The Well-Tempered Ear

Classical music: Members of the Chamber Music Society of Lincoln Center will give two concerts this week as part of the centennial season of the Concert Series at the Wisconsin Union Theater

March 4, 2020
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By Jacob Stockinger

Think of it as one anniversary celebrating another anniversary.

This week, four members of the Chamber Music Society of Lincoln Center in New York City will be giving two concerts as part of the Concert Series at the Wisconsin Union Theater (below).

The Chamber Music Society is marking its 50th anniversary and is in town this week to help the WUT’s Concert Series celebrate its 100th anniversary.

Here is a link with more background about the special programming for the anniversary season: https://welltempered.wordpress.com/2019/03/30/classical-music-personal-experience-artistic-excellence-and-historical-importance-drew-pianist-wu-han-and-cellist-david-finckel-into-planning-next-years-centennial-season-at-the-wisconsin-u/

The first concert is tomorrow — Thursday night, March 5 — at 7:30 p.m. in Shannon Hall at the Memorial Union. The program features two piano quartets and a violin sonatina.

The Ear has seen the Society players before in Madison and has never heard them give anything short of a first-rate performance. 

The piano quartets are the Piano Quartet in A Minor, Op. 1, by Czech composer Josef Suk; the Piano Quartet No. 1 in G Minor, Op. 25, by Johannes Brahms; and the Violin Sonatina in G Major, Op. 100, by Antonin Dvorak. (You can hear Chopin Competition winner and South Korean pianist Song-Jin Cho, play the Gypsy Rondo finale from the Brahms piano quartet in the YouTube video at the bottom.)

Personal ties link all three works. Brahms greatly admired Dvorak and helped launch his career. And Dvorak was both the teacher and father-in-law of Suk.

The performers (below, from left) are violinist Arnaud Sussmann, pianist Wu Han, violist Paul Neubauer; and cellist David Finckel.

The wife-and-husband team of Wu Han and David Finckel are the co-music directors of the Chamber Music Society and also the artistic advisors who helped the Wisconsin Union Theater put together its centennial season.

Says Han: Chamber music is a form of music that has the ability to provide comfort in difficult times, escape and inspiration for all. The Musical America’s Musician of the Year award winner adds that it’s those very things that drive her to continue to make music.

The performance is part of the new David and Kato Perlman Chamber Music Series. More information about the Chamber Music Society of Lincoln Center can be found on their website.

There will also be a pre-concert performance by students of the Suzuki method in Sonora Strings (below) beginning in Shannon Hall at 7 p.m.

For more background as well as how to purchase tickets ($10-$50), go to: https://union.wisc.edu/events-and-activities/event-calendar/event/chamber-music-society-of-lincoln-center/

SATURDAY NIGHT

On Saturday night, March 7, at 7:30 p.m. in the Mead Witter Foundation Concert Hall of the new Hamel Music Center, 740 University Ave., pianist Wu Han (below top) will perform with the UW Symphony Orchestra under the baton of its director and conductor Oriol Sans (below bottom).

The program is the Suite No. 1 from the chamber opera “Powder Her Face” by the contemporary British composer Thomas Adès; the Piano Concerto No. 3 in C Minor, Op. 37, by Beethoven; and the Symphony No. 2 in D Major, Op. 73, by Brahms.

Tickets are $30 for the public, $25 for Union members and UW faculty and staff; and $10 for UW students. For more information about Wu Han and to purchase tickets, go to: https://union.wisc.edu/events-and-activities/event-calendar/event/wu-han-with-uw-symphony/

“Wu Han brings to the Wisconsin Union Theater not only a passion for music, but also authentic excitement about inspiring a love of music in others,” said Amanda Venske, Concert Series coordinator of the Wisconsin Union Directorate (WUD) Performing Arts Committee.

The students of the UW-Madison Symphony Orchestra (below, with the UW Choral Union in the background) will have the opportunity to learn from Han as they prepare for the Saturday performance.

Patrons can purchase tickets online or at the Memorial Union Box Office. The Wisconsin Union Theater team offers discounted tickets for University of Wisconsin-Madison faculty, staff and students as well as Wisconsin Union members.

Other upcoming Concert Series performances are by violinist Gil Shaham with Akira Eguchi on March 28, and superstar soprano Renée Fleming on May 2. The Concert Series is the longest running classical music series in the Midwest.

 


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Classical music: Acclaimed native son Kenneth Woods returns this weekend to conduct the Madison Symphony Orchestra. He talks to The Ear about what Madison meant to him and his international career

March 2, 2020
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By Jacob Stockinger

This weekend, native Madisonian Kenneth Woods (below) returns from his home in the UK to conduct three performances of the Madison Symphony Orchestra.

