The Well-Tempered Ear

Classical music: A busy week at the UW spotlights choral and vocal music with some wind, brass and guitar music included

November 12, 2017
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By Jacob Stockinger

It’s going to be a busy week at the University of Wisconsin-Madison’s Mead Witter School of Music.

And especially if you are a fan of choral music, there is much to attract you.

Here is run-down by the day:

TODAY

At 3 p.m. in Mills Hall is a FREE concert of Combined Choirs that features the Women’s Chorus (below), the University Chorus and the Masters Singers.

Sorry, no word about the program, but the groups’ past record suggests excellent programs are in store.

TUESDAY

From noon to 1:30 p.m. in Morphy Recital Hall, William Buchman (below), who is assistant principal bassoon of the Chicago Symphony Orchestra and a faculty member at DePaul University in Chicago, will give a master class that is FREE and OPEN TO THE PUBLIC.

At 7:30 p.m. in Music Hall on Bascom Hill, University Opera a FREE Fall Opera Scenes program with UW student singers (below form last year).

Featured are excerpts from four operas and one Broadway musical: “The Marriage of Figaro” by Wolfgang Amadeus Mozart; “Orpheus in the Underworld” by Jacques Offenbach; “Der Freischuetz” (The Marksman or Freeshooter) by Carl Maria von Weber; and “Carousel” by Rodgers and Hammerstein,

WEDNESDAY

At 7:30 p.m. in Mills Hall, the Wisconsin Brass Quintet (below, in a photo by Michael R. Anderson) will give a FREE concert.

Members of the faculty ensemble are Alex Noppe and Matthew Onstad, trumpets; Mark Hetzler, trombone; Tom Curry, tuba; and Daniel Grabois, horn.

The program includes: Johann Schein: Three Psalm Settings; Peter Maxwell Davies, arr. Matthew Onstad: “Farewell to Stromness” (1980), from The Yellow Cake Review; Jan Radzynski: Take Five (1984); Gunther Schuller’s Music for Brass Quintet (1961); and Alvin Etler’s Quintet for Brass Instruments (1966).

For more information, go to http://www.wisconsinbrassquintet.com

THURSDAY

From 10 a.m. until noon in Morphy Recital Hall, the acclaimed Grammy Award-winning guitarist Sharon Isbin (below), who will perform with the Madison Symphony Orchestra this coming weekend, will give a FREE master class that is OPEN TO THE PUBLIC.

FRIDAY

At 8 p.m. in Mills Hall, the Madrigal Singers (below top), under conductor Bruce Gladstone (below bottom, in a photo by Katrin Talbot), will present Part 2 of “Israelsbrünnlein” (Fountains of Israel) by the Baroque composer Johann Hermann Schein.

According to program notes, “Johann Hermann Schein’s collection of 26 motets from 1623 has long been considered the most important set of motets in the early 17th century. Schein (below), frustrated that there wasn’t a true counterpart of the Italian madrigal to be found in German music, set out to marry the expressiveness of the madrigal to German texts.

“In this case, he chose to set sacred and mostly biblical texts, rather than the secular poetry found in most madrigals. His set of spiritual madrigals display both moments of pure joy and exultation as well as heartbreaking sadness and longing.

“Last fall, the Madrigal Singers presented the first 13 of these motets, and this fall, we finish out the collection with motets 14-26.

“This music is incredibly moving and remarkably fresh, revealing a marked sensitivity to the texts and a mastery of musical expression.” (You can hear a sample in the YouTube video at the bottom.)

SATURDAY

At 8 p.m., in Luther Memorial Church (below), 1021 University Avenue, the Low Brass Ensemble will give a FREE recital. No word on composers or pieces on the program.

At 8 p.m. in Mils Hall, the group Chorale, under conductor Bruce Gladstone will present “Songs to Live By.”

Programs notes read: “Music has always had a way to touch our souls the way other things cannot. When paired with poetry that speaks honestly to the human condition, it can lift us out of the merely abstract, touching our souls and offering insight on how we can be better at being human and humane.

“The Chorale offers a choral song-cycle by composer Gwyneth Walker (below) on autobiographical poems by Virginia Hamilton Adair, as well as three works by Elizabeth Alexander:  “How to Sing Like a Planet”; “If You Can Walk You Can Dance”; and “Finally On My Way To Yes.”

“Also on the program is Joshua Shank’s “Rules To Live By,” a heartfelt and moving piece whose text was written by the commissioning ensemble.

SUNDAY

At 5 p.m., in Mills Hall, the UW-Madison Wind Ensemble (below top) and Winds of Wisconsin will give a FREE joint concert.

Scott Teeple will conduct with guest violinist, Professor Soh-Hyun Altino (below bottom, in a photo by Caroline Bittencourt) soloing.

Here is the program:

UW-Madison Wind Ensemble:

“Fanfare for the Uncommon Woman, #2,” by Joan Tower

Concerto for Violin and Wind Ensemble, by Robert Hutchinson with the violinist Park Altino

Winds of Wisconsin:

“Chester Overture for Band,” by William Schuman

“A Child’s Embrace” by Charles Rochester Young

“Vesuvius,” by Frank Ticheli

Combined UW Wind Ensemble and Winds of Wisconsin:

“Folk Dances,” by Dmitri Shostakovich

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Classical music: The UW’s Pro Arte Quartet and Wingra Wind Quintet join forces this Saturday night in a FREE performance of the famous Octet by Franz Schubert. You can also hear a free concert of music by Brouwer, Nazareth and Rodrigo this Friday at noon.

