The Well-Tempered Ear

Classical music: The Ancora String Quartet turns in outstanding performances of Beethoven and Shostakovich, and revives a neglected quartet by Danish composer Niels Gade

July 31, 2017
3 Comments

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 hosts an early music radio show once a month on Sunday morning on WORT FM 89.9 FM. For years, he served on the Board of Advisors for the Madison Early Music Festival and frequently gives pre-concert lectures in Madison. He also took the performance photos for this review.

By John W. Barker

Whether as a finale to the passing season or as a prelude to the upcoming one, the Ancora String Quartet (below) favored its admirers with a fine summer concert at St. Andrew’s Episcopal Church on Regent Street last Saturday night.

The program offered three contrasting works.

It started off boldly with Dmitri Shostakovich’s Quartet No. 7 in F-sharp minor, Op. 108, a slashing three-movement work of nervous and disturbing energy.

So many of the quartets by Shostakovich (below) are autobiographical, or at least confessional, in character, and this one is a clear expression of both personal anxieties and political apprehensions. The Ancoras tore into it with gusto.

Niels W. Gade (below) is hardly a composer of instant recognizability, but he was at the center of Leipzig’s post-Mendelssohn world and then, when he returned to his native Denmark, he became the dominant figure in its musical life until his death in 1890. This is the bicentennial year of his birth.

Gade has left us some fine orchestral music that deserves frequent hearings. And his true legacy was his advancement — if with reservations — of his prize student, Carl Nielsen.

Gade’s late String Quartet in D, Op. 63, one of his three works in the form, is steeped in the stylistic qualities of Felix Mendelssohn and Robert Schumann, without quite extending them. Still, it is altogether a listenable work, and we can thank the Ancora players for sharing with us.

The big event, however, was the concluding piece, Beethoven’s Quartet in F Major, Op. 18, No. 1, part of his set of six that marked his brilliant debut as a composer in this form.

Meant to show his extension of the work of Haydn and Mozart in this idiom, this quartet was worked on laboriously by Beethoven, to offer a kaleidoscopic array of moods and structures.

The first movement in particular is a proclamation of his lifelong skill in creating bold entities out of the most minimal motivic material, while the third and fourth movements are hectic displays of energy and imagination.

Perhaps most striking, however, is the slow movement, supposedly reflecting Shakespearian influences. Wonderfully vigorous in all movements, the Ancoras were particularly eloquent in that dark and tragic essay that looks to the tomb scene in “Romeo and Juliet.” (You can hear the slow second movement, played by the Takacs Quartet, which will perform next season at the Wisconsin Union Theater, in the YouTube video at the bottom.)

It has become the custom with this group for one member to give a brief spoken introduction to each composition, and that practice worked particularly well for this program, giving the audience a comfortable sense of welcome and valuably pointing up things to listen for. (Below is violist Marika Fischer Hoyt explaining and deconstructing the Beethoven quartet.)

If you missed the concert, the Ancora String Quartet will repeat the program this coming Sunday afternoon at 12:30 p.m. for the “Afternoon Live at the Chazen” program. You can attend the concert in Brittingham Gallery 3 of the Chazen Museum of Art for FREE or live-stream it from the Chazen website.

Here is a link to the website with more information and a portal for streaming:

https://www.chazen.wisc.edu/visit/programs/#section6


Classical music: The annual Karp Family Labor Day Concert for this year has been CANCELLED

July 30, 2017
3 Comments

By Jacob Stockinger

Today’s posting has sad news to report.

The Ear has learned that the annual Karp Family Labor Day concert for this year has been CANCELLED.

It would have been the 39th annual FREE community gift from the talented Karp family (below) – Madison’s First Family of Music — to the community.

Over the years the well attended family concert, which was usually performed on Labor Day night or the Monday night before classes began at the UW-Madison, had become the unofficial start of the new concert season, both at the UW-Madison and in the larger community.

Performers included grandparents, parents, children and grandchildren as well as guest artists.

For 38 years, many new works were premiered and no work was ever repeated.