The concerts feature two MSO debuts: the prize-winning young Canadian violinist Blake Pouliot performing Mendelssohn’s Violin Concerto in E minor; and the acclaimed guest conductor, Kenneth Woods, leading the orchestra for the MSO premiere of Haydn’s Symphony No. 96, “Miracle” plus Richard Strauss’ tone poem Ein Heldenleben (A Hero’s Life).

Performances will be held in Overture Hall on Friday night, March 6, at 7:30 p.m.; Saturday night, March 7, at 8 p.m.; and Sunday afternoon, March 8, at 2:30 p.m.

Single tickets are $19-$95 each and are on sale now, along with discounted tickets, at: https://madisonsymphony.org/event/the-miracle/; through the Overture Center Box Office at 201 State Street; or by calling the Box Office at (608) 258-4141. Fees apply to online and phone sales.

You can view program notes for this concert online at http://bit.ly/msomar2020programnotes

A Prelude Discussion by Randal Swiggum will take place one hour before each concert.

Guest conductor Kenneth Woods is a busy and versatile musician. He is the Principal Conductor of the English Symphony Orchestra and the artistic director of both the Colorado MahlerFest and the Elgar Festival in England. (You can hear Woods conducting Carl Maria von Weber’s “Oberon” Overture in the YouTube video at the bottom.) 

Woods has won accolades for rediscovering and recording the music of the Austrian-British composer Hans Gàl. Woods, who has played guitar in a rock band, is also a professional cellist who solos with orchestras and plays chamber music. He writes a respected blog. And he currently plays and records in the Briggs Piano Trio for Avie Records.

For much more information about Kenneth Woods, including his blog “A View From the Podium,” go to: https://kennethwoods.net/blog1/

Woods recently spoke via email to The Ear about what Madison has meant to him and to his international career.

How did living in Madison play a role in your decision to become a professional musician?

Madison offered me a chance to hear music at an early age. I was taken to watch a rehearsal of the Wisconsin Youth Symphony Orchestra as a very young kid, maybe three or four years old. That made a huge impression on me, especially seeing the rehearsal process. Later, my parents took us to all the UW Symphony Orchestra concerts for years.

There’s really no reason not to take young kids to concerts! For me, a love of live music led to a love of recorded music, listening to records at home, and from there, to an interest in playing music as a kid.

We were lucky to have a very strong music program in the Madison public schools when I was growing up here. The orchestras at Memorial High School played some really impressive repertoire under Tom Buchhauser (below top, in a photo by Jon Harlow). The UW Summer Music Clinic made being a musician social – it was a great immersion with one’s peers.

Most important, however, was probably the Wisconsin Youth Symphony Orchestras (WYSO). Playing under Jim Smith (below bottom) was the most fantastic education in orchestral playing one could hope for. He and Tom are a big part of why I became a conductor.

Madison in those days wasn’t a super-pressurized scene, like one might encounter around the big pre-college programs in New York or LA. But what I might have missed in terms of conservatory-level instrumentalists in every corridor, one made up in terms of feeling like you could find your own path. By the time I was in high school, I pretty much knew music was that path.

How did your experiences in Madison help prepare you for that career?

I learned so much about rehearsing from Jim Smith. In his first year, we worked on Dvorak’s 8th Symphony pretty much all year. Every week, he opened our ears to new facets of the music. I’ve never forgotten that.

I went off to Indiana University to do my Bachelor’s degree, but returned to Madison for a Master’s, when I studied cello with UW-Madison professor Parry Karp (below top).

Those were wonderful years for me. I learned an enormous amount from Parry as both a cello teacher and chamber music coach (and especially as a person).

I played in fantastic chamber groups, did lots of wacky new music and had solo opportunities. UW Symphony Orchestra conductor David Becker (below bottom) even gave me my first meaningful chance to rehearse an orchestra when he had me take a couple of rehearsals on the Copland Clarinet Concerto.

And I played in both the Madison Symphony Orchestra and the Wisconsin Chamber Orchestra. I came away from that time with both new skills and new confidence.

What does returning to your hometown to conduct the Madison Symphony Orchestra mean to you?

It’s both very exciting and a little surreal. Under the leadership of John DeMain (below top, in a photo by Greg Anderson), the MSO (below bottom, in a photo by Peter Rodgers) has come so far since the time I was in it. And the new hall is such a treasure for all of Wisconsin – it’s practically a different orchestra.

I still have many friends and former mentors in the orchestra and it’s going to be wonderful to see them all and make music together again after so long.

But it’s more than a homecoming. It’s a chance to celebrate where we’ve all been and what we’ve all done the last 20 years or so. My musical life has mostly been in the UK for a long time, so to re-connect with my musical roots here is rather magical.

What are your major current and upcoming projects?