October 25, 2017
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ALERT: This Friday’s FREE Noon Musicale at the First Unitarian Society of Madison, 900 University Bay Drive, will feature guitarist Christopher Allen, violist Shannon Farley and flutist Iva Ugrcic. The program includes music by Leo Brouwer, Ernesto Nazareth and Joaquin Rodrigo. The concert runs from 12:15 to 1 p.m.

By Jacob Stockinger

It is one of the towering masterpieces of chamber music composed in the 19th century.

And the lyrical, dance-like and upbeat Octet for strings and winds by Franz Schubert (below top) will be performed in a FREE concert this Saturday night at 8 p.m. in Mills Hall. (The opening page of the autograph manuscript is below bottom.) 

The program also features the “Introduction and Variations for flute and piano,” D. 802, by Schubert, with flutist Timothy Hagen (below top) and pianist Daniel Fung (below bottom).

Then comes the one-hour Octet in F Major, D. 803. (You can hear some of it in the YouTube video at the bottom.) For more about the Octet, which is Schubert’s largest chamber work and uses themes from a song and other vocal music by him, go to the Wikipedia entry:

https://en.wikipedia.org/wiki/Octet_(Schubert)

Performers for the entire concert come from the combined UW faculty forces of the Pro Arte String Quartet (below, in a photo by Rick Langer) and the Wingra Wind Quintet.

In the Octet, the performers are: David Perry and Suzanne Beia, violin; Sally Chisholm, viola; Parry Karp, cello; Alicia Lee, clarinet (below top); Joanna Schulz, horn (below middle); Marc Vallon, bassoon (below bottom, in a photo by James Gill); and David Scholl, double bass.

For information about the Pro Arte Quartet, go to:

http://www.music.wisc.edu/pro-arte-quartet/

For information about the Wingra Wind Quintet, go to:

http://www.music.wisc.edu/wingra-woodwind-quintet/


Classical music: The Madison-based wind quintet Black Marigold performs two concerts this Friday night and Saturday night. On Sunday afternoon, the Edgewood College Chamber Orchestra performs

September 21, 2017
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By Jacob Stockinger

Here is another twofer preview because of so many events happening this weekend.

FRIDAY AND SATURDAY NIGHTS

The Madison-based wind quintet Black Marigold (below, in a photo by Vincent Fuh) will perform two concerts this Friday and Saturday nights.

The program features wind music of the 19th and 21st centuries.

Here are the two performances:

This Friday night, Sept. 22, at 8 p.m.; Arts & Literature Laboratory; 2021 Winnebago Street; $8 in advance, $10 at the door; Tickets: http://blackmarigold.bpt.me/

The program includes Five Stick$ (2014) by Columbian composer Víctor Agudelo; Petit Suite(1889) by French composer Claude Debussy; and flights (selections) of Beer Music (2016), a suite of short pieces inspired by Madison area microbrews by American composer Brian DuFord (below).

Vote for your favorite beer! Choose your favorite beer and we’ll perform the top six as a flight of Beer Music. Don’t know which is your favorite yet? Check out our “Tasting Notes” and see what strikes your fancy.

Vote HERE

There is an additional FREE performance:

This Saturday night, Sept. 23, at 7 p.m. at Capitol Lakes Retirement Community; 331 West Main Street, three blocks off the Capitol Square; http://www.retirement.org/madison/; Free admission, presented by Capitol Lakes

Facebook event links are: Arts & Literature Lab, Sept. 22; Capitol Lakes, Sept. 23

SUNDAY AFTERNOON

This Sunday afternoon at 2:30 p.m. in the St. Joseph Chapel, 1000 Edgewood College Drive, the Edgewood College Chamber Orchestra will present its fall concert.

Admission is $5, free with Edgewood College ID.

Edgewood College professor Blake Walter (below) will conduct the orchestra in the first concert of its 2017-18 season.

The program includes: the Overture to “Iolanthe” by Sir Arthur Sullivan; the Suite from Gabriel Faure’s incidental music to the play by Maurice Maeterlinck, entitled “Pelleas and Melisande,” as well as Wolfgang Amadeus Mozart’s popular Symphony No. 40 in G minor. You can hear and see a really cool graphic depiction of the first movement of Mozart’s Symphony No. 40 in the YouTube video at the bottom.)

Founded in 1993 via a generous endowment established by benefactors William O. Hart and Vernon Sell, the Edgewood College Chamber Orchestra fulfills a unique role in the Madison community, providing high-quality performances and unique educational opportunities. The ensemble is the permanent, in-house chamber orchestra at Edgewood College.

Edgewood College’s Music Department has been recognized by the readers of Madison Magazine with the Best of Madison 2017 Silver Award.


Classical music: The Oakwood Chamber Players open their new season with three concerts this weekend that feature music by Chick Corea, Bruce Broughton, Alexander Arutiunian and others

September 5, 2017
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By Jacob Stockinger

The Oakwood Chamber Players (below) officially begin their 2017-2018 season series with the theme “Journey” this coming weekend with a concert titled Departure on Saturday, Sept. 9, at 7 p.m. and Sunday, Sept. 10, at 2 p.m.

