Classical music: The Madison Area Youth Chamber Orchestra (MAYCO) gives an impressive display of how it continues to grow and develop.

By Jacob Stockinger

Here is a special posting, a review written by frequent guest critic and writer for this blog, John W. Barker, who also took performance photos. 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 12 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

On Saturday night, in Mills Hall on the University of Wisconsin-Madison campus, Mikko Rankin Utevsky led his Madison Area Youth Chamber Orchestra (MAYCO) in the first of this year’s two summer concerts. More than ever, it showed Utevsky in new degrees of bravery and enterprise.

The program was organized around the idea of the Baroque concerto grosso, in various later transformations.

To begin, there was one of the “Morning, Noon, and Night” trilogy of Haydn’s symphonies, No. 6 in D, Le Matin. Haydn used the first of his symphonies composed for his new Esterhazy employer to show off the solo skills of his players.

The young MAYCO counterparts did themselves proud in both ensemble and solo playing, with particular flair displayed by first violinist Valerie Clare Sanders (below) in her virtuosic solos. And Utevsky’s care in have his string players totally avoid vibrato gave a good demonstration of 18th-century instrumental sound.

The second work, by recent UW-Madison School of Music graduate in composition, Jonathan Posthuma (below), more explicitly recreated the old configuration in his Concerto Grosso No. 1 in E minor.

It presents indeed the proper concertino of two violins and cello, against a ripieno string orchestra. In place of the traditional continuo, however, Posthuma brought in four percussionists and a pianist. The percussionists are members of the local ensemble Clocks in Motion (below), currently making a name for itself as an avant-garde group.

The idea was fascinating, but in two of the three movements the results were confusing. In the first, the string orchestra was overwhelmed by floods of color worthy of a Busby Berkeley Hollywood spectacular, while the second movement was a long procession of pops and moans. All color and hardly any real musical ideas.

The third movement, on the other hand, was a lusty fugue, given forth at first by only the strings, with the percussionists then integrated into a quite well-balanced texture. This is stated as the first in what will be a full set of 12 concertos, to make up a typical Baroque dozen.

It will be interesting to see how such a project unfolds. But one must credit Utevsky (below) for giving this first venture its world premiere performance.

Another premiere followed the intermission. Utevsky was able to secure from the contemporary British composer Cecilia McDowall (below) the rights to the first American performance of her piece for chamber orchestra, Rain, Steam, and Speed, inspired by J.M.W. Turner’s powerful painting of the same title, with its subtitle of The Great Western Railway.

Less literally conceived than Arthur Honegger’s famous railroad evocation, Pacific 231, this piece is an effort to suggest the kaleidoscopic contents of the painting, in what might be called a British neo-Impressionist style. A challenging work for the orchestra, which they brought off very effectively.

Finally came not a concerto grosso, but a Romantic solo concerto, the one for Cello and Orchestra by Robert Schumann. Not as often heard as it should be, it is a handsome and enjoyable work.

The soloist was Parry Karp (below), of the UW-Madison School of Music faculty, of the Pro Arte Quartet, and of so much else. He approached the piece not in bravura pretentiousness but with a kind of affectionate warmth that suited it admirably, while also allowing Utevsky the chance to give his players experience in collegial ensemble interaction with a soloist.

What these gifted young players of high school and college ages are able to do is really amazing. Utevsky grows better and better in giving them — and himself — marvellous training opportunity. Watch for the second concert, with music by Ernest Bloch, George Frideric Handel and Haydn (the famed “Surprise” Symphony) with piano soloist Jason Kutz, at 7:30 pm. on Friday, August 21, location to be announced.

You can find more information here: http://www.mayco.org

Advertisements

---

Posted in Classical music
Tags: "Surprise" Symphony, Arthur Honneger, Arts, avant-garde, Baroque, Beethoven piano sonatas, Bloch, British Impressionism, Busby Berkeley, Cecilia McDowall, Cello, Chamber music, chamber orchestra, Classical music, Clocks in Motion, concertmaster, Concerto Grosso, conductor, continuo, contrapuntal, counterpoint, fugue, Handel, Haydn, Hollywood, Impressionism, Isthmus, J.M.W. Turner, Jacob Stockinger, Jonathan Posthuma, La Matin, Madison, Medieval history, Music, Music education, Orchestra, painting, Parry Karp, percussion, Piano, Pro Arte Quartet, Robert Schumann, Romaniticism, Romantic, soloist, String Orchestra, University of Wisconsin-Madison School of Music, University of Wisconsin–Madison, Viola, Violin, Wisconsin, WORT-FM 89.9, Youth Orchestra, YouTube