That is an impressive record.

The immediate reason for the cancellation is as follows: After the death of pianist Howard Karp in 2014, eldest son Parry Karp (below) became the patriarch and guiding spirit, and the show went on. Parry Karp is a cello professor at the UW-Madison and longtime member of the Pro Arte String Quartet.

But several months ago Parry Karp sustained a serious injury to the fourth finger on his left hand, which is the hand that finds the notes. (You can hear Parry Karp playing a cello duet five years ago with his daughter Ariana Karp in the YouTube video at the bottom.)

That same injury caused him to cancel performances this summer with the Bach Dancing and Dynamite Society and the upcoming Token Creek Chamber Music Festival.

Perhaps the Labor Day tradition will be revived next year. You can read about past concerts by using the search engine on this blog.

But perhaps not, although everyone certainly wishes Parry Karp a full and speedy recovery.

The Ear gives bravos and a big thank you to all the Karps, who gave us so much wonderful music over so many years.

Others can also leave words of gratitude and encouragement in the COMMENT section.


Classical music: Read a rave review of John DeMain’s current production of George Gershwin’s “Porgy and Bess” at the Glimmerglass Festival in upstate New York

July 29, 2017
Leave a Comment

By Jacob Stockinger

Some readers have asked The Ear:

How come John DeMain (below, in a photo by Prasad), music director of the Madison Symphony Orchestra and artistic director of the Madison Opera, wasn’t conducting at last Saturday’s Opera in the Park?

The reason is not that DeMain was taking time off and enjoying a summer vacation.

Rather, he was busy guest-conducting an acclaimed production of George Gershwin’s African-American opera “Porgy and Bess” (below top) at the prestigious Glimmerglass Festival (below bottom) in upstate New York at Cooperstown.

DeMain has enjoyed a long association with both George Gershwin’s opera and the Glimmerglass Festival (below top and bottom).

And Madison music critic Greg Hettmansberger (below), who is writing a biography of DeMain, traveled there to hear and see the production.

He filed the following review on his website “What Greg Says”:

https://whatgregsays.wordpress.com/2017/07/21/porgy-casts-a-special-glow-over-glimmerglass/

Now you know.

And can share in the pride.


Classical music: Tonight is the opening of the Madison Savoyards’ production of Gilbert and Sullivan’s operatic satire “H.M.S. Pinafore.” Seven performances will run through Aug. 6

July 28, 2017
Leave a Comment

By Jacob Stockinger

Tonight at 7:30 p.m. in UW Music Hall, on Bascom Hill, the Madison Savoyards will give the opening performance of their latest production of the popular operetta “H.M.S. Pinafore” by Gilbert and Sullivan (below).

The production, including two Sunday matinees at 3 p.m., will be performed on July 28, 29, 30 and August 3, 4, 5 and 6.

According to a press release, the production promises to be “visually stunning.”

Audrey Wax (below top), of Edgewood College, is the stage director, and Kyle Knox (below bottom), who studied at UW-Madison and has conducted for the Madison Opera, the University Opera and the Middleton Community Orchestra, is the music director.

The orchestra and cast are local.

SYNOPSIS

“Pinafore is the story of a lowly sailor in love with his Captain’s daughter, but she is betrothed to a wealthy officer of her own social class.

Political satire of the time (and today) permeates the story, making light-hearted fun of patriotism, party politics, and unqualified people reaching positions of power.

“Even though Pinafore premiered in 1878 skewering the “one percent” of its day, the class conflicts and romantic rivalry resonate with audiences of any generation. Rich orchestration and challenging vocal work make the music a joy to perform and to hear.” (You can hear the funny and popular song “I Am the Monarch of the Sea” in the YouTube video at the bottom.)

ADDITIONAL OPPORTUNITIES

Grant funding supports the artists and underwrites the Children’s Pre-Show (1 p.m. on this Sunday, July 30, at UW Music Hall).

Children will meet members of the cast and crew, and learn about the show and its music, tour the theater, and create a show-centric craft for free.