However, the Oakwood Chamber Players will also present a special performance at Bos Meadery (below), 849 E. Washington Ave., on this Friday night, Sept. 8, from 7 to 8:30 p.m. in a range of music choices that will include excerpts from the Departure concert along with a breadth of other styles of music. Donations will be accepted.

The two full-length concerts will both be held at the Oakwood Center for Arts and Education, 6209 Mineral Point Road, on the far west side of Madison near the West Towne Mall.

Guest artists pianist Joseph Ross, violist Sharon Tenhundfeld (below top) and violinist Maureen McCarty (below bottom) will join members of the Oakwood Chamber Players to launch their season.

Tickets can be purchased with cash or personal checks (no credit cards) at the door: $25 general admission, $20 seniors and $5 students.

For tickets and more information, go to www.oakwoodchamberplayers.com or call (608) 230-4316.

According to a press release, “Departure will explore composers’ musical journeys as influenced by shifts in their artistic lives.

“Just two years after the start of his huge success in the expanding world of jazz-fusion, with renowned hits such as “Spain,” American composer and pianist Chick Corea (below) wrote his Trio for flute, bassoon and piano in 1973.

“He created a fascinating blend — a classical style that both reflects his personal jazz-like fluidity at the keyboard but also transfers the sense of conversational-like interactions that occurs between players. (You can hear Chick Corea’s Trio in the YouTube video at the bottom.)

“This succinct piece is infused with the composer’s essential and recognizable artistic voice. Corea bridges the boundary between genres in an artful and engaging way, creating a brief snapshot of two artistic worlds joined through the piece’s synergy.

“Academy Award-winning and Emmy award-winning film composer Bruce Broughton (below) has consistently contributed to the world of chamber music literature. Broughton’s successes in the film industry include Young Sherlock Holmes, Silverado and The Rescuers Down Under.

“His Primer for Malachi, for flute, clarinet, cello and piano, was written in anticipation of the birth of a grandchild in 1997. Through its five short movements the piece creates a programmatic feel. It begins with quiet introspection, progressing through each movement with increasing rhythmic and melodic intensity, peaking with an action-packed instrumental musical tag, and concluding by musically catching its breath, slowing in the final movement to calm and flowing lines, mirroring the opening effect.

“Known for his emotive melodies Armenian-Soviet pianist and composer Alexander Arutiunian wrote prolifically for orchestra, chamber music and film.

“Written in Armenia after spending several years in Moscow, the Concert Waltz for winds and piano is taken from his 1958 film score for the movie “About My Friend.” It is a wry waltz set in a minor key, and the composer infuses the familiar waltz dance form with a tongue-in-cheek sense of being on a slightly careening carousel. The piece sparkles with Armenian folk flavor and the energy is captivating.

“The Kaiserwaltz by Viennese composer Johann Strauss musically conjures up the grandeur of the ballroom. The piece was intended to symbolize ‘a toast of friendship’ between Germany and Austria. The waltz is full of upbeat musical declarations and graceful melodies.

“The Oakwood Chamber Players were pleased to discover that the piece had been reimagined from its full orchestral orchestration, written in 1889, to this delightful version, arranged in 1925 for chamber ensemble by Arnold Schoenberg (below). The grace of this music is refined and enduring.

“German composer and organist Max Reger’s perspective on compositional artistry was informed by the masters who came before him.

“However, perpetually fascinated by fugues, Reger (below) often wrote pieces that were very abstract. He worried about the lasting reputation of penning these kinds of ultra-academic compositions. He was an ardent admirer of Bach, Brahms and Beethoven and was very capable of writing a range of styles that were both accessible and rooted in the historic perspectives.

“In his Serenade for flute, violin, and viola, written just a year before his death, he sought to show the range of his compositional capabilities and to silence critics by leaving more approachable music for posterity. At this pivotal time he reached his goal ably, giving the performers an outstanding piece with nimble rhythms, memorable melodies, and the bright voicing of an upbeat sound palette.”

This is the first of five concerts in the Oakwood Chamber Players’ 2017-2018 season series entitled Journey. Remaining concerts will take place on Nov. 26; Jan. 13 and 14; March 10 and 11; and May 19 and 20.

The Oakwood Chamber Players are a professional music ensemble proudly supported by Oakwood Lutheran Senior Ministries and the Oakwood Foundation.


Classical music: Madison Bach Musicians announces its 14th season with music by Vivaldi, Bach and Purcell

July 7, 2017
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By Jacob Stockinger

The Ear has received the following announcement from founder, artistic director and keyboardist Trevor Stephenson about the upcoming season of the Madison Bach Musicians (below):

“This season we are thrilled to present three wonderfully diverse programs of baroque masterworks.

“We’ll start in September with Imitation, exploring the Baroque fugal art of Antonio Vivaldi (below top) and Johann Sebastian Bach (below bottom) — with guest cellist Steuart Pincombe.

“December marks MBM’s seventh annual Baroque Holiday Concert (below, in a photo by Kent Sweitzer). This year we’ll feature Johann Sebastian Bach’s elegant Cantata 32 plus Vivaldi’s dramatic Winter from the Four Seasons.

