The Well-Tempered Ear

Classical music: When it turns hot and humid this weekend, YOU MUST HEAR THIS: “Summerland” by William Grant Still

August 4, 2018
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By Jacob Stockinger

Early August is bringing another blast of summer this weekend.

Here come the heat and humidity again.

The Ear loves certain music and composers who seem particularly listenable and enjoyable in summer.

One is the French master Francis Poulenc, whose works often have a certain light, airy and playful quality to them.

But recently, on Wisconsin Public Radio, The Ear heard another winner to hear in hot weather.

It is the piano piece “Summerland” by William Grant Still (below in a photo by Carl Van Vechten), which you can hear in the YouTube video at the bottom. It is a relaxing and dreamy work, beautiful and very summery with suggestions of the blues and Debussy.

William Grant Still (1895-1978) was a very successful and major African-American composer of classical music as well as a conductor. He has been experiencing a long overdue revival lately.

Here is a link to his biography, which features a lot of awards and distinctions, in Wikipedia:

https://en.wikipedia.org/wiki/William_Grant_Still

And you can find many more large works, including several symphonies, and miniatures on YouTube, which also has other several settings of “Summerland.”

Here is “Summerland” in a version for solo piano:

If you like this music, link or forward or share this post.

Enjoy!

Stay cool!

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Classical music: The Festival Choir of Madison will perform Slavic music – including several U.S. and world premieres — under a guest Spanish conductor this Saturday night

May 15, 2018
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By Jacob Stockinger

The Festival Choir of Madison (below) will perform the program “The Slavic Soul” this coming Saturday night, May 19, at 7:30 p.m. in the Atrium Auditorium at the First Unitarian Society of Madison, 900 University Bay Drive.

The Festival Choir will have guest conductor Nikoleta Popova for the event, who is coming from Spain to conduct a program comprised of songs either by Slavic composers or inspired by Slavic music. More about the conductor is below.

Several U.S. premieres are marked with an asterisk and there is one world premiere.

Tickets are $20, $15 for seniors 65 and over; and $10 for students. For information and tickets, go to: https://festivalchoirmadison.squarespace.com/concerts/2018/5/theslavicsoul

Here is the complete program:

THE SLAVIC SOUL

Bela Bartok (1881-1945) – Four Slovak Folk Songs (heard in the YouTube video at the bottom)

Dmitri Shostakovich (1908-1975) – Two Russian Folk Songs. With Anya Gubenkova, alto

Alexander Davidenko (1899–1934) – “At Ten Versts From the Capital”* with Ted Reinke, piano, and Dan Broner, organ

Vera Nasha (Our Faith)* Serbian Folk Song, arr. Yónatan Sánchez Santianes with James McKenzie, percussion

Szymon Godziemba-Trytek (1988) Agnus Dei (World Premiere) with Ted Reinke, organ

Georgy Sviridov (1915–1998) – “A Wondrous Birth”; “Balalaika”; and “Reveille.” With Anya Gubenkova, alto

Dobri Hristov (1875–1941) – “Rachenitsa”

Todor Popov (1921–2000) – “Stara Sa Maika” (The Old Mother)*

“Kalinka,” a Russian Folk Song arranged by Vadim Prokhorov

The guest conductor is Nikoleta Popova (below) of Bulgaria and Spain. She is a renowned specialist in Eastern European and Bulgarian music and has offered seminars and master classes all over the world.

Currently, Popova is Professor in Conducting at the Conservatorio Superior de Música de Canarias in Las Palmas, Spain, where she is also music director of the conservatory orchestra and choirs. She has appeared as guest conductor in Austria, Italy, Spain, Poland, and the U.S., as well as her native Bulgaria.

Born in Dobrich, Bulgaria, Nikoleta Popova received her education as a conductor from the National Academy of Music in Sofia, Bulgaria, and from Universität für Musik und darstellende Kunst in Graz. Among her teachers are Eric Whitacre, Fernando Malvar-Ruiz, Alex Schillings, Klaas Stok, Marco Antonio Da Silva Ramos, and others.

In 2011 Nikoleta Popova received her Ph.D. from the University of Las Palmas de Gran Canaria with a dissertation on the performance of the black spiritual. Since 2012, she has published three books in Spanish with in-depth analysis of the problems that singers and conductors face in the interpretation of African-American spirituals.