American Sign Language service is available, by request, for the July 29 performance.

TICKETS

Tickets cost $40 for premium seats; $30 for general admission; $28 for seniors; $15 for students and young people under 18; and $5 for children 6 and under. Tickets can be purchased through UW Box Office at (608) 265-2787, www.arts.wisc.edu, or in person at the door.  Group sales of 10 or more available by telephone only. Some disocunts are available.

ABOUT MADISON SAVOYARDS LTD.

Since 1963, it has been the mission of the Madison Savoyards, Ltd. to preserve the works of Gilbert and Sullivan and other light opera by producing and promoting live performances; to develop the skills and talent of cast, crew and musicians of all ages; and to inspire, entertain, and educate the community through performances and other initiatives.

“More information can be found on our Facebook page along with behind the scenes insights to the production.”

For full information about the production and the cast, and for clips from other Savoyard productions, go to: http://madisonsavoyards.org


Classical music: The Willy Street Chamber Players wrap up their third season this Friday night at 6 with music by Mozart, Schubert and Osvaldo Golijov

July 27, 2017
Leave a Comment

By Jacob Stockinger

This Friday night, the acclaimed Willy Street Chamber Players (below) wrap up their third summer series.

The 90-minute performance is at 6 p.m. in the Immanuel Lutheran Church, 1021 Spaight St., on Madison’s near east side.

A post-concert reception will be held with snacks from the Underground Food Collective and the Willy Street Coop.

Tickets are $15 at the door.

The program is typical for the relatively new group – a small ensemble making big waves — in that it features regular members with a guest performer, and also mixes old music and new music, sometimes with an unusual twist.

The program offers three works.

The dramatic “Quartettsatz” (1820), or “quartet movement,” by Franz Schubert (below) was intended be a part of another string quartet. It never found that home, and now exists as a popular work on its own. (You can hear it played by the Amadeus Quartet in the YouTube video at the bottom.)

“The Dreams and Prayers of Isaac the Blind” (1994), by the eclectic contemporary Argentinean-American composer Osvaldo Golijov (below, in a photo by Kayana Szymczak for the New York Times), has proven to be among contemporary music’s more popular works. (It has been performed in Madison at the Wisconsin Union Theater and by the Bach Dancing and Dynamite Society.)

As you can gather from the title, it has Hebraic or Yiddish elements typical of Golijov, who is Jewish and has lived in Israel, and it possesses an appealing klezmer sound. The featured soloist is guest clarinetist Michael Maccaferri (below)

Ending the concert is the popular and supremely beautiful “Sinfonia Concertante” for Violin and Viola in E-flat Major, K. 364, by Wolfgang Amadeus Mozart. It was composed originally for a string orchestra and is usually performed that way.

But The Willys, always inventive, will use an anonymous “house music” reduction for string sextet that was done in 1808, almost 30 years after the composer’s death.

The Bach Dancing and Dynamite Society has done many similar reductions of piano concertos by Mozart and symphonies by Franz Joseph Haydn with great success.

So The Ear is very anxious to hear this transcription or arrangement, which could make yet another great masterpiece even more accessible with smaller forces at less expense.

To The Ear, it has all the makings of yet another MUST-HEAR concert by a MUST-HEAR group.

See you there.


NEWS FLASH: Tonight’s Concert on the Square is postponed until tomorrow night at 7

July 26, 2017
1 Comment

NEWS FLASH:

Tonight’s Concert on the Square by the the Wisconsin Chamber Orchestra has been POSTPONED until tomorrow night, THURSDAY, JULY 28, at 7 p.m.