“To cap it all off in April, we’ll test the limits of comic-tragic juxtaposition with a double-billing: Bach’s highly-caffeinated Coffee Cantata paired with the heart-rending operatic masterpiece Dido and Aeneas by Henry Purcell (below).

“Please join us as we explore this wonderful repertoire on period instruments in acoustically magnificent settings reminiscent of Baroque performance spaces.

“We invite you to become a Madison Bach Musicians season subscriber. As a subscriber, you will receive the largest savings on ticket prices, preferred seating, and easy online ordering. And this year we’re offering some exciting new subscription options, including a 2-concert package ($62, $55 for seniors 65 and over, $32 for students with ID) or 3-concert package ($90, $80 for seniors 65 plus, $45 for students with ID), and a very economical student subscription rate.

“Ticket sales make up our most reliable and vital funding source. Your support through season subscriptions gives us the financial security to produce these creative and artistically ambitious programs. I hope you will consider subscribing to this series of outstanding musical events.

“Thanks for supporting baroque music in Madison.

See you at the concerts!
Trevor Stephenson, Artist Director (below)”

September 23 and 24 

Bach and Vivaldi: Imitation; with soloist Steuart Pincombe, baroque cello

Saturday, September 23, 2017; 6:45 p.m. lecture, 7:30 p.m. concert;
First Unitarian Society of Madison–Atrium Auditorium

Sunday, September 24, 2017; 2:45 p.m. lecture, 3:30 p.m. concert; Holy Wisdom Monastery in Middleton

Join us in this exploration of fugues and imitation from Bach and Vivaldi–two masters of the Baroque! Fugues are created when a musical line is introduced by one voice and then repeated with slight variations by any number of other voices. It’s always an amazing experience for audiences to hear and see how the different voices interact. Vivaldi has simplicity and Bach the complexity, but both play the fugue game with equal vigor.

Madison Bach Musicians is thrilled to have cellist Steuart Pincombe (below) returning for this season’s opening concert. Steuart can be heard in concert venues across Europe and quite possibly around the corner in your local brewery or cafe. Wherever he performs, Steuart aims to engage with his audience through creative presentations of the classical repertoire. Don’t miss this spectacular season opener.

December 9 

Baroque Holiday Concert; Saturday, December 9, 2017; 7:15 p.m. lecture, 8 p.m. concert; First Congregational United Church of Christ

Our seventh annual Baroque Holiday Concert will once again be held in the beautiful and sonorous sanctuary of the First Congregational Church.

Soprano soloist Alisa Jordheim (below top) will be joined by oboist Aaron Hill and a baroque string ensemble in Bach’s lyrical masterpiece Cantata BWV 32 Liebster Jesu, mein Verlangen. And MBM concertmaster Kangwon Kim (below bottom) will be the featured violin soloist in Winter from Vivaldi’s Four Seasons.

April 7 & 8 

Purcell’s Dido & Aeneas and Bach’s Coffee Cantata, BWV 211

Saturday, April 7, 2018; 6:45 p.m. lecture, 7:30 p.m. concert

Sunday, April 8, 2018; 2:45 p.m. lecture, 3:30 p.m. concert

First Unitarian Society Atrium Auditorium (below, in a photo by Zane Williams)

MBM will conclude the season with period performances of the tragic operatic masterpiece, Dido & Aeneas, by Henry Purcell (below) paired in a double-billing with one of J. S. Bach’s rare comic outings, the mischievous Coffee Cantata―where substance-preoccupation (coffee, no less) and family dynamics collide.

We are pleased to offer the production of Dido and Aeneas as a semi-staged baroque opera featuring outstanding soloists, a full baroque orchestra, and beautiful dancing sequences ―thanks to the collaboration of director David Ronis (below top, in a photo by like Delalio) artistic director of the University Opera), Karen McShane–Hellenbrand (UW-Madison Dance Department), and baroque-performance specialist conductor and UW-Madison bassoon professor Marc Vallon (below bottom, in a photo by James Gill).

Come hear spectacular vocal soloists, a sumptuous chorus, gut-strung violins, violas and cellos, viola da gamba, lute, harpsichord, baroque flute―and an amazing wind machine. (You can hear “Dido’s Lament” in the YouTube video at the bottom.)

For more information and to see the season brochure, go to:

https://drive.google.com/file/d/0B1nPBhC1sb3WWDZ5RG9CQ3VpSlNkVFM2d3AxQ3JiZmthQlNZ/view


Chamber music: The Oakwood Chamber Players wraps up its current season on Saturday night and Sunday afternoon with a concert that explores musical scores and the composers’ intentions

May 9, 2017
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By Jacob Stockinger

The Oakwood Chamber Players (below) wraps up its 2016-17 season series “Perspective” with a concert titled “Looking Closely at the Score” on this coming Saturday night,  May 13, at 7 p.m. and Sunday afternoon, May 14, at 2 p.m.

Both concerts will be held at the Oakwood Center for Arts and Education, 6209 Mineral Point Road, on Madison’s far west side near West Towne.

Looking Closely at the Score considers composers and influences on their scoring.

The concert includes an array of guest artists, with the Oakwood Chamber Players partnering with musical colleagues from the woodwind quintet Black Marigold (below) to expand their programmatic possibilities.

Tickets can be purchased with cash or personal checks at the door: $20 for general admission, $15 for seniors and $5 for students.

