhythmic, but with very serenely quiet contrasting sections,” said Neidich. “It is also interesting in that the clarinetist has to switch to bass clarinet, creating a very different sound for the group.” (At bottom is a YouTube interview with Pierre Jalbert, who explains his philosophy of composing and his concern with the audience’s understanding of his work.)
Ginsberg (below, young), who died in 1997, began work on “Howl” as early as 1954. The poem was first published in “Howl and Other Poems” in 1956 as part of the “Pocket Poets” series by fellow beat poet Lawrence Ferlinghetti, also known as founder of City Lights Books in San Francisco.
Upon the poem’s release, both Ferlinghetti and City Lights manager Shigeyoshi Murao were arrested and charged with distributing obscene material because of the poem’s profanity, drug references and frank sexual content. Four months later, Judge Clayton Horn ruled that the work was not obscene and charges against Ferlinghetti and his employee were dropped.
Judge Horn deemed “Howl” to have redeeming social content, and over the years it has proved its worth both in terms of social and literary value, according to Dr. Lynn Keller, the Martha Meier Renk Bascom Professor of Poetry in the UW-Madison Department of English.
“’Howl’ stands out stylistically in its compellingly and varied repetition of words beginning successive lines, its near surrealist imagery, and its combination of agonized depictions at once hellish and lofty with a very appealing sense of humor,” Dr. Keller said. “In terms of content, it also stands out in celebrating the down-and-out hipster as spiritual quester and visionary.”
As part of the Beat Generation – as much a social as a literary phenomenon – Ginsberg’s celebration of physical pleasures and suspicions about “the military industrial complex” created a new path that still appeals to younger audiences.
“It is a powerful poem, a howl from the heart of an agonized generation in a repressive era,” Dr. Keller said.
Jalbert was familiar with the poem prior to the Pro Arte commission, but it was only after he started composing the work that he began to realize the influence Ginsberg had on the music. Those similarities had less to do with the poem’s content and more to do with its structure and rhythm, the composer said.
“At the beginning of my piece, the clarinet is basically playing long tones, creating a long line much like the long lines in Ginsberg’s poem, while the strings present the rhythmically pulsating harmonic underpinning,” Jalbert said. “Ginsberg’s poem has been called a ‘litany of praise,’ and the second movement of my work becomes a litany, much like a series of prayers in a liturgy, with the strings creating chant-like lines while the clarinet becomes the vox Dei, or “voice of God,” hovering mysteriously over everything. The third movement returns to the musical materials from the first movement, but now the bass clarinet takes on the virtuosic role.”
In keeping with emotional soundings in parts of “Howl,” Jalbert also has attempted to capture the “shrieks” that were characteristic to the poem alongside the aforementioned litany of praise.
“There are buildups to shrieking moments in my piece as well as a “howl” motive of a low chord slurred up to an immediate high cluster, all played very forcefully,” said Jalbert. “There’s also something very urban about parts of the poem and to me, there’s an urban quality in my first and third movements. There are also many religious allusions and the last words of Christ on the cross, so the second movement uses some of this.”
The Jalbert composition is the final of six commissions for the Pro Arte Centennial seasons, and it has all the earmarks of a contemporary work with staying power, according to clarinetist Neidich.
“Having studied the score, I believe that it will be accessible to listeners and exciting to hear,” said Neidich. “It features the clarinet both in the role of soloist and as contributor to the sonority of the ensemble. It has all the necessary attributes to become a significant work.”
The Jalbert commission also brings to an end the Pro Arte’s seasons of centennial celebration in honor of the quartet’s long and storied history.
The Quatuor Pro Arte of Brussels, first formed in 1911-1912, was performing quartets by Ludwig van Beethoven at the then-new Wisconsin Union Theater on the UW-Madison campus on May 10, 1940, when Belgium was overrun and occupied by Nazi forces, turning three of its original four musicians into war orphans.
By October of that year, the group had officially become the UW Pro Arte Quartet, making it the first artists ensemble-in-residence at any university in the world. At more than 100 years old, Pro Arte also is thought to be the world’s oldest continuously performing string quartet.
The Pro Arte in May traveled back to Belgium to perform the European premiere of its fifth centennial commissioned work, Belgian composer Benoît Mernier’s String Quartet No. 3. The work had received its world premiere on March 1 in Mills Concert Hall in the Mosse Humanities Building on the UW-Madison campus with the composer in attendance.
