The Well-Tempered Ear

Classical music: This weekend the Madison Symphony Orchestra opens its new season with Mendelssohn’s “Reformation” Symphony and music by Bach. It also highlights principal violist in music by Berlioz

September 13, 2017
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By Jacob Stockinger

This coming weekend, the Madison Symphony Orchestra (MSO, below in a photo by Peter Rodgers), with music director John DeMain conducting, opens its 92nd season with a celebration of the 500th anniversary of the Lutheran Reformation.

The season-opening concert also showcases the Madison Symphony Orchestra as an ensemble with no guest soloist. The MSO’s Principal Violist Chris Dozoryst (below) will solo in Hector Berlioz’sHarold in Italy.”

Also featured is Leopold Stokowski’s famous orchestral arrangement of Johann Sebastian Bach’s Toccata and Fugue in D Minor, and the 500th anniversary of the Lutheran Reformation will be honored with Felix Mendelssohn’s “Reformation” Symphony.

The concerts in Overture Hall of the Overture Center, 201 State Street, are on Friday night, Sept. 15, at 7:30 p.m.; Saturday night, Sept. 16, at 8 p.m., and Sunday afternoon, Sept. 17, at 2:30 p.m.

Ticket information is below.

According to the MSO press release: “The concerts present the music of two composers who shared a deeply spiritual relationship with the Lutheran faith, and passion for music. It is said that Johann Sebastian Bach set faith to music, and Felix Mendelssohn clarified faith for all to hear.

MSO Music Director John DeMain (below, in a photo by Greg Anderson) chose to pair Bach and Mendelssohn specifically for this program.

“Both Bach (below top) and Mendelssohn (below bottom) were devout Lutherans, Mendelssohn having converted from Judaism when he was 12 years old,” DeMain says.

“I decided to open the season with Leopold Stokowski’s great transcription of Bach’s Toccata and Fugue in D Minor for organ, and then give the first performance by the MSO of Mendelssohn’s Symphony No. 5, subtitled the Reformation. Indeed, this symphony quotes extensively from one of the greatest Christian hymns of all time — “A Mighty Fortress Is Our God.””

Bach’s Toccata and Fugue in D minor is a transcription for orchestra by Leopold Stokowski (below) and became well-known after its inclusion in Disney’s film Fantasia. The piece was originally cut from the theatrical release of the film, but was later added back in a 1946 re-release and included Stokowski directing the orchestra at the beginning of the piece. (You can hear the original version for organ, with an unusual graphic display, in the YouTube video at the bottom.)

Hector Berlioz’sHarold in Italy” is considered an autobiographical vignette recounting the composer’s Italian experience. The piece is filled with youthful vitality, tinged with an appealing Romantic sensibility that Berlioz (below)  borrowed freely from literature, most specifically Lord Byron’s poem “Childe Harold’s Pilgrimage.” Playing the solo viola part is MSO’s Principal Violist Chris Dozoryst.

The 2017–18 season will mark Christopher Dozoryst’s 10th season as principal viola with the Madison Symphony Orchestra. In addition to his orchestral duties, Chris also performs with the MSO’s HeartStrings Program as violist with the Rhapsodie Quartet. He also performs and records, working locally and regionally in Madison and Chicago. He has performed numerous engagements with well-known musicians including Tony Bennett, Ray Charles, and Smokey Robinson.

Originally commissioned in 1830 for a celebration of the 300th anniversary of the Augsburg Confession, Mendelssohn honors Martin Luther (below) in his Symphony No. 5Reformation” by including in the finale the beloved hymn Ein’ feste Burg is unser Gott (A Mighty Fortress Is Our God) that Luther had written while the Augsburg Confession was in session. This year marks the 500th anniversary of Luther’s Ninety-Five Theses and the establishment of the Lutheran Church.

One hour before each performance, Amy Hartsough (below), acting director of music at Bethel Lutheran Church, will lead a FREE 30-minute Prelude Discussion in Overture Hall to enhance concertgoers’ understanding and listening experience.