French composer Vincent D’Indy (below, in 1911) wrote Chanson et Danses (Song and Dances) for woodwind septet in 1898. He was greatly influenced by Cesar Franck who was his composition teacher and by a personal enthusiasm for the music of Richard Wagner.

This piece has a subtle feel of the pastoral quality of Siegfried’s Idyll and takes the listener from a sweetly stated Chanson through increasing animation of the Danses and a serene return to the song theme at its conclusion.

A student of Ralph Vaughan Williams, admired Irish composer, renowned pianist and fourth-generation newspaper editor, Joan Trimble (below) led a life full of creativity. Her Phantasy Trio for violin, cello and piano won a major compositional award from the Royal College of Music in 1940.

This piece highlights warm and expressive lines that she felt important to provide for musicians and ably reflects her personal view that “performers had to be considered and allowed to play with their individual qualities in mind. How else were they to communicate and have a response from listeners?”

Luise Adolpha Le Beau was a German composer, piano soloist and student of Clara Schumann. Performing in chamber music was of particular interest to her and she wrote many of her compositions for this musical genre.

The Oakwood Chamber Players will perform Allegro con Fuoco from her Piano Trio in d minor. The movement alternates rhythmic motifs with sweetly expressive melodic lines. (You can hear the lovely slow movement from the same piano trio in the YouTube video at the bottom.)

Romantic Swiss-German composer Joachim Raff was influential in the European scene and considered an inspired musician by 19th-century luminaries such as Schumann, Mendelssohn and Liszt and interest in his work was revived by notable 20th-century conductor and composer Bernard Hermann, who was noted for his scores to flms by Alfred Hitchcock.

Raff (below) coined the term Sinfonietta for his piece that combines two woodwind quintets to convey a buoyant and transparent approach in contrast to a more prescribed symphonic approach to scoring. This delightful four movement work has abundant soaring melodic lines, a true understanding of the characteristics of the woodwind family of instruments and a dazzling conclusion.

The Oakwood Chamber Players will be joined by guests J. Elizabeth Marshall, flute; Jennifer Morgan, oboe; Bethany Schultz, clarinet; Juliana Mesa-Jaramillo, bassoon; and Dafyyd Bevil and Kia Karlen, horns.

The Oakwood Chamber Players is a group of Madison-area professional musicians who have rehearsed and performed at Oakwood Village for over 30 years. Visit www.oakwoodchamberplayers.com for more information.

The Oakwood Chamber Players is a professional music ensemble proudly supported by Oakwood Lutheran Senior Ministries and the Oakwood Foundation.


Classical music: “I like tunes,” says Academy Award-winning composer Thomas Cabaniss, who talks about his “Double Rainbow” piano concerto. The Wisconsin Chamber Orchestra and guest soloists will give the world premiere of the work this Friday night.

April 24, 2017
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By Jacob Stockinger

Even for the Wisconsin Chamber Orchestra (below), which likes to mix things and up during its winter season, the concert this Friday night is something special to close out the current season.

The WCO will give the world premiere of the “Double Rainbow” Piano Concerto by Thomas Cabaniss, which was commissioned for the WCO.

The performance will also feature husband-and-wife duo-pianists Michael Shinn and Jessica Chow Shinn.

The concert is Friday night at 7:30 p.m. in the Capitol Theater of the Overture Center.

Also on the program is Maurice Ravel’s Neo-classical homage to World War I, “Le Tombeau de Couperin,” and the Symphony No. 2 by Robert Schumann.

Tickets are $10 to $80.

For more information about the program, the soloists and tickets, go to:

https://wisconsinchamberorchestra.org/performances/masterworks-v-2/

Composer Thomas Cabaniss recently did an email Q&A for The Ear:

Can you briefly introduce yourself and your career to the reader?

I’m Thomas Cabaniss (below). I am a composer and teaching artist from Charleston, South Carolina. I have lived in New York for the last 30 years, and so I greedily claim both places as home. I teach at the Juilliard School — where I met Michael and Jessica Shinn — and I also lead arts education projects at Carnegie Hall.

After graduating from Yale in 1984, I was an assistant conductor on a variety of projects including Leonard Bernstein’s opera A Quiet Place at La Scala and the Kennedy Center. Setting out to forge a career as a composer, I moved to New yolk City, which had the added benefit of being the same city where my girlfriend was attending medical school. A few years later we married and settled in Manhattan.

To start, I worked primarily as a theater composer, but I was also writing piano and chamber music on the side, and doing arts education work in between shows. In 1990 I scored and arranged a short film called The Lunch Date, which won the Palme D’Or and the Academy Award. In 1995 I joined the New York Philharmonic education programs, eventually becoming the orchestra’s Education Director.

I kept composing, and wrote a chamber opera called The Sandman, which was premiered in New York in 2002 and revived again the following season. In 2004 I was appointed to special education position with the Philadelphia Orchestra, and at the same time I wrote a series of evening length dance scores that were premiered in New York.

In 2009, I began working as composer-in-residence for the LinkUp program at Carnegie Hall, which has grown in that time to serve over 95 orchestras around the world and across the U.S. – including the Madison Symphony Orchestra.

I also helped to create the Lullaby Project at Carnegie Hall, which serves young parents in shelters, hospitals and prisons, and we are working hard to extend that work across the country through a series of partnerships.