The English Symphony Orchestra (below) represents the biggest chunk of my musical life. This year we’re celebrating Beethoven’s 250th birthday and the orchestra’s 40th anniversary.

The ESO has a special commitment to new and unknown music, and right now we’re in the midst of something called the 21st Century Symphony Project, which involves commissioning, premiering and recording nine new symphonies by diverse composers. It’s one of the most ambitious commissioning projects I’ve ever heard of, let alone been involved in.

I’m also excited about this year’s Colorado MahlerFest in Boulder, where we’re focusing on Mahler’s Symphony No. 2 “Resurrection” this May, which will crown a week of music exploring themes of color and visual art with music by Wagner, Messiaen and British composer Philip Sawyers.

Is the MSO program special to you?

I must say that it was incredibly generous of John DeMain to offer me such a fantastic program. Not every music director is gentleman enough to let a guest have Ein Heldenleben.

What would you like the public to know about your approach to music and about the specific works by Haydn, Mendelssohn and Richard Strauss?

Haydn’s music is maybe the richest discovery of my adult life. I didn’t get it as a kid, largely because most performances I heard were so dull.

His music is so varied, and his personality so complex, one mustn’t try to reduce him down to a simplistic figure. The late symphonies, of which this is one of the finest, are inexhaustible sources of wisdom, beauty, humor and sanity.

The Mendelssohn is really an astonishing piece. I’ve probably conducted it as much as any piece of music, with so many different soloists, all of whom had hugely different temperaments, personalities, sounds and approaches.

I’ve played it with some of the greatest violinists in the world and with young students. Somehow, whoever is playing, it always leaves me, and the audience, smiling. I’m pretty sure we can continue that streak with Blake Pouliot (below, in a photo by Jeff Fasano).

The Strauss is a rich, personal, wise, funny and moving work. It’s always a challenge, particularly bringing out all the astonishing detail in the score, but it’s also a real joy to perform. If the Mendelssohn always leaves me smiling, the Strauss always leaves me smiling with a tear in my eye.

 


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Classical music: The UW-Madison’s Pro Arte Quartet performs the second of its free, MUST-HEAR, six-concert Beethoven string quartet cycle this Friday night. Here is a revised schedule.

February 25, 2020
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By Jacob Stockinger

This Friday night at 8 p.m. in the Mead Witter Foundation Concert Hall of the new Hamel Music Center, 740 University Ave., the UW-Madison’s Pro Arte Quartet (below, during the first concert of the cycle) plays the second concert in its FREE year-long, six-concert Beethoven cycle to mark the Beethoven Year that celebrates the 250th anniversary of the composer’s birth.

The Ear heard the first concert in the cycle and found it superb. He recommends the performances highly enough to call them MUST-HEARs.

But a couple of things have changed in the cycle.

Since the last listing was published, the last concert of the cycle has been pushed back one day.

Also, UW-Madison Professor of Musicology Charles Dill (below) will be giving a pre-concert lecture one hour before each of the remaining five concerts in the series. This Friday night,  Dill speaks at 7 p.m. in the Lee/Kaufman Rehearsal Hall.

Members of the Pro Arte Quartet (below, from left in a photo by Rick Langer) are David Perry and Suzanne Beia, violins; Sally Chisholm, viola; Parry Karp, cello.

Here is the revised schedule:

PROGRAM I  (completed)

Friday, Nov. 22, 2019, 8 p.m. in Collins Recital Hall

String Quartet in G Major, Op. 18, No. 2 (1798-1800)

String Quartet in F Minor, Op. 95, “Serioso” (1810)

String Quartet in B-flat Major, Op. 130 (1825-6)

PROGRAM II

This Friday, Feb. 28, 2020, at 8 p.m., in Mead Witter Foundation Concert Hall

String Quartet in F Major, Op. 18, No. 1 (1798-1800). You can hear the opening of this first quartet by the young Beethoven, played the Alban Berg Quartet, in the YouTube video at the bottom.)

String Quartet in E-Flat Major, Op. 74, “Harp” (1809).