A 2-CD set (below) of the first four commissions was released last year by Albany Records. It includes two string quartets by Walter Mays and John Harbison as well as two piano quintets, one by William Bolcom and the other by Paul Schoenfield.
By Jacob Stockinger
This coming weekend will bring the opening of the 89th season of the Madison Symphony Orchestra (below), which was founded in 1925 and how has 91 players.
By design, there will be no special guest soloist and no standard masterpiece –- say, a symphony or concerto by Haydn or Mozart, Beethoven or Brahms.
The works, chosen to highlight to Overture Concert Organ, will feature German composer Richard Strauss’ late Romantic tone poem “Thus Spake Zarathustra,” best known for its opening which served as the fanfare for Stanley Kubrick’s film “2001: A Space Odyssey.” Also featured are Swiss composer Frank Martin’s Concerto for Seven Winds, which was last performed by the MSO about 30 years ago); and French composer Camille Saint-Saens’ Symphony No. 3 “Organ.”
Wisconsin Public Radio host Anders Yocom (below) will provide a free 30-minutes prelude discussion that starts one hour before the performance.
Season tickets are still on sale with a 50 percent discount for new subscribers. And single tickets are now on sale, while rush tickets will also be available.
Tickets price run $16-$84.
Here is a link to the MSO site about the opening concert, with links to other information and ticket reservations:
You can also call the Overture Center box office at (608) 258-4141 or visit www.overturecenter.com
Here is a link to program notes by MSO trombonist J. Michael Allsen (below), who also teaches at the University of Wisconsin-Whitewater:
The performances, under the baton of longtime music director and conductor John DeMain, will take place in Overture Hall on Friday night at 7:30 p.m; Saturday night at 8 p.m.; and Sunday afternoon at 2:30 p.m.
The Juilliard School-trained John DeMain (below, in a photo by Prasad), who came to Madison from heading the Houston Grand Opera and is starting his 21st season in Madison, recently granted an interview about the opening concert to The Ear:
What makes this season and especially this first concert special to you?
This 2014-15 season is especially important because it marks the Madison Symphony Orchestra’s 10th anniversary in Overture Hall. Being able to perform in this specially designed hall has been a game changer for the Madison Symphony Orchestra.
I can never adequately thank Jerry Frautschi for his incredible gift of the Overture Center for the Arts, and his spouse, Pleasant Rowland, for her additional endowment support and the gift of the Overture Concert Organ.
I have purposefully chosen a program for our first concert, on Sept. 19, 20 and 21, that is designed to explore the sonic power, as well as the subtlety, of Overture Hall (below).
What would you like to say about the pieces on the program?
I purposefully do not have a guest artist on this first concert program because I like to focus attention on our wonderful orchestra and its principal players.
In Richard Strauss’ magnificent tone poem, Also sprach Zarathustra (used as the iconic music of Stanley Kubrick’s film 2001: A Space Odyssey), special focus will go to the violin solos by our Concertmaster Naha Greenholtz (below), who never fails to move us with her gorgeous playing. (You can hear the irresistible opening fanfare by Richard Strauss at bottom in a popular YouTube video that has almost 3 million hits.)
Frank Martin’s Concerto for Seven Wind Instruments will shine a spotlight on soloists, many of whom have also taught at the University of Wisconsin-Madison School of Music: Stephanie Jutt, flute; Marc Fink, oboe; Joseph Morris, clarinet; Cynthia Cameron-Fix, bassoon; Linda Kimball, horn; John Aley, trumpet; and Joyce Messer, trombone.
And last but certainly not least on the program is Camille Saint-Saëns’ magnificent Symphony No. 3, the “Organ Symphony”. Personally, I will never forget the first time we played it at Overture Center’s opening weekend, and we had to encore that incredible last movement! The Overture Concert Organ and its curator and organist, Samuel Hutchison (below, in a photo by Joe DeMaio), have earned a special place in the musical life of our community.
Have you decided on any short-term or long-term plans for your next decade in Madison with the Madison Symphony Orchestra?
Long-term, I hope to revisit the symphonies by Gustav Mahler (below) and continue to expand the overall repertoire of the orchestra and continue to present the best of our living American composers to our audiences.
Working together with the wonderful MSO staff and particularly our violinist and Education Director Michelle Kaebisch (below), I’m hoping we can grow our very unique and broad-based outreach programs to the community.