For more information about the “Summer Thriller” program, go to:

https://wisconsinchamberorchestra.org/performances/concerts-on-the-square-5-2/


Posted in Uncategorized

Classical music: Madison native Ansel Norris returns to perform a FREE recital this Saturday night of songs transcribed for trumpet and piano

July 26, 2017
Leave a Comment

CORRECTION: In some downloads of yesterday’s post, the performance by the Ancora String Quartet was mistakenly listed for Friday night. The performance is SATURDAY night. The Ear apologizes for the error. For more information, go to:

https://welltempered.wordpress.com/2017/07/25/classical-music-the-ancora-string-quartet-will-give-two-performances-this-coming-weekend-one-is-free-of-a-program-that-features-works-by-beethoven-shostakovich-and-niels-gade/

By Jacob Stockinger

On this Saturday night, July 29, at 7 p.m., trumpeter Ansel Norris and pianist Beth Wilson will perform a FREE recital of vocal music in an unusual format — for solo trumpet and piano, with the poetry that inspired the music spoken in between each song.

“In music for voice and piano there lies a special intimacy, and the composers featured each captured something close to the essence of the form,” Norris (below) told The Ear. “I wanted to see what happened if I split the songs up into a poem, read it out loud, and then played a wordless melody to follow. The result was interesting and felt meaningful, so I’ve decided to give it another go.”

The recital, in the Grand Hall at Capitol Lakes Retirement Community, 333 West Main Street, downtown and three blocks off the Capitol Square.

The program includes: Richard Strauss, “Morgen”; Robert Schumann, “Liederkreis,” Op. 24, No. 5;” Richard Strauss, “Die Nacht”: Robert Schumann, “Liederkreis,” Op. 24, No. 1; Robert Schumann, “Liederkreis,” Op. 24, No. 9; Johannes Brahms, “Die Mainacht”; Franz Schubert, “Der Einsame”; Johannes Brahms, “Unbewegte laue Luft”; Robert Schumann, “Liederkreis,” Op. 24, No. 3; Richard Strauss, “Befreit”; and Peter Tchaikovsky, “Nur wer die Sehnsucht kennt” (“None but the Lonely Heart,” sung by Elizabeth Schwarzkopf in the YouTube video at the bottom.)

Admission is FREE and open to the public.

Ansel Norris grew up on the east side of Madison, and last set foot in Capitol Lakes (below) in the spring of 2010, for his graduation recital. In recent years, he has distinguished himself as a soloist, orchestral and chamber musician of enthusiasm and diverse taste.

Norris has won a number of prizes as a soloist, including first-prize twice in the National Trumpet Competition, and has drawn acclaim as an orchestral player, performing with the Chicago and Boston Symphonies and holding a fellowship with the New World Symphony in Miami Beach, Florida.

Norris has also worked in close relationship with the Boston Symphony Orchestra, at the Tanglewood Music Center, in the summers of 2014 and 2015.

He says he is fascinated with the relationship between music and storytelling, and is currently exploring interesting formats of solo recitals to draw new connections between them. In a sense, this recital is an experiment, but one conducted with great love, care and curiosity.

While in Madison, Ansel Norris said, he was lucky to participate in a number of the diverse opportunities available to young musicians. He was a three-year member of Wisconsin Youth Symphony Orchestra’s Youth Orchestra and a four-year, inaugural member of the Winds of Wisconsin.

He was also a participant in the Madison Symphony Orchestra’s “Final Forte” was a winner of the Neale-Silva Young Artist Competition held by Wisconsin Public Radio. He was a devoted student of the UW-Madison’s recently retired professor of trumpet, John Aley (below), who to this day is one of his greatest inspirations.

As he grows older, Norris says, he often reflects on what a special place Madison was to grow up in, and he looks forward to every chance he has to be home.

Beth Wilson (below) currently lives in Madison and is a freelance musician and professional pianist. She is a member of the Wisconsin Chamber Orchestra, playing for the “Nutcracker Ballet” and “Concerts on the Square.” She also performs with Grupo Candela, a salsa band. Broadway touring shows contract her to play in the pit orchestra including the recent shows “Wicked,” “Book of Mormon,” “Sound of Music” and “Beautiful –The Carole King Musical.”

As an accompanist, Beth Wilson has collaborated with Bernhard Scully of the Canadian Brass; Diana Gannett of the University of Michigan-Ann Arbor; and Ansel Norris — with whom she is now reunited after seven years.


