Classical music: The Bach Dancing and Dynamite Society triumphs and gets a standing ovation from a full house for bringing dramatic story-telling to the romantic music of Robert Schumann, Clara Schumann and Johannes Brahms.

By Jacob Stockinger

It was nothing short of a triumph for the Bach Dancing and Dynamite Society.

The Ear surely couldn’t be the only listener who came  away Saturday night deeply moved from the Overture Center’s Playhouse — and from the fourth concert of the six that the Madison-based BDDS is offering this month — with one overpowering thought: We need more of this!

We need more concerts with first-rate songs and first-rate singing. And we need more concerts that have a narrative and tell the personal story behind the music and musicians they feature.

A lot of musical groups and individuals today offer brief introductory remarks to help prepare audiences. And that is fine. Experts say that providing that kind of listener-friendly context will help draw younger, newer and bigger audiences.

In this 22nd summer season, when the theme of card playing is highlighted, BDDS trumped that wisdom and raised the stakes by going one better, by upping the ante: Co-founder and co-director pianist Jeffrey Sykes, who got his doctorate at the UW School of Music and now teaches at the University of California-Berkley, showed his inventive theatrical side by creating an original story about the complex romances of Robert Schumann, his wife Clara Wieck Schumann and the young Johannes Brahms –- whose photographic portraits were projected on the backdrop (below).

Moreover, Sykes’ two-act mini-drama -– an experimental scissors-and-paste tapestry woven together with snippets of letters, diary entries and of course music -– proved successful on every count. It was greeted with cries of Bravo! and an enthusiastic, prolonged standing ovation.

Of course, Sykes was not alone in bringing this successful experiment off. He had the help of his co-founder and co-director flutist Stephanie Jutt.

Most importantly, for this concert he had the top-flight talents of bass-baritone Timothy Jones (below top), whose diction and tone are superb, and of the UW-Madison graduate and Lyric Opera of Chicago soprano Emily Birsan (below bottom), who possesses equally beautiful tone and excellent German as well as French.

BDDS also drew on the talents of Madison Symphony Orchestra and Madison Opera maestro John DeMain, a willing sport who did terrific double-duty as a pianist and as Clara’s difficult father Friedrich Weick. The singers also did double duty with Jones playing Robert Schumann and Birsan playing Clara Weick.

Flutist Jutt played Romances by both Robert and Clara Schumann, the first transcribed from the oboe and the second from the violin. Her performances and her readings too were expressive and fit right in with the playing and recitations from others.

The excerpts that Sykes chose from song cycles were spot on, especially from the heart-wrenching cycle by Schumann’s “A Woman’s Life and Loves.”

But nowhere was the formula of tinkering with tried-and-true classics more successful than in Robert Schumann’s song “Widmung” (Dedication), which was used to mark the consummation of the romance when a German court decides, over father Friedrich Wieck‘s libelous objections, that Roberta and Clara can indeed marry.

The song, usually sung by either a male or female voice, was shared. (For the usual interpretations, see the YouTube videos at the bottom with Jessye Norman and Hermann Prey.) And the duet was profoundly moving as Jones’ Robert and Birsan’s Clara walked free and in love off the stage and arm-in-arm to conclude the first half (below).

Similarly, when Birsan’s Clara sang “Now you have hurt me for the first time” after her beloved Robert had died, was there a dry eye in the house? Not where I sat – and I doubt where many others sat too.

Sykes wove his tapestry seamlessly. He also took a letter about a short musical theme or motif that came to the delusional Robert Schumann in the insane asylum, where his wife Clara was forbidden from visiting him until two days before he died. And then he wrapped a letter by Robert around it as well as a letter that Brahms later wrote to introduce to Clara his variations on that theme same for piano-four-hands, performed by Sykes and DeMain as the conclusion finale.

Of course one can nitpick. Given how much solo piano music, filled with bittersweet longing, that both Robert Schumann and Johannes Brahms composed, I kept wondering why the program didn’t include the short and deeply moving Romance in F-sharp Major by Schumann which Clara asked her grandson Ferdinand to play while she lay expiring on her deathbed. (It is below top, in a YouTube video) Or play the late Romance in F Major, Op. 18, No. 5, by Brahms (below bottom, in a YouTube video by Evgeny Kissin). How The Ear would have loved to hear Sykes, with his rich tone and natural lyricism, perform these miniature gems.

But you can’t have everything and what we got was plenty generous. It cohered. It moved you. And it provided an intelligent context for understanding the romance behind the great Romantic music of these Romantic composers.

All paintings need a frame, and so does a lot of music. This frame could not have been better designed and executed or more beautiful.

But that Schumann-Brahms drama-concert was not the only reason to take in the second of the three weekends of music by the BDDS.

Just the night before at the refurbished Stoughton Opera House, the group used the same singers to perform another great concert. The program was timely and relevant, given both the Afghanistan War and the anniversary of the America Civil War.

The musical offerings featured Timothy Jones in Ned Rorem’s movingly spiky and grim “War Scenes” songs drawn from Walt Whitman’s Civil War notebooks (“The real war will never get in the books’) and Emily Birsan in “Sonnets to Cassandra” by the French Renaissance poet Pierre de Ronsard by the underplayed and underrated Swiss composer Frank Martin.

The concert began with a flute quartet by Ferdinand Ries, a student of Beethoven who nicely fit the theme of a “Stacked Deck” since history has largely overlooked and forgotten him. (But, you know, Beethoven really wasn’t much of a flute guy anyway.)

The real gem came when several local string players – violinist Suzanne Beia and cellist Parry Karp of the UW-Madison’s Pro Arte Quartet and principal violist Christopher Dozoryst of the Madison Symphony Orchestra – joined pianist Sykes  in playing a superb rendition, by turns turbulent and lyrical, of Gabriel Faure’s Piano Quartet No. in G Minor (below).

It was yet another reminder of how, like BDDS, Faure is a first-rate composer, with a sound and style unmistakably his own, who deserves a much higher profile and a much wider hearing.

Next weekend brings two final BDDS concerts — in Madison, Stoughton and Spring Green — with violinist Naha Greenholtz (concertmaster of the Madison Symphony) and San Francisco Trio members violinist Axel Strauss (now teaching at McGill University in Montreal) as well as cellist Jean-Michel Fonteneau in music by Copland, Mozart, Brahms, Korngold, Beethoven and Dick Kattenburg.

For more information about the times and venues, the programs, the performers and tickets, here is a link:

http://www.bachdancinganddynamite.org

If you love classical music, to miss these BDDS performance is to deprive yourself of great pleasure and great insight, of new exposure to works both well-known and neglected. Why would you want to do that?

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Posted in Classical music
Tags: Axel Strauss, Bach Dancing and Dynamite Society, Clara Schumann, Evgeny Kissin, Ferdinand Ries, Gabriel Fauré, Hermann Prey, Jacob Stockinger, Jessye Norman, Johannes Brahms, John DeMain, Ludwig van Beethoven, Madison Opera, Madison Symphony Orchestra, McGill University, Ned Rorem, Overture Center, Pro Arte Quartet, Robert Schumann, Schumann, Stoughton Opera House, University of California-Berkeley, UW-Madison, Walt Whitman, YouTube