I’d also love to see us expand the Beyond the Score initiative. That January 2014 multi-media concert of Antonin Dvorak’s “New World” Symphony (below) with actors and videos, and the Symphony met with great success.
Bottom line: I always want, and can envision, the Madison Symphony Orchestra becoming an even more vital presence for ALL the citizens of Madison and the surrounding region as we contribute to our city and the arts.
What out-of-town guest stints will you do this season? Other major plans?
In October 2014, I’m opening the Long Beach (California) Symphony Orchestra season, and then conducting a concert of American composers with the Columbus Symphony Orchestra in Feb 2015. In the 2015-16 season, I’ll return to the Kennedy Center.
By Jacob Stockinger
A friend, violinist Kangwon Kim, who plays with the Madison Bach Musicians and the Madison Early Music Festival as well as for other groups and events, writes:
I am having a reunion concert with the quartet members from 13-14 years ago (below, in a photo by Katrin Talbot), who made up the Galena Quartet in 2001. Its members (from the left) included violist Allyson Fleck, violinist Allison Ostrander (Jones), cellist Karl Knapp and violinist Kangwon Kim.
The FREE concert is this coming Monday night, Sept. 15, at 7:30 p.m. in Morphy Recital Hall on the campus at the University of Wisconsin-Madison School of Music.
The program includes string trios by Ludwig van Beethoven and Ernö von Dohnányi as well as the Piano Quartet No. 1 in G Minor, by Johannes Brahms with guest pianist SeungWha Baek (below, in a performance at Northern Illinois University). You can hear the appealing Hungarian Gypsy Rondo finale from the Brahms Piano Quartet at the bottom in a popular YouTube performance with violinist Isaac Stern, violist Jaime Laredo, cellist Yo-Yo Ma and pianist Emanuel Ax.
Everything in the program, plus background information about the quartet and the players, is on the following website.
The Galena String Quartet was formed in the Fall of 2001 as the graduate string quartet-in-residence at the University of Wisconsin-Madison.
Besides performing as the resident quartet for the “Up Close and Musical” program through the Madison Symphony and visiting numerous elementary schools in the Madison area, the quartet performed at the Governor’s mansion, Stoughton Opera House, Fredric March Play Circle at the Memorial Union, and the Colony House in Mountain Lake, Florida. It was also a semi-finalist at the Fischoff chamber music competition.
The members are thrilled to perform this “reunion” concert after pursuing their separate musical careers during the past 10 years, and are grateful to the pianist SeungWha Baek for joining them for this concert. Below are violinist Allyson Fleck (below top) and cellist Karl Knapp (middle) and Kangwon Kim (bottom).
If you could include the announcement sometime in your blog, I would be grateful!!
By Jacob Stockinger
Here is some news that comes in a press release from the Madison Symphony Orchestra about an award made in honor of John DeMain (below bottom, in a photo by Prasad), the longstanding music director and maestro of the MSO who is about to begin his 21st season on the podium:
“The first annual John DeMain Award for Outstanding Commitment to Music will be presented this Friday, Sept. 12, by the Madison Symphony Orchestra League (MSOL) in recognition of an individual or individuals for their longstanding and unwavering support of the League, the Madison Symphony Orchestra (MSO) and music in the community.
“Shirley and Stan Inhorn (below top) are two such worthy individuals.
“Music has been a central part of every aspect of their lives – from friendships and charitable contributions to volunteering and leisure time – for more than five decades.
“Their involvement with music began young with music lessons and playing as high school and college students, and has continued throughout their lives in Madison.
“Both have been involved in the Wisconsin Youth Symphony Orchestra (WYSO), serving in many capacities through the years. They were made life trustees of WYSO in 2012. Shirley has been a member of the Madison Symphony Orchestra League and its predecessor — the Women’s Committee of the Madison Symphony Orchestra – for more than 40 years.
“Stan played in the second violin section of the Madison Symphony Orchestra (below) and subsequently joined the MSO Board. He also was one of the first men to join the MSOL.
“The Inhorns have endowed the MSO’s Principal Second Violin Chair and pledged an estate gift to the MSO’s endowment designated for the Up Close & Musical® Education Program.
“They have also been major donors to WYSO and the University of Wisconsin-Madison School of Music.
“Together and individually, they have made a lasting difference to music in our community.”