Classical music: This Saturday night the Ancora String Quartet will perform a program that features works by Beethoven, Shostakovich and Niels Gade

July 25, 2017
1 Comment

By Jacob Stockinger

As it has often done over its 16-year history, the Madison-based Ancora String Quartet (ASQ) will mix a relatively unknown work by a neglected composer into a program of more established chamber music by more well-known composers.

The program it will perform this coming weekend — and then again at “Sunday Afternoon Live From the Chazen” on Sunday, Aug. 6 — is no exception.

The program features: the String Quartet No. 7 in F-sharp minor, Op. 108, by Dmitri Shostakovich; the String Quartet No. 1 in D Major, Op. 63, by Danish composer Niels Wilhelm Gade; and the String Quartet No. 1 in F Major, Op. 18, No. 1, by Ludwig van Beethoven. (You can hear the melodious opening of the quartet by Niels Gade in the YouTube video at the bottom.)

Members of the Ancora String Quartet (below, from left, in a photo by Barry Lewis) are violinists Wes Luke and Robin Ryan; violist Marika Fischer Hoyt; and cellist Benjamin Whitcomb.

Various members the Ancora String Quartet perform with such professional groups as the Madison Symphony Orchestra, the Wisconsin Chamber Orchestra, the Madison Bach Musicians;  members also teach both privately and publicly, including at the University of Wisconsin-Whitewater.

The first performance takes place this coming Saturday night (NOT Friday night, as mistakenly listed earlier in a erroneous headline),  July 29, at 7:30 p.m., at St. Andrew’s Episcopal Church, 1833 Regent St., on Madison’s near west side. There will be a FREE champagne reception after the concert

Tickets will be available at the door, and are for general seating. Ticket prices are $15 for the general public; $12 for seniors and students; and $6 for children under 12.

NOTE: The Ancora String Quartet will perform the same program on “Sunday Afternoon Live From The Chazen” in Brittingham Gallery No. 3  at the Chazen Museum of Art on Sunday, Aug. 6, starting at 12:30 p.m. It will be live-streamed that day from the museum’s website,  and then re-broadcast two weeks later at 3 p.m. on Sunday, Aug. 20, on WVMO, 98.7 FM, the “Voice of Monona.”

Here is a description of the program from the quartet:

“The ASQ offers a summer program of music from Europe’s northern, eastern and western corners. The Danish composer Niels Gade (below) reveals influences of Mendelssohn and Schumann in his lyrical and dreamy quartet. Seemingly from another planet, Shostakovich’s Quartet No. 7 is a masterpiece of ambivalent modernist paranoia, telling his story with brevity and wit.

“Last on the program is Beethoven’s first published string quartet, written on the cusp of the 18th century. It combines Haydn’s witty Classicism, and Mozart’s lyricism,​ with a vigor, brilliance and expansive vision that is Beethoven’s own. The second movement Adagio depicts in stark terms the tragic tomb scene from Shakespeare’s tragedy “Romeo and Juliet,” while the other movements are distinguished by confidence, contrast, and contrapuntal complexity. ”

For more information about the performance and the quartet, including detailed biographies, go to:

http://ancoraquartet.com


Classical music: The Madison Area Youth Chamber Orchestra leaves listeners wanting more after impressive performances of Corelli, Britten and Mozart

July 24, 2017
1 Comment

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 hosts an early music radio show once a month on Sunday morning on WORT-FM 89.9. For years, he served on the Board of Advisors for the Madison Early Music Festival and frequently gives pre-concert lectures in Madison. Barker also took the performance photos.

By John W. Barker

For six seasons past, the Madison Area Youth Chamber Orchestra (below top), founded and led by Mikko Rankin Utevsky, has enriched our summers.

It seemed that last year’s offerings were to be their final one. But they returned in an “Encore!” concert on last Friday night at the First Unitarian Society of Madison, giving hope that this wonderful ensemble of talented young musicians will yet continue to be with us.

The program was a brave and challenging one.