How would you describe your musical style in general and the style of the new two-piano concerto specifically? Accessible? Tonal or atonal? Modernist or Neo-Classical? Melodic or percussive? Are there composers or works that have influenced your style?

I like tunes. I like to write songs, and I like to sing, so my music tends to value melody. My works are generally tonal, often spiked with cluster chords and other atonal devices, but I am always interested in the musical gravity of tonal centers. (You can hear a sample of Thomas Cabaniss’ music in the YouTube video at the bottom.)

This piece is inspired by its soloists, Michael and Jessica Shinn (below), and by the image of a Double Rainbow (also the work’s title). I have written Michael and Jessica pieces for piano-four hands, and there is one piece they have championed called Tiny Bits of Outrageous Love. Something about the chemistry of their relationship as musicians (and as husband and wife) has inspired me to create music that is particularly exciting and intimate.

And yes, I suppose most composers embed hints of the music they love in the music they write, and I am no different. Tiny Bits was a kind of homage to the Brahms Waltzes for piano-four hands, and Double Rainbow nods to Leonard Bernstein, Olivier Messiaen, Leos Janacek and John Adams. I’m sure listeners will hear other influences, too.

What would you like listeners to know about and listen for in the piano concerto? What were the special challenges of writing for duo-pianists?

This is from the program note I wrote for the Wisconsin Chamber Orchestra:

DOUBLE RAINBOW is based on an experience I had with my family on the Isle of Palms, South Carolina, about 20 years ago. On this particular August day, there was a huge rain in the early afternoon, many dark clouds, thunder (but no lightning). After the storm, from the porch of our beach rental house, we saw not one, but two rainbows (below). My sister-in-law is an avid photographer, and so she coaxed us all down onto the beach so she could get a pristine angle. That alone might have been enough inspiration for a piece of music, but when we got to the water’s edge, as Julia was snapping her photos, a dolphin jumped out of the water in a vertical launch, the tail clearing the water’s surface. It was one of those moments that seemed so unbelievable that none of us said a word. 

I have always been fascinated by the search for the elusive “perfect moment,” and DOUBLE RAINBOW is a sort of study of that kind of exploration. It is all bound up in the idea of “doubleness,” represented by the two pianos. It is divided into three movements: “Surfaces” (exploring the accumulation of drops of water from tiny, atomized particles), “Disturbances” (exploring imbalances and the storms that result from them), and “Revelation” (of the Double Rainbow). Not surprising in a double concerto, there is a great deal of dialogue between the pianos, and the orchestra has more of an accompanying role in the first two movements. The final movement is different, though. Everybody is in, and the music pulses with magic. The movement seems to be headed for a big climax, but at the last moment, it suddenly slows down and there are stars.

The main challenge for me in writing a double piano concerto is all those fingers! Twenty of them, and they are capable of so much. The music I write does not usually focus on virtuosity, and yet I also wanted it to be a vehicle for them to be expressive and dynamic. I worked hard to achieve a balance between the lyricism and the fireworks – we’ll see how audiences experience it.

What else would you like to say?

I am especially excited to be able to visit Madison for the premiere. I’ll get to meet members of the family of Jessica Chow Shinn (below, she is a Madison native), and I have a former student in the orchestra (Midori Samson, Second Bassoon). My Carnegie Lullaby Project collaborators include another Madison native (Ann Gregg) and Elizabeth Snodgrass, who is originally from Appleton (I think) but recently moved to Madison. I will get to meet WCO music director Andrew Sewell (below) in person. We have been doing some Skype rehearsals and phone consultations. It will be great to watch Andrew in action.

While we are here, my wife Deborah will be giving Grand Rounds at the Department of Psychiatry at the University of Wisconsin, and my son Will leads an a cappella group at University of Chicago (Voices In Your Head), and this year they have been singing frequently with a wonderful University of Wisconsin group (Fundamentally Sound).

The last few seasons the Madison Symphony Orchestra has been offering Carnegie Hall LinkUp concerts to kids in grades 3-5, and this year is no exception. They will perform The Orchestra Moves in May, for which I wrote two of the works (Come To Play and Away I Fly) and arranged another (Cidade Maravilhosa).

This project has been a few years in the making, and so for Michael and Jessica and me, this is a kind of celebration. We can’t wait to share DOUBLE RAINBOW with you.


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Classical music: The Madison Bach Musicians perform Bach’s “St. John Passion” this Friday night and Saturday night in authentic early music style

April 11, 2017
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By Jacob Stockinger

The Madison Bach Musicians (below), which specializes in authentic period performances of early music, will perform Johann Sebastian Bach’s “St. John Passion” this coming Friday  and Saturday nights, both at 7:30 p.m., in the Atrium Auditorium of the First Unitarian Society of Madison, 900 University Bay Drive.

On both nights at 6:45 p.m., MBM founder and music director Trevor Stephenson (below) will give a free pre-concert lecture on the “Structure and Performance History of the St. John Passion.” In his remarks, Stephenson said he will discuss the question of anti-Semitism in the famous work.

(NOTE: Stephenson and some of the players will also be on Wisconsin Public Radio’s “The Midday” with Norman Gilliland TODAY at noon.)

At the end of Part I, the Rev. Michael Schuler of the Unitarian Society will give a talk focusing on “Theological Reflections on Bach and the St. John Passion.”