Classical music: The Wisconsin Chamber Choir will celebrate the Americas with two world premieres this Friday night

April 10, 2018
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By Jacob Stockinger

The Wisconsin Chamber Choir (below) will give two performances — one in Madison and one in Milwaukee — of the program “I Hear America Singing.”

The Madison program features two world premieres: Alleluia by Wayne Oquin and Shenandoah by Jae Lee. The Madison performance will also include a special guest ensemble: The University of Wisconsin–Whitewater Chamber Singers.

The local performance on this Friday, April 13, is at 7:30 p.m. in Grace Episcopal Church (below), 116 West Washington Ave., on the Capitol Square.

On next Saturday, April 21, at 7:30 p.m., the WCC will perform at St. Paul’s Episcopal Church, 914 East Knapp Street, Milwaukee.

The concert is a musical celebration of all the Americas — North and South — and all Americans.

Also, in recognition of Robert Gehrenbeck’s 10th anniversary as artistic director, the WCC presents the world premiere of Alleluia by New York composer and Juilliard School faculty member Wayne Oquin.

Inspired by Randall Thompson’s classic setting of the same one-word text, Oquin’s new version updates Thompson’s musical style in his own harmonic language, which has been compared to Morten Lauridsen’s.

An extremely versatile musician, Oquin (below) boasts recent commissions and performances by the Philadelphia Orchestra, the Danish National Symphony, the United States Air Force Band, the Houston Chamber Choir, and the King’s Singers.

At the Madison concert the WCC will be joined by the UW-Whitewater Chamber Singers performing their own world premiere, Shenandoah, by New York composer, organist and former jazz pianist Jae Lee (below).

The remainder of the program spans music of four centuries and multiple nationalities. Masterpieces of the U.S. choral repertoire — Samuel Barber’s Reincarnations and Charles Ives’s Psalm 67 — share billing with a diverse selection of works from throughout the hemisphere.

They include music by Mexican Baroque master Manuel de Samaya (below top); Argentinian tango composer Astor Piazzolla; African-American composers Bobby McFerrin, Hall Johnson, W. C. Handy, and Rosephanye Powell; and Native-American composer and longtime friend of the WCC, Brent Michael Davids (below bottom).

(You can hear a work that Robert Gehrenbeck commissioned for the UW-Whitewater Chamber Singers from Wayne Oquin in the YouTube video at the bottom, performed by the Houston Chamber Choir.)

The WCC’s award-winning organist, Mark Brampton Smith (below), will perform Samuel Barber’s virtuosic Wondrous Love: Variations On a Shape-Note Hymn on two amazing pipe organs: the 1987, 38-rank Casavant at Grace Episcopal Church in Madison, and the 2012, 51-rank Schantz at St. Paul’s Episcopal Church in Milwaukee.

Founded in 1998, the Wisconsin Chamber Choir has established a reputation for excellence in the performance of oratorios by Bach, Handel, Mozart and Brahms; a cappella works from various centuries; and world premieres.

Artistic director Robert Gehrenbeck (below), who directs choral activities at the UW-Whitewater, has been hailed by critics for his vibrant and emotionally compelling interpretations of a wide variety of choral masterworks.

Advance tickets for the April 13 performance in Madison are available for $20 ($10 for students) from www.wisconsinchamberchoir.org, via Brown Paper Tickets, or at Orange Tree Imports and Willy Street Coop (all three locations).

The April 21 performance in Milwaukee will be presented for a free-will offering.


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Classical music: New faculty conductor Chad Hutchinson makes an impressive and promising debut with the UW Symphony Orchestra

October 11, 2017
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By Jacob Stockinger

Last Saturday night, Chad Hutchinson (below), the new faculty conductor at the University of Wisconsin-Madison’s Mead Witter School of Music, made an impressive and promising debut with the UW Symphony Orchestra.

The ambitious program that Hutchinson put together says a lot about his priorities and instincts, and about his confidence in himself and the abilities of his student players, who performed superbly.  

The varied works came from the early 19th century, the mid-19th century, the early 20th century and the 21st century. And it seemed that each piece in the ambitious program was chosen to put the spotlight on a different section – percussion, brass, strings and winds.