This is not the first time the Inhorns (below) have been so honored. Almost three years ago, when they were named Lifetime Trustees of the Wisconsin Symphony Youth Orchestras (WYSO), The Ear interviewed them.
Here is a link to that post:
And here is a statement that Shirley and Stanley Inhorn gave to The Ear on the occasion of receiving the inaugural John DeMain Award:
“Like many other Madisonians, we are lovers of classical music. Our volunteer efforts, therefore, have been directed to local organizations such as the Madison Symphony Orchestra, the Wisconsin Youth Symphony Orchestras (below top), and the Pro Arte Quartet (below bottom). Our many decades of support and involvement in these groups reflect this passion.
“We were surprised and honored to learn that we had been chosen to receive this award from the Madison Symphony Orchestra League. We know that many other people also devote volunteer hours to assure that classical music remains strongly embedded in Madison’s social fabric.
“We are grateful for the abundance of high-quality musical offerings available in Madison. And we are pleased to know that our efforts have contributed to this reality.”
– Shirley and Stan Inhorn
By Jacob Stockinger
The Oakwood Chamber Players (below) marks the start of its 30th anniversary season with two late Romantic compositions — often described as “autumnal” in mood — by Johannes Brahms.
The composer came out of retirement on hearing inspiring playing by a clarinetist. Brahms then (below) wrote two sonatas – Op. 120, Nos. 1 and 2 — and, after initially envisioning clarinet, added the option of viola to match the rich timbre he had conceived for the piece.
COMPARE AND CONTRAST
The Oakwood Chamber Players will present the first Sonata in F Minor with viola and piano, and the second Sonata in E-Flat Major with clarinet and piano (at bottom in a YouTube video). This provides a delightful and insightful contrast of two solo instruments showcasing compelling melodies and stirring conclusions.
Clarinetist Nancy Mackenzie (below top) and violist Christopher Dozoryst (below middle) will collaborate with pianist Vincent Fuh (below bottom) on these two works.
AN UNKOWN WORK BY AN UNKNOWN COMPOSER
The concerts are on Saturday night, September 13, at 7 p.m. and on Sunday afternoon, September 14, at 1:30 p.m. Both concerts will be held in the auditorium at the Oakwood Center for Arts and Education, 6209 Mineral Point Road, on Madison’s far west side.
NOTE: The Oakwood Chamber Players (below) will NO LONGER longer perform at the University of Wisconsin-Madison Arboretum Visitor Center because of prohibitive cost, as was explained in a previous post (a link is below) about the chamber music ensemble that is known for both its quality of playing and its creative, unusual programming. Its members perform in many other local groups including the Madison Symphony Orchestra, the University of Wisconsin-Madison School of Music, and the Wisconsin Chamber Orchestra.
Next weekend’s program is the first concert in their celebratory 30th anniversary season series titled “Reprise! Looking Back Over 30 Years.”
Upcoming concerts include:
The Oakwood Chamber Players is a group of Madison-area professional musicians who have rehearsed and performed at Oakwood Village for 30 years.
Tickets are available at the door: $20 general admission, $15 seniors and $5 students. For more information, visit www.oakwoodchamberplayers.com
The Oakwood Chamber Players are a professional music ensemble proudly supported by Oakwood Lutheran Senior Ministries and the Oakwood Foundation.
By Jacob Stockinger
On Sunday afternoon we gathered to say goodbye to the late University of Wisconsin-Madison pianist Howard Karp, who died suddenly in June of cardiac arrest at 84 while he was on summer vacation in Colorado.
I don’t think you can have a better send-off.
The day started out sunny and then looked like it would cloud over.
But the sunlight stayed.
Howard Karp (below, in a 2000 photo by Katrin Talbot) would have liked that. There never seemed anything morose about Howard, even when he played music that was introspective and melancholic. And he was such a natural: The piano just seemed to grow out of his long arms and fingers.
Sure, like all people he had his share of sorrows and worries. But on his own scale, the joys always outweighed the sorrows.
I found myself thinking of Howard and recalling philosopher Friedrich Nietzsche’s dictum that “Without music, life would be a mistake.” And I found myself adding: “Without Howard Karp, music in Madison might not have been a mistake, but it certainly would have been severely diminished.”
But I do not want to use this post for me to talk about Howard Karp and what a wonderful man and musician, family member and teacher, he was.
His own family and friends did that so well — and so eloquently — that all I can do today is to use photos and quick descriptions to tell you what you missed if you weren’t there.
