The Well-Tempered Ear
Classical music: Pianist Ilya Yakushev returns to play Russian jazz with the Wisconsin Chamber Orchestra on Friday night, then a recital of piano classics at Farley’s House of Pianos on Saturday night
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ALERT: The second of two FREE Friday Noon Musicales — devoted to the music of John Harbison on the occasion of his 80th birthday — will take place this Friday at the First Unitarian Society of Madison, 900 University Bay Drive. The Mosaic Chamber Players will perform. The concert runs from 12:15 to 1 p.m. The composer will be there to sign copies of his new book “What Do We Make of Bach?”
By Jacob Stockinger
Although he has heard the jazz suites by Dmitri Shostakovich many times, The Ear was surprised to learn how many modern Russian composers fell under the spell of American jazz.
Cultural difference combined with cultural exchanges might be one explanation.
But he also wonders if perhaps living in a state of psychological and emotional distress and danger – the Stalinist Terror facing composers in the Soviet Union and the Jim Crow racism facing African-American jazz artists in the United States – created a certain affinity between such apparently different musical traditions.
One thing is certain: the program that Ilya Yakushev (below), who was born and trained in Russia and now teaches at the Mannes College of Music in New York City – promises to be one of the most interesting programs of this season.
During his return to Madison, the Russian virtuoso pianist – who has his own interest in jazz and played a solo version of George Gershwin’s “Rhapsody in Blue” when last here — will perform two programs at venues where he has proven to be a sensational audience favorite.
This Friday night, Feb. 22, at 7:30 p.m. in the Capitol Theater of the Overture Center, Yakushev will once again team up with the Wisconsin Chamber Orchestra (below) and its music director and conductor Andrew Sewell, to perform two rarely heard Russian works that demonstrate the influence of American jazz.
Those two Russian works are “Ten Bagatelles for Piano Orchestra” by Alexander Tcherepnin (below top) and the “Jazz Suite for Piano and Small Orchestra by Alexander Tsfasman (below bottom).
You can hear the Lyrical Waltz from Tsfasman’s Suite in the YouTube video at the bottom.
The WCO complements that with two jazz-influenced works by Igor Stravinsky (below): Suite No. 2 for Small Orchestra and “Ragtime.”
Then the concert concludes with one of the most iconic and well-known pieces of all classical music: the Symphony No. 40 in G minor, K. 550, by Wolfgang Amadeus Mozart.
For much more information about Yakushev and the program as well as to a link to buy tickets ($15-$80) go to:
https://wisconsinchamberorchestra.org/performances/masterworks-ii-4/
SATURDAY
Then on this Saturday, Feb. 23, at 7:30 p.m. at Farley’s House of Pianos, 6522 Seybold Road, on Madison’s far west side near West Towne Mall, Yakushev will perform a program of impressive tried-and-true classics as part of the Salon Piano Series.
An artist’s reception will follow the concert.
Tickets are $45 in advance (students $10) or $50 at the door. Service fees may apply. Tickets can also be purchased at Farley’s House of Pianos. Call (608) 271-2626.
Student tickets can only be purchased online and are not available the day of the event. Tickets can be purchased in advance from:
https://www.brownpapertickets.com/producer/706809brownpapertickets.com
For more information, go to: https://salonpianoseries.org
Yakushev’s recital program is:
Adagio in B minor, K. 540 (1788), by Mozart
Sonata in F minor “Appassionata,” Op. 57 (1804), by Ludwig van Beethoven
Vallée d’Obermann, S. 160 (1855), from “Années de pèlerinage, Première année” (Years of Pilgrimage, First Year), by Franz Liszt
The song “Widmung” (Dedication) by Robert Schumann as transcribed for solo piano by Liszt, S.566 (1848)
“Mephisto Waltz No. 1,” S. 514 (1862), by Liszt (below, in an 1886 photo, the year before he died, when Liszt was teaching many students, by Nadar)
In addition, on Saturday at 4 p.m., Yakushev will teach a FREE and PUBLIC master class at Farley’s House of Pianos, where he will instruct local students.
The master class program will include:
Sonata No. 1 in F Minor, Op. 2, No. 1, First Movement by Beethoven; performed by Kevin Zhang who studies with Kangwoo Jin.
Six Variations on “Nel cor piu non mi sento” (In My Heart I No Longer Feel) by Beethoven, performed by Daniel Lee who studies with Irmgard Bittar.
Etude in G-Flat Major (“Black Key”) Op. 10, No. 5,by Frederic Chopin; performed by Alysa Zhou, who studies with Denise Taylor.
Master classes for the 2018-19 season are supported by the law firm of Boardman & Clark LLP.