Curiously, The Ear found the most successful pieces were the most traditional ones.

The Prelude to the opera “Die Meistersinger von Nürnberg” by Richard Wagner received the right mix of horn pomp and string zest. It made The Ear realize again how much more he prefers Wagner’s instrumental music to his vocal music. Let’s hear more Wagner preludes, since we are unlikely to hear more Wagner operas.

The orchestral transcription by Leopold Stokowski (below) of the piano prelude “The Sunken Cathedral” by Claude Debussy was the least successful work of the night. This is the second overblown and bombastic Stokowski transcription that The Ear has heard performed live in a month.

Clearly, Stokowski’s aesthetic was Bigger is Better. This particular transcription strips away the mystery, sensuality and subtlety, the watery softness,  of the original. It works more as an etude for orchestra than as an authentic expression of Impressionism.  The Ear’s objections are to the transcription, not to the performance, which was well voiced, precise and tightly controlled.

“Mothership” by the popular American composer Mason Bates (below), who wrote the recent successful opera based on the life of the late Apple guru Steve Jobs, proved an interesting foray into contemporary music culture. It was also the Madison premiere of the 2011 work.

The electronic music in the pulsating and highly atmospheric score, including the computer-generated disco dance beat, highlighted the percussion section and the UW’s new Electro-Acoustic Research Space (EARS), which collaborated with the symphony orchestra.

The dramatic work, a novelty that is pop-infused and resembles music by John Adams a little too closely, has its pleasing and engaging moments. But overall it seems a triumph of style over substance. (You can judge for yourself from the performance with Michael Tilson Thomas in the YouTube video at the bottom.)

That said, Hutchinson nonetheless held the complex and coordinated score together, and the young audience seemed to take to the new music — a major achievement in itself.

Expect to hear many more contemporary works from Hutchinson, who says he is an unabashed champion of new music. He will include other living composers in many other concerts, including the next one on Nov. 4 and then again on Feb. 22.  

To these ears, the most impressive performance came in the Symphony No. 3 “Eroica” by Ludwig van Beethoven. In its day, the difficult and long work proved revolutionary and perplexing. More recently, more than 100 conductors named it the best symphony ever written. You can’t get more establishment than that.

Yet despite being so mainstream, the “Eroica” remains a difficult and challenging work, both technically and interpretively. And this performance succeeded on both counts. That is no small feat for a new conductor and his young students to pull off in the first six weeks of school.

Especially impressive was Hutchinson’s choice to skip any pause between the third movement and the finale. It worked dramatically to maintain momentum. Such exciting attacks should be a more common practice in performing symphonies and concertos as well as chamber music.

Hutchinson seems a congenial and humorous concert hall host. His pre-concert talk (below), which he is slated to do at all performances, was helpful and informative, even if he repeated some major points when he introduced  the actual performances. Hutchinson, intent on expanding the audience for classical music, is worth listening to.

Hutchinson may not possess an especially graceful or fluid podium presence that is pleasing to watch, but he gets results. Certainly both the student players and the large audience (below) seemed pleased and excited by these performances.

In the end, the concert provided plenty of reasons to look forward to hearing more from Chad Hutchinson and seeing how he develops and leaves his mark on programming and performing at the UW.

Were you there as either a performer or an audience member?

What did you think of the concert and of Chad Hutchinson’s debut?

The Ear wants to hear.


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
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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: 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
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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.


Classical music: New Orleans seeks to once again become an American opera capital with an emphasis on diversity

May 31, 2017
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By Jacob Stockinger

When you think of opera in America, chances are good that you think of New York City with the Metropolitan Opera and the New York City Opera; the Lyric Opera of Chicago; the Houston Grand Opera; the Santa Fe Opera; and countless other opera companies in many major cities.

And when you think of New Orleans, you understandably think of jazz.

But the truth is that for a long time, New Orleans was an American capital for opera, more important than many of the other cities mentioned above.

Consider the fact that the first opera performed in the United States was performed in New Orleans in 1796. And that at one point, New Orleans was home to five opera companies.