String Quartet in C-Sharp Minor, Op. 131 (1826)

Pre-Concert lecture by Professor Charles Dill, 7 p.m. in  Lee/Kaufman Rehearsal Hall

PROGRAM III

Thursday, April 16, 2020, 7:30 p.m. in Mead Witter Foundation Concert Hall

String Quartet in D Major, Op. 18, No. 3 (1798-1800)

String Quartet in E Minor, Op. 59, No. 2 (1806)

String Quartet in E-flat Major, Op. 127 (1825)

Pre-Concert lecture by Professor Charles Dill, 6:30 p.m. in Collins Recital Hall

PROGRAM IV

Friday, Oct. 2, 2020, at 8 p.m. in Mead Witter Foundation Concert Hall

String Quartet in A Major, Op. 18, No. 5 (1798-1800)

String Quartet in C Minor, Op. 18, No. 4 (1798-1800)

String Quartet in A Minor, Op. 132 (1825)

Pre-Concert lecture by Professor Charles Dill at 7 p.m. in Collins Recital Hall

PROGRAM V

Friday, Nov. 20, 2020, at 8 p.m. in Mead Witter Foundation Concert Hall

String Quartet in B-flat Major, Op. 18, No. 6 (1798-1800)

String Quartet in F Major, Op. 135 (1826)

String Quartet in C Major, Op. 59, No. 3 (1806)

Pre-Concert lecture by Professor Charles Dill at 7 p.m. in Collins Recital Hall

PROGRAM VI

Sunday, Jan. 31, 2021, at 7:30 p.m. in Mead Witter Foundation Concert Hall

String Quartet in F Major, Op. 59, No. 1 (1806)

String Quartet in B-flat Major, Op. 130, with the Great Fugue finale (Grosse Fuge), Op. 133 (1825)

Pre-Concert lecture by Professor Charles Dill at 6:30 p.m. in Collins Recital Hall

 


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Classical music: The Madison Symphony Orchestra announces its 2020-21 season to mark The Beethoven Year. Plus, this Sunday afternoon, the Edgewood Chamber Orchestra also celebrates The Beethoven Year

February 21, 2020
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ALERT: The Madison Symphony Orchestra has just announced its 2020-21 season, which is heavy on works from Beethoven’s mid-career “Heroic” period to mark the Beethoven Year celebrating the 250th anniversary of the birth of the composer (below).

Other composers to be featured include Haydn, Mozart, Dvorak, Tchaikovsky, Rachmaninoff, Ravel, Sibelius, Honegger, Grofé, Kabalevsky and the African-American composer George Walker.

Familiar soloists include pianists Olga Kern and Garrick Ohlsson; violinists James Ehnes and Gil Shaham. Also soloing are retired UW-Madison professor and MSO principal oboe Marc Fink and MSO concertmaster Naha Greenholtz.

The traditional Christmas Concert is in early December.

The “Beyond the Score” program in late January, with actors from American Players Theater in Spring Green,  focuses on Stravinsky’s revolutionary “The Rite of Spring.” And the MSO Chorus will perform in Beethoven’s Symphony No. 9 “Choral” and “Missa Solemnis.”

All concerts will be conducted by John DeMain.

Here is a link to details about the season and how to subscribe: https://madisonsymphony.org/concerts-events/2020-2021-symphony-season-concerts/

Let The Ear know what you think of the new MSO season in the Comment section.

By Jacob Stockinger

This Sunday afternoon, Feb. 23, the Edgewood Chamber Orchestra of Edgewood College presents a special winter concert.

The performance is at 2:30 p.m. in McKinley Performing Arts Center of Edgewood High School, 2219 Monroe Street, on Madison’s near west side.

The conductor is Blake Walter (below, in a photo by John Maniaci) and the guest soloist is violinist David Huntsman.

The concert celebrates the 250th anniversary of the birth of the Ludwig van Beethoven.

The Chamber Orchestra will perform the Symphony No. 2 in D Major, Op. 36, by Beethoven, who seems influenced in this work by Mozart and especially his teacher Haydn but who moved beyond them in this symphony. (You can hear the innovative Scherzo movement, which replaced the traditional minuet, in the YouTube video at the bottom.)

Also on the program are Handel’s Overture to the opera “Semele” and the virtuosic Introduction and Rondo Capriccioso by Camille Saint-Saens, which features soloist David Huntsman (below).

Tickets are $5 for general admission, and admission is free with an Edgewood High School or Edgewood College ID.


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Classical music: This Friday brings a FREE concert at noon of cello and violin sonatas by Beethoven. At night, the Wisconsin Chamber Orchestra explores rarely heard works and composers plus the “Jupiter” Symphony by Mozart

February 19, 2020
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ALERT: This Friday’s FREE Noon Musicale at the First Unitarian Society of Madison, 900 University Bay Drive, features the Mosaic Chamber Players performing a one-hour, all-Beethoven concert in honor of the Beethoven Year, which celebrates the 250th anniversary of the composer’s birth.

The program is: Cello Sonata, Op. 5, No. 1; and two violin sonatas, Op. 12, No. 3, and Op. 30, No. 2. For more information, go to: http://www.mosaicchamberplayers.com

By Jacob Stockinger

Can you tell the difference between the real Mozart and the “Swedish Mozart”?

You’ll have the chance to find out this Friday night, Feb. 21, if you go to the concert by the Wisconsin Chamber Orchestra (below, in a photo by Mike Gorski) at 7:30 p.m. in the Capitol Theater of the Overture Center.