This is only the second time the work has been performed in historical style in the state of Wisconsin. For more information and explanation, see the story in the Wisconsin State Journal:

http://host.madison.com/wsj/entertainment/music/st-john-passion-to-be-performed-on-all-historical-period/article_0e6e3d51-c03e-5803-9230-faed6a48ed1d.html

Tickets are $28-$33 and are available online, at Orange Tree Imports and at the door. Ticket information is at www.madisonbachmusicians.org

Trevor Stephenson writes the following about the work and the performance:

Bach was 38 years old when he composed the monumental St. John Passion during his initial year of employment in Leipzig, 1723-24. The work was first performed at the Nikolai Church during the Good Friday service on April 7, 1724.

As was the custom, no concerted music had been played in church during the previous six weeks of Lent, and the airing of the St. John Passion ― music of unprecedented complexity, lasting for over two hours — must have had an overwhelming effect on the fresh ears and devoted souls of the parishioners.

From its outset—with the whirling gear-like figures in the strings beneath the moiling of the oboes—the St. John Passion has an otherworldly aura of a story that has been foretold. Bach’s genius is in how he balances this inevitability with a sense of forward dramatic thrust: the passion story must happen, has already happened, but it also must be played out in real-time by living people, step by painful step. Time is at once both linear and circular. (Below is the manuscript for the “St. John Passion.”)

I believe that the objective of Bach (below) in setting the St. John Passion was to tell as vividly as possible the story of Jesus’ cruel earthly demise while at the same time tempering this vividness with frequent textual reminders, as well as an overarching tone, that convey the firm belief that Jesus’ Passion had not only been prophesied long before his birth but that Jesus’ suffering and death on earth was the only solution for the forgiveness of humanity’s sins.

 

The Evangelist John is our guide for the story of Jesus’ arrest, trial, crucifixion and burial. John sings his narration in the dry and angular recitative style, addressing the audience directly. He summarizes some scenes and introduces others, which are then played out in present-tense tableau format by various characters: Jesus, Peter, Pilate, Court officers, the angry mob.

Bach uses two techniques to pause and comment upon the narrative: first, with arias for solo voices and instrumental obbligato, that employ freely-composed poetry to reflect upon the story in a personal way — like the thoughts of someone observing the action; and second, by chorales which use tunes and texts that would have been familiar to Bach’s parishioners to elicit a broader communal response to the passion story. Many of the chorales are like a spiritual balm, providing moments of much needed rest throughout the work.

For the upcoming April 14 and 15 concerts of the St. John Passion on Good Friday and Holy Saturday ― the Madison Bach Musicians has endeavored as much as possible to recreate the early 18th-century sound world of that first Leipzig performance in 1724. MBM will use a 17-member baroque orchestra, conducted by UW-Madison bassoonist and performance-practice specialist Marc Vallon (below, in a photo by James Gill).

The orchestra will play entirely on 18th-century style instruments:

  • Gut-strung violins, violas, cellos, and bass played with baroque bows which facilitate articulation and phrase grouping
  • Early 18th-century single-keyed wooden traverso flutes and single-keyed wooden oboes―uniquely warm-sounding and clear-toned. Plus the baroque ancestor of the modern English horn, the tenor oboe da caccia
  • A baroque chamber organ with wooden pipes tuned in 18th-century Well Temperament
  • And specialty instruments—even by 18th-century standards. The viola da gamba, featured during the tombeau– or tomb-like Es ist vollbracht (It is fulfilled) aria heard after Jesus’ death; and two violas d’amore, delicate and velvet toned, replete with sympathetic strings for a haunting after-glow of sound. (You can hear that aria in the YouTube video at the bottom.)

These instruments will join with 10 outstanding vocalists—specialists in singing both solo and choral baroque repertoire.

Internationally recognized, and Grammy Award winning tenor, Dann Coakwell (below, in a photo by Mary Gordon) will sing the part of John the Evangelist.

The Passion will be sung in its original German; but an English translation of the text will be projected in supertitles scene-by-scene throughout the performance.

MBM is thrilled to be presenting this masterwork in the Atrium Auditorium (below, in a  photo by Zane Williams) at First Unitarian Society, a space beautifully suited to early music. The sightlines are superb, and the acoustics offer a great balance of clarity, crispness, and spaciousness.

Seating is limited, so advance ticket purchase is suggested.


Classical music: From Big 10 oboe music to Big Beethoven sonatas to a maestro’s final bow, this is a varied and busy week at the UW for faculty, guest artists and students

April 4, 2017
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By Jacob Stockinger

The Ear doesn’t see a unifying theme to this week’s events at the University of Wisconsin-Madison Mead Witter School of Music. But there is a lot of varied and appealing music and events — by acclaimed faculty members, guest performers and prize-winning students — on tap.

All concerts are FREE and OPEN TO THE PUBLIC.

Here is the lineup by day:

TODAY

At 7:30 p.m. in Mills Hall, oboist Aaron Hill (below) will give a recital featuring “Oboe Music From the Big 10.” The program includes works by three contemporary composers: Theresa Martin, Teddy Niedermaier and Daniel Black. Also performing are his UW colleagues bassoonist Marc Vallon and pianist Christopher Taylor.