Plus, the opera that was performed there in the past brought racial, cultural and gender diversity to an art form that often lacked it and was largely Euro-centric. (You can hear the company sing “We’re Goin’ Around” from ragtime great Scott Joplin‘s opera “Treemonisha” in the YouTube video at the bottom,)

Now some singers and others (below) have formed an organization – OperaCreole — with the aim of correcting racism and restoring New Orleans’ reputation for opera,  especially that of the many African-American and Creole opera composers who were native to New Orleans.

A fine story, with an illuminating interview, recently appeared on NPR (National Public Radio).

Here is a link:

http://www.npr.org/sections/deceptivecadence/2017/05/28/530085480/a-new-orleans-company-shines-a-light-on-operas-diverse-history

Another excellent story, with more focus on repertoire and history, appeared in The New Yorker magazine:

http://www.newyorker.com/culture/culture-desk/a-small-step-toward-correcting-the-overwhelming-whiteness-of-opera

And here is a link to OperaCreole’s own website with more information about the company and its productions:

http://www.operacreole.com


Classical music: String quartets, African-American spirituals and a farewell faculty flute recital plus many graduate student recitals are FREE highlights this week at the UW-Madison

April 10, 2017
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By Jacob Stockinger

Only about a month of classes remains in the academic year, so concerts by faculty members, guest artists and students are backing up at the University of Wisconsin-Madison School of Music.

But quantity does NOT preclude quality — or variety.

Just take a look at the highlights this week:

TUESDAY

At 8:30 p.m. in Morphy Recital Hall, the Hunt Quartet will perform its spring concert.

Members of the graduate student ensemble are (below, from left, in a photo by Katrin Talbot): Kyle Price, cello; Vinicius “Vinny” Sant’Ana, violin; Blakeley Menghini, viola; and Chang-En Lu, violin.

The program is: String Quartet in G Major, Op. 77, No. 1 by Franz Joseph Haydn; String Quartet in F minor “Serioso,” Op. 95, by Ludwig van Beethoven; and the String Quartet No. 2, Op. 90, by Sergei Prokofiev. (You can hear the riveting Prokofiev quartet in the YouTube video at the bottom.)

The Hunt Quartet is sponsored by Dr. Kato Perlman and the Madison Symphony Orchestra.

For more information about the quartet and its individual members, as well as a SoundCloud audio sample of the Hunt Quartet playing a 1924 piece by Joaquin Turina, go to:

http://www.music.wisc.edu/event/the-hunt-quartet-spring-concert/

WEDNESDAY

At 7:30 p.m. in Morphy Recital Hall, guest artist Emery Stephens (below), faculty collaborative pianist Martha Fischer and UW students will perform African-American spirituals, songs and instrumental works.

For more about the visit by scholar-performer Stephens, see this blog posting done just before he cancelled the last date, which fell on a Tuesday rather than a Wednesday:

https://welltempered.wordpress.com/2017/03/13/classical-music-singer-scholar-returns-to-coach-students-about-and-perform-a-free-recital-of-african-american-songs-and-spirituals-on-tuesday-night-at-uw/

THURSDAY

At 7:30 p.m. in Mills Hall, retiring professor of flute Stephanie Jutt (below) will perform her farewell faculty recital.

Jutt will be joined by faculty colleagues violist Sally Chisholm, clarinetist Amy McCann and pianist Christopher Taylor.

Sorry, no word about the program.

Jutt (below), who has been teaching and performing at the UW-Madison for 28 years, is also the principal flutist of the Madison Symphony Orchestra and the co-founder and co-artistic director of the Bach Dancing and Dynamite Society. Jutt says she will continue with MSO and BDDS after she retires.

This week also features a plethora of degree recitals by students, most held in Morphy Recital Hall (below). The Ear counts 11 in fields from voice to percussion. For more information, check out these links:

http://www.music.wisc.edu/events/

And for the full lineup for April, visit:

https://uwmadisonschoolofmusic.wordpress.com


Classical music education: Concerto contest winners perform at the Wisconsin Youth Symphony Orchestras winter concerts this Saturday

March 16, 2017
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By Jacob Stockinger

WYSO will hold its second concert series of the year with the Diane Ballweg Winterfest Concerts on this Saturday, March 18.