That is when you can hear the Symphony in C-Sharp Minor, VB 140, by Joseph Martin Kraus (1756-1791, below), an 18th-century German-born, short-lived composer who, as an exact contemporary of Mozart, spent most of his career at the court in Stockholm, Sweden, and became known as the “Swedish Mozart.”

(You can hear the opening movement of the Kraus symphony, played by Concerto Koln, in the YouTube video at the bottom.)

Here is more about Kraus (below): https://en.wikipedia.org/wiki/Joseph_Martin_Kraus

The Kraus symphony opens the WCO concert.

Then for the purpose of comparison, the concert closes with Mozart’s “Jupiter” Symphony No. 41 in C Major, K. 551. It is often cited as Mozart’s most accomplished work in the symphonic form, and is renowned for its melodies and harmonies, and for the masterful, even spectacular, counterpoint in the last movement.

But that kind of discovery and approach to programming is not unusual for WCO maestro Andrew Sewell (below, in a photo by Alex Cruz), who has a penchant for exposing audiences to rarely heard works and composers as well as to well-known masterpieces.

For this concert, Sewell will be helped by the return of guest violin virtuoso Giora Schmidt (below in a photo by David Getzschman), who has been acclaimed for his technique, tone, lyricism and riveting interpretations. He played the Violin Concerto No. 2 in G Minor by Sergei Prokofiev with the WCO in 2018.

Schmidt will solo in two rarely heard works for violin and orchestra: the 16-minute Violin Concerto, Op. 48, by the Russian composer Dmitry Kabalevsky (1904-1987); and the 8-minute Romance by the Norwegian composer Johan Svendsen (1840-1911).

For more about Kabalevsky (below), go to: https://en.wikipedia.org/wiki/Dmitry_Kabalevsky

For more about Svendsen (below), who was a conductor and violinist as well as a composer, go to: https://en.wikipedia.org/wiki/Johan_Svendsen

To purchase tickets ($10-$77) and to read a detailed biography of soloist Schmidt and find out more about the concert, go to: https://wisconsinchamberorchestra.org/performances/masterworks-ii-5/

 


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Classical music: On Wednesday at noon, Just Bach turns to C.P.E. Bach. At night, the Middleton Community Orchestra, with soloist Paran Amirinazari, plays the Violin Concerto No. 1 by Bruch plus works by Janacek and Sibelius.

February 17, 2020
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By Jacob Stockinger

This coming Wednesday, Feb. 19, features two noteworthy concerts, one by Just Bach at noon and the other by the Middleton Community Orchestra at 7:30 p.m.

Here are details:

JUST BACH

For this month’s FREE one-hour Just Bach concert (below, in a photo by John W. Barker) on this Wednesday at noon in Luther Memorial Church, 1021 University Avenue, attention will turn from father to son.

The concert features music by Carl Philipp Emanuel Bach (below), the eldest son of Johann Sebastian Bach.

The concert opens with a movement from the Sonata in A Minor, Wq. 70/4, H. 85, performed by organist Mark Brampton Smith.

The program continues with a recently rediscovered Cantata, “Ich bin vergnügt mit meinem Stande” (I Am Content with My Station), featuring bass-baritone Professor Paul Rowe, and the Just Bach period-instrument players led by Kangwon Kim.

Just Bach co-founder and soprano Sarah Brailey (below) will lead the chorale sing-along, a beloved audience-participation feature of these programs.

The program concludes with eight selections from the “Geistliche Oden und Lieder ‘Gellert Lieder’” (Sacred Odes and Songs ‘Gellert Songs’), performed by students of Paul Rowe (below, in a photo by Michael R. Anderson), accompanied by organist Mark Brampton Smith.

This will also be the first concert with a mother and daughter performing, with violinist Leanne League in the Just Bach players, and soprano Cecilia League in the Paul Rowe studio.

Performers are: Sarah Brailey, soprano; Paul Rowe, baritone; Kangwon Kim, violin 1 (below); Leanne League, violin 2; Katrin Talbot, viola; Anton TenWolde, cello; Mark Brampton Smith, organ; Allyson Mills, Cecilia League, Carly Ochoa and Ella Anderson, sopranos; and Jack Innes, Jake Elfner, Nick Schinner and Chase Kozak, baritones.

The concert is free and open to the public, with a goodwill offering collected.

Other Just Bach concerts this spring, all Wednesdays at noon are on: March 25, April 15 and May 20.

MIDDLETON COMMUNITY ORCHESTRA

At 7:30 p.m., the mostly amateur and critically acclaimed Middleton Community Orchestra (below) will perform its winter concert as part of its 10th anniversary season.