The welcome speaker and comforting guide through the celebration was Bill Lutes (below), a longtime friend and former student of Howard Karp. Bill did an outstanding and dry-eyed job of speaking love to loss, as did the entire family.
The event opened with Howard Karp playing the opening movement of the heroic, life-affirming “Hammerklavier” Sonata by Ludwig van Beethoven, from a newly released 6-CD recording on Albany Records of Howard’s concert recordings.
That was repeated through the event with music of Robert Schumann, Igor Stravinsky, Sergei Rachmaninoff and Frédéric Chopin. And it was moving to hear the audience of maybe a two-thirds house in Mills Hall applaud loudly, as if Howard were playing right there, on stage and in person in front of us.
One of the most moving moments came when Howard’s wife, Frances Karp – whose diminutive and even fragile look hides a tremendous strength of character and forceful pianism — was joined by cellist son Parry Karp, violist daughter-in-law Katrin Talbot and guest violinist Leanne League, who plays with the Madison Symphony Orchestra and the Wisconsin Chamber Orchestra, in the slow movement from the Piano Quartet in E-flat major, Op. 47, by Robert Schumann. A photo is below.
It is a heart-wrenching piece by the composer who, more than any other, captures love and longing in sound, as you can hear from the opening cello melody in a YouTube video of the Beaux Arts Trio at the bottom.
Granddaughters Isabel Karp (below left) and Natasha Karp (below right), both accomplished actresses, then read passages from William Shakespeare, beautifully appropriate lines from the tragedy “King Lear,” from the Sonnets, from the romance “The Tempest,” from the comedy “A Midsummer Night’s Dream.”
More recorded Schumann followed, the first movement of the fabulous Fantasy in C Major.
Then came words of friendship and admiration from the renowned keyboard artist Malcolm Bilson (below), who taught with Howard at the University of Illinois at Champaign-Urbana. Now a semi-retired professor at Cornell University, Bilson also played a superbly rendered version of his own reconstruction of the first movement of the Sonata in F-sharp minor by Franz Schubert. (Bilson didn’t announce his reconstruction because, as he later told The Ear, “It bothers and distracts audiences. They keep listening for where Schubert ends and Bilson begins.”)
Fellow Chicagoan and piano student-turned-businessman, Ira Goodkin (below) spoke impressively and engagingly about the lasting effect of having Howard Karp as a lifelong friend and as a personal and professional role model.
Then came more recordings: impressive duo-piano performances by Frances and Howard Karp of music by Igor Stravinsky and Sergei Rachmaninoff.
During the Rachmaninoff “Barcarolle,” from his Suite No. 1 for Two Pianos, there was also an extended slide show that featured photos of Howard at various stages of his life, from infancy and childhood (below) through marriage and maturity, many images with his wife, children and grandchildren.
Granddaughter and actress Ariana Karp (below) appeared via video from London and also read Shakespeare and offered moving personal recollections of “grand-père.”
Sons Christopher Karp on piano and Parry Karp on cello (below) teamed up to play Max Bruch’s “Kol Nidre,” in a moving and brotherly demonstration of the family music-making that marked the Karps’ family life, and brought beauty to the rest of us, making us all feel like extended family.
Then came a miraculously humorous and moving eulogy for Howard by cellist son Parry (below), who offered a stirring summing up of his dad’s gifts as a pianist and chamber music partner, as a husband and father, as a baseball fan and an avid amateur expert on trees and plants.
After Parry remark’s about the richness of his father’s life and career, I found myself recalling a saying by the great composer-pianist Sergei Rachmaninoff: “Music is enough for a lifetime, but a lifetime is not enough for music.” Still, I think Howard Karp came closer to that impossible goal than anyone I know.
Then, with a stirring performance by Howard Karp of the ferocious and relentless finale from Chopin’s Sonata in B minor, it was over — and we moved outdoors to a packed reception in the courtyard of the UW-Madison’s George Mosse Humanities Building.
The food was ideal and the audience was in the mood to greet each other and reminisce with the kind of good-natured enthusiasm that would have pleased Howard Karp because it made all of us feel like we belonged to one immense family that will long miss a central and irreplaceable figure.
ALERTS: The Ear wasn’t able to attend the opening concert last weekend of the 25th annual Token Creek Chamber Music Festival in the refurbished barn (below). But here are reviews by two local critics who did.