For more background on the music, please read the Program Notes by MSO trombonist and UW-Whitewater professor Michael Allsen at: http://www.allsenmusic.com/NOTES/1718/1.Sep17.html.

The MSO recommends that concert attendees arrive early for each performance to make sure they have time to pass through Overture Center’s security stations, and so they can experience the pre-concert talk (free for all ticket-holders).

Single Tickets are $18-$90 each and are on sale now at https://www.madisonsymphony.org/singletickets, through the Overture Center Box Office at 201 State Street, or by calling the Box Office at (608) 258-4141.

Groups of 15 or more can save 25% by calling the MSO office at (608) 257-3734. For more information, go to: https://www.madisonsymphony.org/groups.

Student rush tickets can be purchased in person on the day of the concert at the Overture Center Box Office at 201 State Street. Students must show a valid student ID and can receive up to two $12 or $18 tickets.

More information is at: https://www.madisonsymphony.org/studentrush

Seniors age 62 and up receive 20% savings on advance and day-of-concert ticket purchases in select areas of the hall.

Discounted seats are subject to availability, and discounts may not be combined.  

Major funding for the September concerts is provided by: the Wisconsin State Journal and Madison.com, Rosemarie and Fred Blancke, Capitol Lakes, The Gialamas Company, Inc., Marvin J. Levy, Nancy Mohs, and Peggy and Tom Pyle. Additional funding is provided by: DeWitt Ross & Stevens S.C., Forte Research Systems and Nimblify, the Wisconsin Arts Board with funds from the State of Wisconsin, and the federal National Endowment for the Arts.

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Classical music: The 150th anniversary of architect Frank Lloyd Wright’s birth will be celebrated with two concerts on this coming Sunday afternoon and Monday night in Spring Green. They feature the world premiere of a work commissioned from Madison-based composer Scott Gendel.

August 2, 2017
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By Jacob Stockinger

Effi Casey, the director of music at Taliesin, the Frank Lloyd Wright compound in Spring Green, writes:

“I am writing to you to let you know about special concerts at Taliesin on Sunday, Aug. 6, at 2:30 p.m. and Monday, Aug. 7, at 7:30 p.m., which I will direct in the Hillside Theater at Taliesin.

“The concerts are a collaboration of Taliesin Preservation and Rural Musicians Forum as part of the year-long celebration of the 150th anniversary of the birth of architect Frank Lloyd Wright (below).

“I commissioned UW-Madison prize-winning graduate Scott Gendel to write “That Which Is Near,” a piece for choir, string quartet and piano, and we have enjoyed working on it. (NOTE: Gendel will discuss his work in more detail in tomorrow’s posting on this blog.) It will receive its world premiere at these two concerts.

“Other works to be performed include: “Fanfare for the Common Man” by Aaron Copland; “Past Life Melodies” by Sarah Hopkins; the spiritual “Ev’ry Time I Feel de Spirit”; “Hymn to Nature” (from the Wright-inspired opera “Shining Brow,” which is the English translation of the Welsh word “Taliesin” and stands for the hillside location) by UW-Madison graduate Daron Hagen; “Song of Peace” by Jean Sibelius”; and the “Sanctus” and “Dona Nobis Pacem” from the Mass in B Minor) by Johann Sebastian Bach and spoken words.

“The participation and enthusiasm of the singers of the greater Spring Green community are most rewarding already.

TICKETS

“Tickets are available on-line at RuralMusiciansForum.org. Please see the “Purchase Tickets Here” link to Brown Paper Tickets on the right-hand side of the RMF home page.

“Alternatively, tickets can be purchased at the Arcadia Bookstore in downtown Spring Green.

“Ticket prices range from $15 to $30. The $30 tickets for the Sunday Aug. 6 concert include concert admission and a festive champagne post-concert reception with composer Scott Gendel, the musicians and the chorus.