Nearly 500 young musicians will display their great talents to the community during the concerts, which are dedicated to music teachers. (See below for times and programs. And listen to WYSO members talk about WYSO in the YouTube video at the bottom.)

The concert series will feature all five orchestras including the debut performance of WYSO’s newest string orchestra, Opus One.

Under the direction of Geri Hamilton, Opus One consists of string players ages 8 to 12. This ensemble focuses more on technique than on performance, incorporating instruction on fundamentals of scales, shifting and bowing, in addition to formative ensemble skills experience.

The Youth Orchestra concert will also feature two of the winners from the Youth Orchestra Concerto Competition: Violinist, Mary Deck and Percussionist, Adam Goren.

Mary Deck (below), age 16, is a junior at Madison West High School, and has been a part of WYSO since 2011. She will be performing the first movement of the Violin Concerto No. 4 in D minor, Op. 31, by Henri Vieuxtemps.

Adam Goren (below), age 18, is a senior at Middleton High School and has been a part of WYSO since 2013. He will be performing the third movement of Concertino for Marimba by Paul Creston.

The Diane Ballweg Winterfest Concerts will be held in Mills Concert Hall in the UW-Madison George Mosse Humanities Building, 455 North Park Street.

WYSO concerts are generally about an hour and a half in length, providing a great orchestral concert opportunity for families.

Tickets are available at the door, $10 for adults and $5 for youth 18 and under.

For more information about WYSO, go to: https://www.wysomusic.org

This project is supported by Dane Arts with additional funds from the Endres Manufacturing Company Foundation, the Evjue Foundation, Inc., a charitable arm of The Capital Times, the W. Jerome Frautschi Foundation and the Pleasant T. Rowland Foundation. Generous funding was also provided from the American Girl’s Fund for Children. This project is also funded in part by a grant from the Madison Arts Commission with additional funds from the Wisconsin Arts Board.

SCHEDULE AND PROGRAMS

Opus One and Sinfonietta – 11:30 a.m.

Sinfonietta (below)

Longfield (b.1947), Black Diamond

Smetana (1824-1884), Themes from The Moldau, arr. Frost

Mosier, Kirt N., American Reel

Traditional Irish, The Salley Gardens

Richard Stephan (b. 1929), Variations On A Well-Know Sea Chantey,

Grundman  (1934-1996), Kentucky 1800

Leyden (1917-2014), Serenade for String Orchestra: Prelude, Fugue, Nocturne, Cakewalk

Dvorak (1841-1904), Themes From The New World Symphony arr. Gruselle

Opus One

Richard Meyer (b.1957), Night Shift

Follow the Drinking Gourd – African-American Folk Song arr. Carrie Lane Gruselle

Ewazen (b.1951), Four Royal Dances: The Lord

Brian Balmages (b.1975), A Beethoven Lullaby

For the Star of County Down –

Richard Meyer (b.1957) Dragonhunter

Concert Orchestra and Harp Ensemble (below top)  – 1:30 p.m.

Concert Orchestra (below bottom)

Gounod (1818-1893), Funeral March of a Marionette ed. Rosenhaus

Holst (1874-1934) Jupiter, the Bringer of Jollity from The Planets arr. Leidig

M.L. Daniels (b. 1931) Contending

Tres Danzas de Mexico setting by Rhoads (b. 1918): El Pitayero (from Jalisco); El Café (Province unknown); El Curripiti (from Veracruz)

Montgomery (1771-1854), Angels, From the Realms of Glory, setting Robert W. Smith

Philharmonia Orchestra (below) – 4 p.m.

Wagner (1813-1883), Procession to the Cathedral, from the Opera “Lohengrin” arr. Kennedy

Grieg (1843-1907), Peer Gynt: Suite No. 1, Op. 46: Morning; Ase’s Death; Anitra’s Dance; In the Hall of the Mountain King

Weber (1786-1826), Tourandot, J.75: Overture and March

Hindemith (1895-1963), Symphonic Metamorphosis of Themes by Carl Maria von Weber: Fourth movement – March

Youth Orchestra (below) – 7 p.m.