Here is a review by John W. Barker for Isthmus:
Here is a review by Greg Hettmansberger for the Classically Speaking blog of Madison Magazine:
By Jacob Stockinger
As usually happens at the Token Creek Chamber Music Festival, the concert of the second program on Wednesday night was a collaborative effort in exploration.
In this case, three key players participated: returning guest pianist Judith Gordon, who is now a professor at Smith College; Pulitzer Prize-winner and MacArthur Foundation “genius” award-winning composer, MIT teacher and co-artistic director John Harbison, who never fails to illuminate the music with his insightful brief commentaries; and co-artistic director and violinist Rose Mary Harbison, who programmed part of the concert as well as performed.
Rose Mary Harbison (below) also played the famous “Spring” Sonata for violin and piano, which John Harbison said pointed to how Ludwig van Beethoven — who aimed for the epic rather than the miniature — checked out the achievements of contemporaries and then figured out his own way to enter the mainstream.
Rose Mary Harbison also partnered with Gordon in a theme-and-variations piece by Carl Philipp Emanuel Bach, a piece The Ear found a little bit charming and a lot underwhelming.
In the very capable hands of Judith Gordon (below), those two composers proved to be the axis of the program and a fascinating coupling.
The two composers, one Baroque and the other Romantic, were chosen because they both focused on smaller-scale works. Exiled from his native Italy and isolated in courts in Portugal and Spain, Scarlatti (below) wrote 550 keyboard sonatas of astonishing variety, color and virtuosity.
Chopin (below), on the other hand, turned inward in the bustling artistic scene and intellectual ferment of Paris, and focused on smaller forms -– none smaller than the Preludes played at Token Creek. They seem a kind of Rosetta Stone for deconstructing and understanding the structure of the rest of Chopin’s output; or perhaps they are like a Table of Contents, abbreviated guides to, or outlines or preparatory sketches of, so many other works.
But in both cases, as John Harbison explained clearly, the two composers narrowed down their ambitions to achieve the kind of unique and idiosyncratic achievements or originality that many other composers can only dream of achieving. They were like poets who find freedom in the formal confines of the sonnet form.
John Harbison picked two pairs of Scarlatti sonatas for Gordon to perform: one early pair in E major (one is the famous calling card of Vladimir Horowitz in a YouTube video at the bottom) to show Scarlatti at his compositional planning phase with pretty regular development; and two late ones in F-Sharp minor to show how later in life Scarlatti increasingly sounded as if he made things up as he went along.
For her part, Rose Mary Harbison selected two sets of six preludes each by Chopin -– he wrote 24 as a set, then added a posthumously published one –- to demonstrate much the same effect: the contrary moods and Chopin’s extraordinary gift for compression and brevity, for his ability to make a 30-second piece sound complete or whole, as if it has a beginning, middle and end. (At the bottom is a YouTube performance of one of the loveliest preludes on the program, the mini-Nocturne in F-Sharp Major, in a live performance by Maurizio Pollini.)
The compare-and-contrast strategy worked very well, as was demonstrated not only in performance but also in a Q&A-type interview (below) that Judith Gordon did with John Harbison.
The Ear will long remember the unusual coupling, which is often the way Token Creek goes about programming unexpected matches, for the insight they shed on both composers, whose works, as it happens, I myself like to play on the piano.
It also tells us what to look for and to value at Token Creek: Unusual and unexpected approaches that yield unforgettable results.
Two more performances remain in this summer’s season, on Saturday night at 8 p.m. and Sunday afternoon at 4 p.m., and they will feature the pianist husband-and-wife team of Harvard Professor Robert Levin and Ya-Fei Chuang performing music by Franz Schubert, C.P.E. Bach and Maurice Ravel as well as Rose Mary Harbison in the knockout Violin Sonata by Claude Debussy, his last work and one of his best.
Here is a link for more information and tickets:
This year the festival is celebrating both its own 25th anniversary and the 300th anniversary of Carl Philipp Emanuel Bach (below).
To history, the C.P.E. Bach anniversary no doubt matters more.
To my ears, however, the Token Creek Chamber Music Festival anniversary matters more.
And despite C.P.E. Bach, whose music will by and large remain on my record shelf and not in my CD player, the night belonged to Domenico Scarlatti and Frederic Chopin.
It is not easy to shed new light on old masterpieces, but that is exactly what the Harbisons and Judith Gordon managed to do.
What can one say but: Thank You!