The concert takes place in the comfortable and acoustically pleasing  Middleton Performing Arts Center (below, in a photo by Brian Ruppert) that is attached to Middleton High School, 2100 Bristol Street.

The program, under conductor-composer Steve Kurr, includes the “Lachian Dances” by Leos Janacek; “Finlandia” by Jean Sibelius; and the Violin Concerto No. 1 in G Minor by Max Bruch with guest soloist Paran Amirinazari (below). (You can hear the finale of the violin concerto, played by Sarah Chang, in the YouTube video at the bottom.)

Tickets are $15 for adults. Students are admitted free.

The box office opens at 6:30 p.m. and auditorium doors open at 7 p.m.

There will be a meet-and-greet reception (below) with the orchestra players and audience members after the concert.

For more information about upcoming concerts, how to join the orchestra and how to support it, call (608) 212-8690 or go to: http://middletoncommunityorchestra.org

 


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Classical music: The Ancora String Quartet will play several concerts of Beethoven and Randall Thompson over this coming weekend, including one at Olbrich Gardens on Friday night

February 5, 2020
2 Comments

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By Jacob Stockinger

The Ear has received the following information from the veteran Ancora String Quartet, which will play several performances of the same program over the coming weekend in several different cities.

Members of the Ancora String Quartet (below from left, in a photo by Barry Lewis), who also play with the Madison Symphony Orchestra and the Wisconsin Chamber Orchestra, are: violinists Wes Luke and Robin Ryan; violist Marika Fischer Hoyt; and cellist Benjamin Whitcomb.

RECITAL PROGRAM:

String Quartet No. 2 in G Major by Randall Thompson

String Quartet in B-Flat Major, Op. 130, by Ludwig van Beethoven

CONCERT DATES:

Friday, Feb. 7, at noon

Interview with Wisconsin Public Radio host

Norman Gilliland on The Midday

WERN 88.7 FM

 

Friday, Feb.7, from 5 to 7 p.m.

Olbrich Botanical Gardens, Bolz Conservatory

3330 Atwood Ave., Madison

Tickets at the door: $5

 

Saturday, Feb. 8, at 7:30 p.m.

Park (“Freethinkers”) Hall

307 Polk Street, Sauk City

Tickets: $15 general, $12 children and seniors

 

Sunday, Feb. 9, at 2 p.m. (UPDATE: THIS CONCERT HAS BEEN CANCELLED DUE TO AN OUTBREAK OF ILLNESS AT CHAI POINT. IT WILL BE RESCHEDULED.) 

Chai Point Retirement Community

1400 N. Prospect Ave., Milwaukee

Free and open to the public

PROGRAM NOTES:

The program opens with an unusual work, the String Quartet No. 2 in G Major, by American composer Randall Thompson (below). Better known for his choral music, Thompson wrote this quartet in 1967 to celebrate the 130th anniversary of the Harvard Musical Association.

The quartet is joyous and optimistic in character, with thoughtful and creative part-writing. The first movement brims with youthful energy, contained in smoothly flowing triplets.

The simple, graceful folk melody that opens the second movement continually reinvents itself in a set of charming variations. The third movement’s heartfelt tune expresses a deep content, setting up the finale, whose explosive energy erupts in a good-natured, light-hearted romp.

Beethoven (below) wrote the second piece on our program, the String Quartet in B-Flat Major, Op. 130, 141 years before the Thompson and many centuries beyond it in subtlety, sophistication, intellectual rigor and emotional depth.

With six movements and lasting 40 minutes, it is the composer’s longest piece of chamber music, and it stretches limits in other ways as well. The original work, completed in 1825, contained the Grosse Fuge (Great Fugue) but Beethoven replaced that in 1826 with the Finale Allegro, the last full-scale movement he completed before his death in 1827.

Op. 130 bristles with contrasts, and juxtapositions of extremes, on the micro-level to the macro-level, all contained in movements ranging from a short, gnarly Presto, to a graceful Poco Scherzo, to a lyrical, innocent Alla Danza Tedesco (In the Style of a German Dance), to the fabled Cavatina, which, Beethoven wrote, moved him to tears when he even thought about it. (You can hear the Cavatina in the YouTube video at the bottom.)

In performing Op. 130, the Ancora String Quartet tackles its 14th of the 16 Beethoven string quartets. The ASQ plans to perform Op. 59, No. 3, and Op. 131, in the summer and fall, to complete the Beethoven cycle in this, the Beethoven Year when we celebrate the 250th anniversary of his birth.