Vieuxtemps (1820-1881) Concerto for Violin No 4 D minor, Op.31, first movement. Mary Deck, violin soloist

Creston (1906-1985) Concertino for Marimba, third movement. Adam Goren, marimba soloist

Prokofiev (1891-1953) Symphony No 7, op.131, C-sharp minor: Moderato, Allegretto, Andante espressivo, Vivace

Glinka (1804-1857) “Russlan and Ludmilla” Overture


Classical music: You’re invited to a FREE 12-hour marathon birthday party for Johann Sebastian Bach this Saturday. Plus, tonight’s concert of African-American music has been CANCELLED

March 14, 2017
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ALERT: Tonight’s concert of African-American spirituals and songs has been CANCELLED because guest scholar and singer Emery Stephens is ill. The UW-Madison School of Music hopes to reschedule the event later this spring. 

By Jacob Stockinger

Guess who turns 332 on March 21?

This coming Saturday will bring a 12-hour, noon to midnight, marathon party for the Birthday Boy – Johann Sebastian Bach (1685-1750, seen below in a humorous poster for a similar event held several years ago).

The local event – now part of the nationwide “Early Music Month” — is being revived, thanks to Madison violist Marika Fischer Hoyt (below), who performs with the Madison Bach Musicians, the Ancora String Quartet  and the Madison Symphony Orchestra,  and to many sponsors.

The party will take place at St. Andrew’s Episcopal Church (below) on Regent Street. (Several years ago, the event, when it was sponsored by Wisconsin Public Radio, was held at the Pres House.) There will be live audio-visual streaming and free wi-fi, and the event will be recorded.

Here is a link to the updated schedule of performances:

https://bacharoundtheclock.wordpress.com/concert-schedule/

Here is a link to an earlier post about the upcoming event:

https://welltempered.wordpress.com/?s=bach+around+the+clock

If you love the music of Bach (below) – and The Ear doesn’t know anyone who is into classical music who doesn’t revere Bach — there will be a lot to love and to listen to at this FREE and OPEN TO THE PUBLIC  celebration.

The event is modeled after a longtime similar event in New Orleans and those who attend it can come and go and come back again.

Local performers include groups and individuals who are professionals (Madison Bach Musicians and Wisconsin Chamber Choir), amateurs and students (Suzuki Strings of Madison).

The impressive program includes lots of variety.

There will be preludes and fugues.

Cantatas and concertos.

Sonatas and suites.

Obscure works will be performed.

But there will also be popular works such as two Brandenburg Concertos (Nos. 3 and 5), The Well-Tempered Clavier (Books I and II), the Magnificat, a Violin Concerto, “Jesu, Joy of Man’s Desiring” and some of The Art of Fugue. (You can hear Fugue No. 1  from “The Art of Fugue,” which will be performed at BATC, in the YouTube video at the bottom.) 

There will be music played on period instruments and on modern instruments, including the harpsichord and the piano; the baroque violin and the modern violin; older recorders and newer flutes, the viola da gamba and the cello. And of course there will be lots and lots of singing and organ music.

Given such a marathon undertaking, you should know that there will be refreshments (coffee, tea, bottled water and snacks), comfortable seating and special birthday cakes — served at midnight — provided by Clausen’s Eurpean Bakery in Middleton.

NOTE: You can find out more when several organizers and performers from Bach Around the Clock are Norman Gilliland’s guests on Wisconsin Public Radio’s “The Midday” this coming Thursday from noon to 12:30 p.m.

For more information –including how to support the event with a donation and how to participate in it as a performer – go to the event’s homepage:

https://bacharoundtheclock.wordpress.com

Here are some links to previous posts on this blog about attending earlier versions of Bach Around the Clock. Read them and look at the pictures, and you will see how enjoyable they are and how informative they are.

From 2010:

https://welltempered.wordpress.com/2010/03/20/classical-music-events-here-is-the-line-up-for-saturdays-bach-around-the-clock/

From 2011:

https://welltempered.wordpress.com/2011/03/21/classical-music-review-the-marathon-“bach-around-the-clock”-concert-is-now-officially-a-tradition-in-madison-wisconsin/

From 2012:

https://welltempered.wordpress.com/2012/03/23/classical-music-here-are-8-lessons-i-learned-from-my-day-of-berlitz-bach-at-wisconsin-public-radios-bach-around-the-clock-3-last-saturday/

See you there!


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