“Tickets for the concert only on Aug. 6 or 7 are $20 or $15 for seniors and students. Children 12 and under are free, but please pick up a free ticket for them to be sure they get a seat at the concert.” (Below is the Hillside Theater.)

WRIGHT AND MUSIC

To The Ear, a special concert seems the perfect way to mark the Wright sesquicentennial.

Just take a look, thanks to research by Effi Casey (below), at what Wright himself said and thought about music:

“… Never miss the idea that architecture and music belong together. They are practically one.” (FLW)

“While Wright claimed architecture as the “mother art,” his experience in music was early, visceral, and eternal. Of his childhood he wrote: “…father taught him (the boy) to play (the piano). His knuckles were rapped by the lead pencil in the impatient hand that would sometimes force his hand into position at practice time on the Steinway Square in the sitting room. But he felt proud of his father too. Everybody listened and seemed happy when father talked on Sundays when he preached, the small son dressed in his home-made Sunday best, looked up at him, absorbed in something of his own making that would have surprised the father and the mother more than a little if they could have known.”(FLW’s Autobiography).

“In his later years, Wright himself preached musical integration in his own Sunday talks to the Fellowship:

“Of all the fine arts, (Wright exclaimed in a Sunday morning talk to his apprentices) music it was that I could not live without – as taught by my father. (I) found in it (a) sympathetic parallel to architecture. Beethoven and Bach were princely architects in my spiritual realm…”

“But more than words, it was in practice where he conveyed music to those in his sphere, from a piano designed into a client’s home (for someone who may or may not have been able to play it!), to his own score of concert grand pianos at the two Taliesins (he claimed “the piano plays me!”).

“In a gesture of delight and exuberance, as it is told by those who experienced it, Wright had a gramophone player installed at the top of his Romeo and Juliet tower (below is the rebuilt tower) at Taliesin to have Bach’s Mass in B Minor resound over the verdant hills and valleys.

Adds Casey: “Architecture is indeed a musical parallel of composition, rhythm, pattern, texture, and color. As Beethoven’s Fifth Symphony is an “edifice of sound” (FLW) built upon the famous first eight notes, so Wright’s overture of verse expresses a singular IDEA, played in stone, wood, and concrete, from superstructure to matching porcelain cup.”

video


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

July 31, 2017
3 Comments

By Jacob Stockinger 

Here is a special posting, a review written by frequent guest critic and writer for this blog, John W. Barker. Barker (below) is an emeritus professor of Medieval history at the University of Wisconsin-Madison. He also is a well-known classical music critic who writes for Isthmus and the American Record Guide, and who hosts an early music radio show once a month on Sunday morning on WORT FM 89.9 FM. For years, he served on the Board of Advisors for the Madison Early Music Festival and frequently gives pre-concert lectures in Madison. He also took the performance photos for this review.

By John W. Barker

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

The program offered three contrasting works.

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

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

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

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

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

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

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

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

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

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

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

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

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


Classical music: Pianist Stephen Hough returns to solo with the Madison Symphony Orchestra this weekend in a program of “firsts” that includes music by Barber and Saint-Saens as well as Tchaikovsky’s famous “Pathétique” Symphony

February 13, 2017
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By Jacob Stockinger

This coming weekend, the Madison Symphony Orchestra (below) offers one of the best must-hear programs of the season – or so thinks The Ear.

MSO-HALL

Pianist Stephen Hough (below, in a photo by Sim Canetty-Clarke) returns for his fourth appearance with the Madison Symphony Orchestra (MSO), led by music director and conductor John DeMain.

stephen-hough-20167-formal-cr-sim-canetty-clarke

The concert will open with Samuel Barber’s Second Essay, a dramatic piece written in the midst of World War II, followed by a performance of the exotic Saint-Saëns Piano Concerto No. 5 (“Egyptian”) featuring soloist Stephen Hough, who won major awards for his recordings of the complete works for piano and orchestra by Saint-Saëns. The concert will close with a performance of Tchaikovsky’s emotional Symphony No. 6 (“Pathétique”).

The concerts are Friday, Feb. 17, at 7:30 p.m.; Saturday, Feb. 18, at 8 p.m.; and Sunday, Feb. 19, at 2:30 p.m. in Overture Hall of the Overture Center, 201 State Street. (Ticket information is below.)

Samuel Barber (below) was one of the new generation of mid-20th century American composers with contemporaries Howard Hanson, Aaron Copland, David Diamond and, later, Leonard Bernstein.

His Second Essay was written in 1942, in the middle of the Second World War. Barber once wrote: “Although it has no program, one perhaps hears that it was written in a war-time.” This will be the first time this piece is performed by the Madison Symphony Orchestra.

barber 1

The Piano Concerto No. 5 (“Egyptian”) by Camille Saint-Saëns (below) was composed while he was on a winter vacation in the Egyptian temple city of Luxor, in 1895-96. The location of this piece is important because it helped give the piece its nickname, and also influenced the sound of the score. This will be the first time this piece is performed by the Madison Symphony Orchestra.

camille saint-saens younger

Peter Ilyich Tchaikovsky (below) wrote his final piece between February and August 1893. The Symphony No. 6 (Pathétique) was then performed in Oct. 1893 and was conducted by Tchaikovsky himself. Nine days later he was dead.

Tchaikovsky’s late symphonies are autobiographical, and the sixth being “the best, and certainly the most open-hearted,” according to Tchaikovsky himself. Seeing that he was a troubled man, dealing with a dark depression, Symphony No. 6 (Pathétique) is filled with poignancy and deep sorrow, as you can hear in the finale in the YouTube video at the bottom.

Tchaikovsky 1

One hour before each performance, Randal Swiggum (below), artistic director of the Elgin Youth Symphony Orchestra Artistic Director and the newly appointed Interim Music Director of the Wisconsin Youth Symphony Orchestras, will lead a 30-minute Prelude Discussion in Overture Hall to enhance concertgoers’ understanding and listening experience.

Randall Swiggum

For more background on the music, read the program notes by MSO trombonist and UW-Whitewater professor Michael Allsen (below, in a photo by Katrin Talbot) at: http://www.allsenmusic.com/NOTES/1617/5.Feb17.html

J. Michael Allsen Katrin Talbot

Single Tickets are $16 to $87 each, and are available at madisonsymphony.org/hough and through the Overture Center Box Office at 201 State Street or by calling the Box Office at (608) 258-4141.

Groups of 15 or more can save 25% by calling the MSO office at (608) 257-3734. For more information visit, madisonsymphony.org/groups

Student rush tickets can be purchased in person on the day of the concert at the Overture Center Box Office at 201 State Street. Students must show a valid student ID and can receive up to two $12 or $15 tickets. More information is at: madisonsymphony.org/studentrush. Students can receive 20% savings on seats in select areas of the hall on advance ticket purchases.

Seniors age 62 and up receive 20% savings on advance and day-of-concert ticket purchases in select areas of the hall.

Discounted seats are subject to availability, and discounts may not be combined.

Find more information at madisonsymphony.org

John DeMain and MSO from the stage Greg Anderson

Major funding for the February concerts is provided by: Irving and Dorothy Levy Family Foundation, Inc., Stephen Morton, and BMO Wealth Management. Additional funding is provided by: Boardman & Clark LLP, Forte Research Systems & Nimblify, James and Joan Johnston, and the Wisconsin Arts Board with funds from the State of Wisconsin and the National Endowment for the Arts.


Classical music: This is a very busy weekend for FREE choral music, band music, chamber music, a brass master class and a Berlioz colloquium at the UW-Madison.

December 1, 2016
1 Comment

By Jacob Stockinger

This is the time of the academic year, the end of a semester, when performers and venues at the University of Wisconsin-Madison School of Music really get a workout.

Take this weekend and especially this coming Sunday, which features seven events.

There will be two popular Winter Choral Concerts at Luther Memorial Church, 1026 University Avenue (below, in  2014) plus performances by the Concert Band and University Bands and a couple of recitals by students. Mills Hall, Morphy Hall and Music Hall will all be in use.

Here is a link to the full Sunday schedule with information about the many concerts, but which, unfortunately, does NOT include programs for the choral concerts and a band concert:

http://www.music.wisc.edu/events/2016-12-04/

UW Winter Concert 2014

This Friday and Saturday are also busy, though less so.

FRIDAY

At 4 p.m. in Room 2441 of the Mosse Humanities Building is a FREE public colloquium about the pioneering Romantic French composer Hector Berlioz (below).

berlioz

Here is a description by the presenter, Professor Francesca Brittan of Case Western Reserve University:

“Against Melody: Neology, Revolution, and Berliozian Fantasy.”

“Complaints levied against Hector Berlioz’s music during his lifetime (and after) were many: deafening, terrifying, “too literary,” “too imitative.” But by far the most pervasive anxiety voiced by critics revolved around Berlioz’s illegibility. In particular, his music was ungrammatical, failing to adhere to the rules of syntax, the tenets of “proper” melody, and the laws of rhythm.

“These were not just idle or irritated complaints but urgent ones, linked by 19th-century critics to fears of social unraveling and even revolutionary violence. Berlioz’s musico-linguistic perversion, as one reviewer put it, was tantamount to Jacobinism. This strand of the criticism began in earnest with the “Symphonie fantastique,” a work that usually claims our attention for its orchestrational innovations and autobiographical resonances.

“In this talk, I redirect attention to the symphony’s syntax, arguing that melodic-linguistic deformation was at the heart of the work’s radicalism. I link Berlioz’s notions of “natural” grammar (borrowed in part from Victor Hugo) to notions of “natural” sound, and the “natural” rights of man. More broadly, I examine relationships among grammar, revolution, and 19th-century fantasy, between musical neology and the Berliozian imaginary.”

The event is funded by the University Lectures Anonymous Fund.

For more about Francesca Brittan (below) go to:

http://music.case.edu/faculty/francesca-brittan/

francesca-brittan

At 6:30 p.m. in Morphy Recital Hall, a student brass quintet will perform a FREE concert of music by Johann Sebastian Bach, Malcolm Arnold, Kevin McKee and Victor Ewald. Performers are Nicole Gray, Brandi Pease, Kirsten Haukness, Hayden Victor and Michael Madden.

At 8 p.m. in Mills Hall is a FREE public master class with David Wakefield (below), a former member of the American Brass Quintet who now teaches at The Hartt School. Sorry, no program of works to be played.

david-wakefield

At 8:30 p.m. in Morphy Recital Hall is a FREE graduate student concert of chamber music by Wolfgang Amadeus Mozart. Rayna Slavova is a second-year Doctor of Musical Arts (DMA) student in collaborative piano, studying with professor Martha Fischer.

The all-Mozart program includes the Violin Sonata in F, K. 376, with Biffa Kwok, violin (an excerpt, played by Hilary Hahn, can be heard in the YouTube video at the bottom); the Piano Duo Sonata in C, K 521, with Alberto Pena, piano; and the Piano Quintet in E flat, K 452, with Juliana Mesa, bassoon, Kai-Ju Ho, clarinet, and Dafydd Bevil, horn.

Mozart old 1782

SATURDAY
At 4 p.m. in Mills Hall, the University Strings – made up of talented non-music majors — will play a FREE concert. Sorry, no news about the program.

At 4 p.m. in Morphy Recital Hall is a FREE Fall concert by the Flute Studio at the UW-Madison. Sorry, no word about the program or players.

At 8:30 p.m. in Morphy Recital in a FREE recital by Seth Bixler who is a senior violinist studying with Professor Soh-Hyun Altino. He will perform works by Johann Sebastian Bach, Wolfgang Amadeus Mozart, Peter Tchaikovsky and Eugene Ysaye.


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