For more information about the performers, the composers and the music, go to:

http://www.music.wisc.edu/event/oboist-aaron-hill-faculty-concert/

WEDNESDAY

From 11:30 to 1:30 in Music Hall, guest conductor Gary Thor Wedow (below), who will conduct the Madison Opera’s upcoming production of “The Magic Flute” by Wolfgang Amadeus Mozart, will give a public master class. Singers from the University Opera and the UW opera program will be featured.

For more information, go to:

http://www.music.wisc.edu/event/master-class-gary-thor-wedow/

At 7:30 in Mills Hall, clarinetist Amy McCann (below) will perform a recital featuring two works: the Sonata for Clarinet and Piano by Argentinean composer Carlos Guastavino; and the Clarinet Trio by Johannes Brahms. Pianist Martha Fischer and pianist Parry Karp will perform with McCann.

SATURDAY

At 3:30 p.m. in Morphy Recital Hall, the all-student Perlman Trio will perform its annual recital.

The program includes the Piano Trio in D Major, Hob. XV/7 by Franz Joseph Haydn; the Piano Trio N. 4 in E Minor (“Dumky”), Op. 90, by Antonin Dvorak; and the Piano Trio No. 2 in C Major, Op. 87, by Johannes Brahms.

Members of the Perlman Trio, which is funded by a gift from Dr. Kato Perlman, are (below, from left, in a photo by Katherine Esposito): cellist Michael Cheng, pianist Chan Mi Jean and violinist Adam Dorn.

For more information about the performers, go to:

http://www.music.wisc.edu/event/the-perlman-trio-annual-recital/

SUNDAY

At 3:30 in Morphy Recital Hall, the winners of the 32nd annual Beethoven Sonata Competition will perform. The program is: Kangwoo Jin playing the Sonata in C Major, Op. 53 (“Waldstein”); Leah Kang playing the Sonata in E Major, Op. 109; and Alberto Peña-Cortes playing the Sonata in A Major, Op. 101.

For more information, go to:

http://www.music.wisc.edu/event/32nd-annual-beethoven-piano-competition-winners-recital/

At 7:30 in Mills Hall, the UW Symphony Orchestra will perform its last concert under professor of conducting James Smith (below), who is retiring after 34 years at the UW-Madison.

The program includes the Overture to “Romeo and Juliet” by Peter Tchaikovsky; the Sinfonia Concertante for Violin and Viola by Wolfgang Amadeus Mozart; and the music from “Fancy Free” by Leonard Bernstein.

For more information go to:

http://www.music.wisc.edu/event/uw-symphony-orchestra-6/

UW Chamber Orchestra, James Smith, conductor

For information about the many student degree recitals that were scheduled, go to:

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


Classical music: Here are the Final Forte winners. Mosaic Chamber Players concludes its season this Saturday night with piano trios by Mendelssohn, Rachmaninoff and Charles Ives. Plus, a FREE concert of Latin American bassoon music is Friday at noon

March 30, 2017
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NEWS: In case you missed it last night on Wisconsin Public Television and Wisconsin Public Radio, here are the winners of the  Madison Symphony Orchestra’s high school concerto competition, which featured a lot of fine music and excellent performances.

First prize went to violinist Julian Rhee of Brookfield, who performed Tchaikovsky; second prize went to pianist Michael Wu of Sun Prairie, who performed Saint-Saens; and the two runners-up were violinist Yaoyao Chen of Menasha, who played Sibelius, and harpist Naomi Sutherland, who performed Ravel.

For more information about the annual event, including links to video biographies of the contestants, go to:

https://welltempered.wordpress.com/2017/03/25/classical-music-education-watch-it-on-public-television-or-radio-stream-it-live-or-hear-it-in-person-the-final-forte-free-finalists-concert-with-the-madison-symp/

ALERT: This week’s FREE Friday Noon Musicale, at the First Unitarian Society of Madison, 900 University Bay Drive, will feature bassoonist Juliana Mesa-Jaramillo in works for solo bassoon by 20th-century Latin American composers. The concert runs from 12:15 to 1 p.m.

By Jacob Stockinger

The critically acclaimed Mosaic Chamber Players will conclude its 2016-2017 season with a program of piano trios.

Members of the Madison-based Mosaic Chamber Players are Wes Luke, violin; Kyle Price, cello; and Jess Salek, piano.

The program features the “Elegy” Trio in D Minor, Op. 9, by Sergei Rachmaninoff; the Trio, Op. 86, by Charles Ives; and the Trio in D Minor, Op 49, by Felix Mendelssohn. (You can hear the opening of the lovely and darkly dramatic Rachmaninoff Trio in the YouTube video at the bottom.)

The concert will be this Saturday, April 1, at 7 p.m. in the Landmark Auditorium of First Unitarian Society of Madison.

Tickets are $15 for general admission; $10 for seniors; and $5 for students. Cash or checks only will be accepted.

Pianist Jess Salek (below), who graduated from the Lawrence University Conservatory of Music in Appleton Wis., and who runs his own piano studio in Madison and also works with the Madison Youth Choirs.

Violinist Wes Luke (below) plays with many regional orchestras and ensembles, including the Madison-based Ancora String Quartet.

Here is an informative and engaging story about cellist Kyle Price (below), a UW-Madison student, and how he started a music festival and ended up studying with Professor Uri Vardi at the UW-Madison.

http://www.music.wisc.edu/2015/12/02/kyleprice_cello/


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