For more information, go to: facebook.com/ancoraquartet and www.ancoraquartet.com

 


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Classical music: This Saturday night brings both the Escher String Quartet to the Wisconsin Union Theater and the UW-Madison Choral Union and UW Symphony Orchestra to the Hamel Music Center

January 22, 2020
1 Comment

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CORRECTION: The Ear received the following correction to the story he posted yesterday about the Wisconsin Chamber Orchestra and apologizes for the error:

 “There was a change to our rollout in Brookfield. We are only repeating the fifth Masterworks concert on Saturday, May 9, at 7:30 p.m. at the Sharon Lynne Wilson Center for the Arts. We are NOT repeating this Friday’s concert in Brookfield.

“We will perform a Family Series concert of “Beethoven Lives Next Door” on Sunday, March 29, at 3 p.m. at the same Brookfield venue.”

By Jacob Stockinger

The upcoming weekend is a busy one for classical music.

The busiest night is Saturday night when two major concerts will take place: a performance by the Escher String Quartet and the postponed concert by the UW Choral Union and UW Symphony Orchestra with soloists.

Here are details:

ESCHER STRING QUARTET and DAVID FINCKEL

The concert by the Escher String Quartet (below) with cellist David Finckel (below bottom. formerly of the critically acclaimed Emerson String Quartet) takes place on this Saturday night, Jan. 25, at 7:30 p.m. in Shannon Hall of the Wisconsin Union Theater.


The performance is part of the special season celebrating the centennial anniversary of the Concert Series.

The program includes the sublime Quintet in C Major, D. 956, with two cellos, by Franz Schubert and the String Quartet in A minor by the great early 20th-century Viennese violinist and composer Fritz Kreisler (below).

Tickets are $30-$50. For more information and to reserve tickets, go to: https://artsticketing.wisc.edu/Online/default.asp?doWork::WScontent::loadArticle=Load&BOparam::WScontent::loadArticle::article_id=CFC3765F-5F1D-4663-BCA0-985BE3049CF5

For more information about the Escher String Quartet, including a video performance and detailed background, go to: https://union.wisc.edu/events-and-activities/event-calendar/event/escher-string-quartet-with-david-finckel/

UW CHORAL UNION

Also on this Saturday night at 8 p.m., in the Mead Witter Foundation Concert Hall in the new Hamel Music Center at 740 University Avenue, the UW Choral Union  and UW Symphony Orchestra (below top), along with two vocal soloists – soprano Chelsie Propst (below middle) and baritone James Harrington (below bottom) — will perform a concert originally scheduled for Dec. 7 and then postponed.

The program, without intermission, is one 80-minute work: the epic and influential “A Sea Symphony” by the great 20th-century British composer Ralph Vaughan Williams (below).

General admission tickets are $18 for the general public and faculty or staff; and $10 for UW students. To reserve tickets, go to Campus Arts Ticketing at: https://artsticketing.wisc.edu/Online/default.asp?doWork::WScontent::loadArticle=Load&BOparam::WScontent::loadArticle::article_id=412623A4-4FB9-40D6-BC23-A425360713EA

Beverly Taylor (below), the longtime director of choral activities at the UW who will retire this spring, sent the following note:

“The text by American poet Walt Whitman presents four symphonic scenes of great breadth and imagination, with lush harmonies and constantly varying tempos and dynamics.” (You can hear the Waves section, or third movement, from “A Sea Symphony” in the YouTube video at the bottom.)

 


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Classical music: What concerts or performances in 2019 did you most like, and do you most remember and want to praise?

January 12, 2020
7 Comments

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By Jacob Stockinger

The concert season’s winter intermission will soon draw to a close.

So this is a good time to recall favorite concerts and performances of last year.

But let’s be clear.

This is a not a request to name “The Best Concerts of 2019.”

Calling them the most memorable concerts doesn’t necessarily mean they were the best.

Perfection or “the best” sounds so objective, but can really be quite personal and subjective. So much can depend not only on the music and the performers, but also on your own mood and your taste or preferences.

So please share the concerts or performances that you most liked and enjoyed, the one that most still linger in your mind. And, if you can pin it down, tell us why you liked them so much and why they linger for you.

There are so many excellent groups and concerts, so much fine classical music, in the Madison area that there should be lots of candidates.

Here are several performances or complete concerts that The Ear remembers with special fondness.

The MADISON SYMPHONY ORCHESTRA (below, in a photo by Peter Rodgers) held a season-long celebration of the 25th anniversary of John DeMain’s tenure as its music director and conductor. The big event came at the end: Mahler’s massive Symphony No. 8 – the so-called “Symphony of a Thousand” – that brought together the MSO and the MSO Chorus as well as the Madison Youth Choirs and the UW-Madison Choral Union.

It proved an impressive, overwhelming and moving display of coordination and musicianship, a testament to how far DeMain (below, in a photo by Prasad) has brought the orchestra.