It opened with the Concerto Grosso in D major, Op. 6, No. 4, by Arcangelo Corelli. The wonderful concertos of the Op. 6 are well known from recordings, but are not that often heard in concert.

Corelli’s richly satisfying string sound was beautifully realized by MAYCO’s 22 players. The concertino was nicely set out in front of the full-ensemble tutti, and the performance was led by  concertmaster (and Utevsky’s wife) Thalia Coombs — who, to my ears, worked in some lively embellishments of her own.

Benjamin Britten’s Serenade for Tenor, Horn, and Strings is one of the musical masterpieces of the 20th century, composed for horn virtuoso Dennis Brain and Britten’s partner, tenor Peter Pears, as well as the Boyd Neel Orchestra. It takes its point from the Italian word sera, meaning either “evening” or “night.” The six English poems Britten set to music deal with aspects of night, the horn adding comments to the tenor’s singing, all framed by a horn solo.

Utevsky led a strongly disciplined string ensemble, while horn soloist Joanna Schulz coped confidently with her terribly difficult part.

The weak link, unfortunately, was tenor Dennis Gotkowski, whose voice is neither attractive nor precise, and whose diction generally failed to project the important words clearly.

Still, in all, it proved a brave delivery of a demanding and absorbing work. (You can hear it performed in its entirety by the artists for whom it was composed, hornist Dennis Brain and tenor Peter Pears, in the historic YouTube video at the bottom.)

Mozart’s Symphony No. 40 in G minor, K. 550, is certainly a familiar and often performed concert work. But I have to say that this student ensemble, under the baton of Utevsky, gave it a remarkably exciting performance.

This was not a performance that floated in a dark, but passively tragic gentleness. This was a performance that grabbed you by the lapels, looked you straight in the eye, and gave you a good shaking.

Its pungency was aided, of course, by the altering of the wind parts, nine of them – sitting apart (below) — against the string band that was far smaller than most orchestras muster these days.

One really could hear the different ways in which the winds spice or dialogue with the strings. But the exuberant playing that Utevsky drew from his orchestra made this a truly memorable rendition. (As a graceful gesture, Utevsky allowed his conducting apprentice and assistant, violist Brett Petrykowski, to preface the full Mozart performance by conducting just the exposition of the first movement.)

The audience was a modest one, perhaps diminished by concerns about the weather or by the limited promotion the event was given. But those present clearly enjoyed the concert, which makes many of us anticipate that MAYCO will really continue.


Classical music: Is clapping between movements appropriate or inappropriate? Do performers like it or not?

July 22, 2017
3 Comments

By Jacob Stockinger

Some classical music fans complain about there being too much applause and too many standing ovations these days.

And some of those fans are also really embarrassed by audience members who interrupt a performance to applaud.

Yet twice in the past week or so, The Ear heard musicians give the nod to the audience applauding or clapping between movements or pieces in a set.

One was the internationally renowned arranger and conductor of the All-Festival Concert that concluded the Madison Early Music Festival. The other was a member of the Willy Street Chamber Players.

Both musicians basically said that there is nothing to be embarrassed about.

Applauding between movements, it turns out, was a frequent event in history. Disapproval nowadays can seem a kind of misplaced snooty or elitist purism.

And both performers said that the musicians love hearing applause between movements. It’s a form of reward for the hard work they do and the beauty they create or express.

True, some works seem to lend themselves to such interruptions better than others do. Applauding between the movements of a symphony, concerto or opera seems less intrusive than doing so between sections of a requiem or a song cycle.

But here is a good story on the famed radio station WQXR-FM in New York City about applauding between movements. Read it and see what you think:

http://www.wqxr.org/story/why-dont-we-clap-between-movements-classical-concerts

What do you think of applause between movements or pieces?

Do you clap between movements?

If you don’t, will historical evidence and approval from the musicians themselves change your mind and behavior?

The Ear wants to hear.


Next Page »

    Enter your email address to subscribe to this blog and receive notifications of new posts by email.

    Join 1,094 other followers

    Blog Stats

    • 1,722,376 hits
%d bloggers like this: