The Well-Tempered Ear

Classical music: Mozart’s music requires the rhythms of both speech and dance, says maestro Gary Thor Wedow, who will also restore lost libretto text when he conducts two performances of “The Magic Flute” this weekend for the Madison Opera. Here is Part 2 of his interview with The Ear.

April 19, 2017
Leave a Comment

By Jacob Stockinger

The Madison Opera will stage Wolfgang Amadeus Mozart’s The Magic Flute this Friday night, April 21, at 8 p.m. and this Sunday afternoon, April 23, at 2:30 p.m. in Overture Hall of the Overture Center. (Production photos are courtesy of the Arizona Opera from which the Madison Opera got the sets and costumes for its production.)

Yesterday’s post was the first of two parts. It has a plot synopsis and links to more information about the cast and production.

Here is a link to Part 1:

https://welltempered.wordpress.com/2017/04/18/classical-music-mozart-masterfully-melds-the-sensual-and-the-cerebral-says-maestro-gary-thor-wedow-who-will-conduct-two-performances-of-the-magic-flute-this-weekend-for-the-madiso/

The opera runs about 2 hours and 45 minutes with one intermission.

Tickets are $18 to $130.

“The Magic Flute” will be sung in German with English supertitles.

For more about the production and cast, go to:

http://www.madisonopera.org/performances-2016-2017/the-magic-flute/

And also go to:

http://www.madisonopera.org/performances-2016-2017/the-magic-flute/cast/

Here is Part 2 of The Ear’s recent email interview with conductor Gary Thor Wedow (below, conducting in an orchestra pit):

Are there certain “tricks” or “secrets” that you try to bring to conducting Mozart? Have you conducted “The Magic Flute” before? Do Mozart’s operas in general and this opera in specific present challenges? Where do you place the opera musically, both compared to other operas in general and in regard to its place in Mozart’s work?

I feel keenly that Mozart and all 18th-century music (probably continuing to this day) is either based on a rhetorical idea or a dance form; that music is either speaking or dancing. This style of music is “pre-French Revolution,” so No Two Notes are Created Equally! The lilt of language or the buoyancy of the dance has to infuse every moment; hierarchy and shape prevail.

I’ve been fortunate to have conducted The Magic Flute frequently, in many varied productions; it’s always been a part of my musical life. Because it’s a fairy tale, it lends itself to inventive and imaginative productions. Stage director Dan Rigazzi’s production (below) for Madison Opera is a whimsical one, influenced by the surrealist painter Magritte, steampunk and more, all rolled into one beautiful show.

Mozart was fascinated with German Singspiel, as it was opera in the language of the people. The Magic Flute is his masterpiece in this genre, though there are earlier works. There is the early Zaide – incomplete, but filled with gorgeous, innovative music –and also the more mature, sumptuous and comic The Abduction from the Seraglio; they are both rich and entertaining pieces.

The Magic Flute, I feel, has a special place in the opera repertoire for several reasons: its Masonic connections that were very important to Mozart, the drama, and its central themes that trace themselves back to ancient Egypt.

It also is a brilliant combination of comedy and deep spiritual drama in the guise of a heroic rescue tale. It uses an incredibly wide range of the most beautiful music written in every major genre: sacred music, opera seria, bel canto, folk song and complex Baroque counterpoint.

What would you like listeners to pay special attention to in the music of “The Magic Flute”?

I would say “Hang on!” Whatever style of music we are in, we are going to switch gears in a fairly short time. It’s a roller coaster, an Ed Sullivan Show, American Idol, and the Barnum and Bailey Circus all rolled into one.

This is your third time conducting at Madison Opera. Do you have an opinion about Madison musicians and audiences?

My previous two experiences in Madison have been the Opera in the Park concerts in 2012 and 2016 (below). These have been among the most sublimely satisfying moments of my musical life: a cornucopia of music played by this brilliant symphony orchestra with great singers.

The audiences have been magically focused and involved; the players are magnificent, dedicated musicians, and the community is very supportive of Madison Opera. It’s electric.

Is there anything else you would like to say about the music or this performance?

Magic Flute devotees might be startled to hear some new text in these performances, particularly in Tamino, Pamina and Sarastro’s arias and the duet with Pamina and Papageno. “Bei Männern” is now “Der Liebe.” (You can hear it in the YouTube video at the bottom.)

Let me explain by telling you a mystery story. After Mozart died, Constanze was desperate for money. Mozart’s Flute manuscript conducting score belonged to Schikaneder, the librettist and producer, but it seems that Constanze had another original score: the first original manuscript, which she then sold to a nobleman who eventually allowed it to be published.

This must have been a “composing score” that Mozart wrote first, before making the conducting score with the help of his assistant. The text deviates in several sections in notable ways. Probably Schikaneder, perhaps assisted by his Masonic brothers, “improved” the text, but Mozart had already shaped his music to the first text.

In most sections the differences are minimal and the new text was indeed an improvement. But in some cases I feel the original text was what inspired Mozart to write and orchestrate the way he did. Our marvelous singers have generously agreed to make the changes and I think we will all see how it fits the music so much better.

Sadly, Constanze’s manuscript was lost in the wars, but many scholars had already seen it and considered it to be genuine. I love how it shows how fluid the creative process is and how it spurs us to look anew at Mozart’s creative process.

On with the show!


Classical music: UW festival will honor American composer George Crumb at 85. It runs from this Friday through Monday and features master classes as well as the acclaimed violinist Miranda Cuckson and the new music groups Nunc and Due East.

March 19, 2015
2 Comments

By Jacob Stockinger

The acclaimed prize-winning composer Laura Schwendinger, who teaches composition at the University of Wisconsin-Madison School of Music, has sent the following announcement to The Ear:

Pulitzer Prize-winner George Crumb (below, b. 1929) is one of America’s foremost composers and one of the most influential and innovative composers of the latter half of the 20th Century.