(Also memorable on the MSO season were pianist Marc-Andre Hamelin in Ravel’s jazzy Piano Concerto in G Major and UW-Madison pianist Christopher Taylor in the Leonard Bernstein’s “Age of Anxiety” symphony during the MSO tribute to Bernstein, with whom DeMain worked closely.)

The WISCONSIN CHAMBER ORCHESTRA (below, in a photo by Mike Gorski), under its veteran music director Andrew Sewell, continues to test its own limits and surpass them. Particularly impressive was the last concert of the winter season with Shostakovich’s Symphony No. 14 featuring two outstanding soloists: soprano Mary Mackenzie and bass Timothy Jones.

The playing of the difficult score was precise but moving, and the singing blended beautifully. It made one understand why during this season – when the orchestra marks 60 years and maestro Sewell (below, in a photo by Alex Cruz) marks his 20th season — the WCO has deservingly graduated to two performances of each Masterwork concert (one here on Friday nights followed by one in the Milwaukee suburb of Brookfield on Saturday night).

Also memorable was an impressive concert by the mostly amateur but critically acclaimed MIDDLETON COMMUNITY ORCHESTRA. The Ear likes amateur musicians, and for their 10th anniversary concert they really delivered the goods in Dvorak’s famous Symphony No. 9 “From the New World” and, with fabulous guest soloist J.J. Koh (below — principal clarinet of the Madison Symphony Orchestra — in Mozart’s sublime Clarinet Concerto.

But it wasn’t only large-scale works that The Ear remembers.

Three chamber music concerts continue to stand out.

During the summer, the WILLY STREET CHAMBER PLAYERS and guest UW-Madison pianist Christopher Taylor (both below) delivered a performance of Dvorak’s Piano Quintet in A Major that would be hard for any group to match, let alone surpass, for its tightness and energy, its lyricism and drama.

The same goes for the veteran PRO ARTE QUARTET at the UW-Madison, which this fall started its complete cycle of Beethoven’s 16 string quartets in the new Hamel Music Center to celebrate the Beethoven Year in 2020 when we mark the 250th anniversary of the composer’s birth.

The quartet played early, middle and late quartets with complete mastery and subtlety. Treat yourself. Don’t miss the remaining five concerts, which resume in February and take place over the next year at the Hamel center and also at the Chazen Museum of Art, from where they will also be live-streamed.

Finally, The Ear will always remember the wholly unexpected and thoroughly captivating virtuoso accordion playing he heard last summer by Milwaukeean Stas Venglevski (below) at a concert by the BACH DANCING AND DYNAMITE SOCIETY. Venglevski performed music by Johann Sebastian Bach, Igor Stravinsky and Astor Piazzolla in a new and enthralling way.

Unfortunately, for various reasons The Ear missed many other concerts – by the Madison Opera and the University Opera among others – that promised to be memorable performances.

But perhaps you can fill him in as we start 2020 concerts next weekend.

What concerts in 2019 did you like most and do you most remember and praise? Why?

The Ear wants to hear.


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Classical music: Famed radio station WQXR names the best 100 recordings of 2019. Listen to samples of them here

December 28, 2019
2 Comments

PLEASE HELP THE EAR. IF YOU LIKE A CERTAIN BLOG POST, SPREAD THE WORD. FORWARD A LINK TO IT OR, SHARE IT or TAG IT (not just “Like” it) ON FACEBOOK. Performers can use the extra exposure to draw potential audience members to an event. And you might even attract new readers and subscribers to the blog.

By Jacob Stockinger

Did you get a gift card for the holidays?

Are you looking how to spend it by either purchasing CDs or subscribing to a streaming service?

Help and guidance are available.

Few names in the airing of classical music carry more prestige than the famed radio station WQXR in New York City.

To check out the radio station’s choice of the best recordings of 2019 is also to see where the worlds of recording and concertizing are heading.

Such trends include rediscovering neglected composers and championing new music as well as women composers, such as Clara Schumann, and composers of color, such as the American composer Florence Price (below), who has often been featured on Wisconsin Public Radio this past year.

But you will also find noteworthy recordings of such classics as Johann Sebastian Bach – and two of his rarely heard cousins instead of his sons – and well as outstanding recordings of symphonies and piano sonatas (below, the set by Igor Levit) for the upcoming Beethoven Year to mark the 250th anniversary of the birth of the composer.

And you will also find names of outstanding performers you may not have heard of — such as the exceptional Chinese pianist Haochen Zhang (below), a Van Cliburn Competition gold medalist whom The Ear would like to see perform here.

Here is a link to 25 picks with commentaries– plus another 75 titles and samples, without commentary, to round out a Top 100.

Happy listening!

https://www.wqxr.org/story/best-classical-recordings-2019/


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