The concert is supported in part by a grant from the Wisconsin Arts Board with funds from the State of Wisconsin and the National Endowment for the Arts.
The Salon Piano Series is a nonprofit founded to continue the tradition of intimate salon concerts featuring exceptional artists. To become a sponsor of the Salon Piano Series, please contact Renee Farley at (608) 271-2626 or email renee@salonpianoseries.org
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The Well-Tempered Ear 
Songs by Black composers trace their cultural realities in a free online UW performance TONIGHT of “Verisimilitudes.” Plus, the five winners of this year’s Beethoven Competition perform Sunday.
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ALERT: This Sunday, April 25, from 3:30 to 5:30 p.m. the five winners of this year’s Beethoven Competition at the UW-Madison will perform in a winners’ concert. Included in the program are the popular and dramatic “Appassionata” Sonata, Op. 57, and the famous and innovative last piano sonata, No. 32 in C minor, Op 111. Here is a link to the YouTube video: https://www.youtube.com/watch?v=eMF0Hd1MJwMg. Click on “Show More” and you can see the full programs and biographical profiles of the winners.
By Jacob Stockinger
The concert could hardly be more timely or the subject more relevant.
Think of the events in and near Minneapolis, Chicago and elsewhere in the U.S.; of the Black Lives Matter movement and social protest; of the political fight for D.C. statehood and voting rights – all provide a perfect context for an impressive student project that will debut online TONIGHT, Saturday, April 24, at 7 p.m.
The one-hour free concert “Verisimilitudes: A Journey Through Art Song in Black, Brown and Tan” originated at the UW-Madison’s Mead Witter School of Music. It seems an ideal way for listeners to turn to music and art for social and political commentary, and to understand the racial subtexts of art.
Soprano Quanda Dawnyell Johnson (below) created, chose and performs the cycle of songs by Black composers with other Black students at the UW-Madison.
Here is a link to the YouTube video: https://youtu.be/-g5hjeuSumw
Click on “Show More” to see the complete program and more information.
Here is the artist’s statement:
“Within the content of this concert are 17 art songs that depict the reality of the souls of a diasporic people. Most of the lyricists and all of the composers are of African descent. In large part they come from the U.S. but also extend to Great Britain, Guadeloupe by way of France, and Sierra Leone.
“They speak to the veracity of Black life and Black feeling. A diasporic African reality in a Classical mode that challenges while it embraces a Western European vernacular. It is using “culture” as an agent of resistance.
“I refer to verisimilitude in the plural. While syntactically incorrect, as it relates to the multiple veils of reality Black people must negotiate, it is very correct.
“To be packaged in Blackness, or should I say “non-whiteness” is to ever live in a world of spiraling modalities and twirling realities. To paraphrase the great artist, Romare Bearden, in “calling and recalling” — we turn and return, then turn again to find the place that is our self.
“I welcome you to… Verisimilitudes: A Journey Through Art Song in Black, Brown, and Tan”
Here, by sections, is the complete program and a list of performers:
I. Nascence
Clear Water — Nadine Shanti
A Child’s Grace — Coleridge-Taylor Perkinson
Night — Florence Price (below)
Big Lady Moon — Samuel Coleridge-Taylor
II. Awareness
Lovely, Dark, and Lonely — Harry T. Burleigh
Grief –William Grant Still (below)
Prayer — Leslie Adams
Interlude, The Creole Love Call — Duke Ellington
III. The Sophomore
Mae’s Rent Party, We Met By Chance –Jeraldine Saunders Herbison
The Barrier — Charles Brown
IV. Maturity
Three Dream Portraits: Minstrel Man, Dream Variation; I, Too — Margaret Bonds (below)
Dreams — Lawren Brianna Ware
Song Without Words — Charles Brown
Legacy
L’autre jour à l’ombrage (The Other Day in the Shade) — Joseph Boulogne (Chevalier de Saint-Georges, below)
The Verisimilitudes Team
Quanda Dawnyell Johnson — Soprano and Project Creator
Lawren Brianna Ware – -Pianist and Music Director
Rini Tarafder — Stage Manager
Akiwele Burayidi – Dancer
Jackson Neal – Dancer
Nathaniel Schmidt – Trumpet
Matthew Rodriguez – Clarinet
Craig Peaslee – Guitar
Aden Stier –Bass
Henry Ptacek – Drums
Dave Alcorn — Videographer
Here is a link to the complete program notes with lyrics and composer bios. And a preview audio sample is in the YouTube video at the bottom: https://simplebooklet.com/verisimilitudesprogramnotes#page=1
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