George Crumb

UW-Madison composer and professor Laura Schwendinger, who is the Artistic Director of the UW-Madison Contemporary Chamber Ensemble, designed the 2015 CRUMB FESTIVAL – to take place from this Friday, March 20, through Monday, March 23, at the UW-Madison School of Music — to celebrate his 85th birthday.

“We wish to celebrate this unique and singular voice,” says Schwendinger. She describes Crumb’s influence in this way: “He is one of the most important, and influential composers of our time. He simply makes us listen to sound in a new way, and there are very few composers who can do that.”

The Festival will feature four concerts and nine works by Crumb.

Here is a schedule of events by each day.

FRIDAY

On Friday, March 20, at 8 p.m. in Music Hall, “Lakeshore Rush,” which features three all-star UW alumni, will be performing Vox Balaenae (Voice of the Whale).

SATURDAY

On Saturday, March 21, at 7:30 p.m. and also in the Music Hall, the UW Contemporary Chamber Ensemble (below top) will be presenting a concert featuring the Pro Arte String Quartet’s Parry Karp (below bottom) in Crumb’s Solo Cello Sonata and saxophonist Steve Carmichaelin’s Quest.

UW graduate student, conductor Kyle Knox will be conducting University of Southern California professor Donald Crockett’s “Whistling in the Dark” and Les Thimmig will be leading his saxophone quartet in a work by University of California-Davis professor Laurie San Martin, in her Miniatures for Saxophone quartet; a work by University of California-Berkeley Music Department Chair Cindy Cox will round out the program.

Schwendinger adds “none of these works could have been composed without Crumb’s influence, yet are distinctive examples of their composers’ individual styles.”

Contemporary Chamber Ensemble

Parry Karp

SUNDAY

On Sunday, March 22, at 7:30 p.m. in Mills Hall, Nunc (below top, Latin for “now”), a New York-based music ensemble will perform, headed by the star violinist Miranda Cuckson (below middle), called “superb,” “deeply satisfying,” and “prodigiously talented” by the New York Times.

The program includes Eleven Echoes of Autumn, and the Four Nocturnes for violin and piano as well as works by Augusta Read-Thomas, Sebastian Currier, and Laura Schwendinger’s The Violinists in My Life, a work for which the third movement is dedicated to Cuckson. Schwendinger (below bottom) adds that “this work of hers, is much influenced by the drama of the Crumb’s Solo Cello Sonata.”

Nunc

Miranda Cuckson

Laura_Schwendinger,_Composer

MONDAY

Finally, on Monday, March 23, at 8 p.m. in Morphy Hall, Due East (below), the flute and percussion duo of Erin Lesser and Greg Byer, lauded as “superb” (New York Times) and “brilliant” (New York Concert Review), will be joined by NYC-based harpist, Jacqui Kerrod, vocalist Amanda deBoer and bassist Mark Buchner, will be performing George Crumb’s colorful and enticing Madrigals (1-4) in a stunning multi-media presentation, which presents a “triptych video montage” that becomes a “magical and powerful environment,” along with works written for them by the Chicago Composers Consortium and also inspired by the works of Crumb.

The consortium has been a staple of Chicago’s New Music scene for 25 years now and has counted as part of its membership some of Chicago’s best-known composers.

due east

In addition to the four concert offerings, Miranda Cuckson, Blair McMillen, Erin Lesser and Greg Beyer will all be offering master classes, and Nunc will be reading works by student composers as part of a composer workshop.

Schwendinger says “the festival is a fantastic opportunity for the next generation of composers to be exposed to Crumb and learn from the performers who play his music.”

Susan C. Cook (below), music historian and director of the UW-Madison School of Music, is currently teaching a course focusing on George Crumb.  An expert in contemporary and American music of all kinds, Cook singles out Crumb as central to her own desire to study modern music.

“As an undergraduate at Beloit College, I first heard Crumb’s ‘Ancient Voices of Children,’ then less than a decade old, in a music theory course,” Cook says. “It simply grabbed hold of me, and I knew I wanted to understand how it came to be and share it with others.”

Susan C. Cook UW SOM BW CR Michael Forster Rothbart

All events are open to the public.

Nunc and Due East are ticketed events. Visit the Events Calendar at www.music.wisc.edu for more information.

Here are some online resources, including YouTube videos:

Crumb Quest:

https://www.youtube.com/watch?v=1dpy3_BVBIA

https://www.youtube.com/watch?v=4XJ0cJJLrRQ

Crumb: Vox Balanae

https://www.youtube.com/watch?v=4uU_5cg9dG8

Crumb: Eleven Echoes of Autumn

https://www.youtube.com/watch?v=EYVw4BcRAgU

Links to other works on the concerts:

Donald Crockett Whistling in the Dark

https://www.youtube.com/watch?v=zKuymSYeHqk

“Violinists in My Life” with violinist Eleanor Bartsch and pianist Thomas Kasdorf performing with the UW Contemporary Chamber Ensemble in Mills Hall in 2014

https://www.youtube.com/watch?v=bNUc6-hJJV4

Sebastian Currier, Verge:

https://www.youtube.com/watch?v=S7PDj8AS_cg

Featured performers in other works:

Due East

https://www.youtube.com/watch?v=j6LzjnyRijQ

Miranda Cuckson

https://www.youtube.com/watch?v=Chs6LxlOU78

https://www.youtube.com/watch?v=7X4t-DIU2m0

 


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

    Join 1,097 other followers

    Blog Stats

    • 1,664,389 hits
%d bloggers like this: