By Jacob Stockinger
Here is some news that The Ear is overjoyed to announce: An annual Bach Around the Clock celebration is being revived this year in Madison.
For three years, a similar event, inspired by celebrations in New Orleans, was sponsored by Wisconsin Public Radio and coordinated by its music director Cheryl Dring. But when she left in 2013, and so did WPR.
But now baroque and modern violist Marika Fischer Hoyt (below right), who plays with the Madison Symphony Orchestra, the Wisconsin Chamber Orchestra, the Ancora String Quartet and the Madison Bach Musicians, has undertaken to revive it.
So let’s help resume the tradition and call it Bach Around the Clock 4.
The place has changed.
But the concept remains the same.
The event is now looking for musicians -– professional and amateurs, teachers and students – to sign up to participate.
Here are particulars:
Bach Around The Clock 2017
Saturday, March 18
12 Noon to 12 Midnight
St. Andrew’s Episcopal Church (below)
1833 Regent St., Madison, WI 53726
The event is FREE and OPEN TO THE PUBLIC.
Bach Around The Clock is a 12-hour celebration of the music of Johann Sebastian Bach (1685-1750). Held on the Saturday closest to Bach’s birthday, it offers all members of the musical community, from young students to seasoned professionals, the opportunity to perform selections by this sublime composer.
This year’s BATC takes place in the sanctuary (below) of St. Andrew’s Church, and will be opened with an organ work and a performance by the St. Andrew’s Chancel Choir, under the leadership of music director and organist Ken Stancer.
NOTE: The entire event will be recorded, and audio/video live streaming will be available for those unable to attend.
Birthday cake will be served at midnight!
The month of March has been designated as the official ‘Early Music Month’ by the organization Early Music America <www.earlymusicamerica.org/endeavors/early-music-month>, and the Madison Bach Around The Clock is listed on their website as one of the many partners participating in this annual nationwide celebration.
The Ear — who himself played solo piano works and accompanied a famous Siciliano movement from a flute sonata — has such great memories of past ones.
Those memories include hearing whole studios of young piano students performing; duos and trios done by siblings and friends, by parents and children, by teachers and students; accomplished professional and amateur instrumentalists, including UW-Madison faculty members; church choirs in cantatas; lots of intriguing arrangements including the solo cello suites on the saxophone and a flute and bassoon duo performing some Two-Part Inventions (in the YouTube video at the bottom) as well as Bach on the accordion and bagpipes. And on and on.
And to give you the flavor of the event, here links to the events, complete with photos, to the past Bach Around the Clock celebrations when they were sponsored by Wisconsin Public Radio and held at the Pres House near the UW-Madison campus:
By Jacob Stockinger
Just as the first semester is coming to an end, The Ear has learned that four major retirements in the spring will put the University of Wisconsin-Madison School of Music staffing and teaching in a bind that poses some major challenges.
Three of the retirements are by major performers. The fourth is by a major scholar, a musicologist and music historian.
Here they are in alphabetical order:
For more information, go to: http://www.music.wisc.edu/faculty/john-aley/
For more information, go to: http://www.music.wisc.edu/faculty/lawrence-earp/
Jutt plans to move to her native New York City to live, but says she will continue her duties with the MSO and the BDDS.
For more information, go to: http://www.music.wisc.edu/faculty/stephanie-jutt/
Smith, a one-time professional clarinetist, plans to move into a new house he has built in Cross Plains where he will work on his repertoire and pursue stints as a freelance guest conductor.
For more information, go to: http://www.music.wisc.edu/faculty/james-smith/
All four have served the UW-Madison and area music-lovers well indeed and for a long time.
The bind for the music school is that, thanks to the boa constrictor-like choke hold on the UW-Madison’s budget and staffing by Gov. Scott Walker and his anti-intellectual, anti-education cronies in the Legislature and on the Board of Regents, tenured faculty do not usually get replaced by tenure-track positions. Instead the school has had to offer most new teachers non-renewable three-year stints as adjunct professors.
True, there is a long of talented people out there looking for jobs. So adjuncts are not necessarily inferior performers or teachers. But who wants to be moving around every few years and starting over?
As far as The Ear understands it, in the long-term the move to adjuncts is not good for the students, especially graduate students, for other faculty members and for the reputation of the School of Music, which has managed to secure major funding support for construction and physical plant projects but much less support for staff and scholarships.
Clearly, it introduces an element of instability and insecurity that hardly seems helpful in the competitive academic market place.
In any case, The Ear congratulates all the retirees on their distinguished careers and thanks them for so many years of public service and so many enjoyable hours of performing and understanding great music. They will be missed.
Feel free to leave your own comments and reactions in the COMMENT section.
No doubt the future retirees would like to hear from you.
And The Ear too wants to hear.
By Jacob Stockinger
This posting is both a news story and a holiday gift guide of classical recordings you might like to give or get.
It features the classical music nominations for the 59th annual Grammy Awards that were just announced this past week.
As you can see, several years ago, the recording industry decided that the Grammys should put more emphasis on new music and contemporary composers as well as on less famous performers and smaller labels as well as less well-known artists and works. You don’t see any music by Bach, Beethoven or Brahms this year, although you will find music by Mozart, Handel, Schumann and Dvorak. And clearly this is not a Mahler year
The winners will be announced on a live TV broadcast on Sunday night, Feb. 12, on CBS.
“Corigliano: The Ghosts of Versailles” — Mark Donahue & Fred Vogler, engineers (James Conlon, Guanqun Yu, Joshua Guerrero, Patricia Racette, Christopher Maltman, Lucy Schaufer, Lucas Meachem, LA Opera Chorus & Orchestra)
“Dutilleux: Sur Le Même Accord; Les Citations; Mystère De L’Instant & Timbres, Espace, Mouvement” — Alexander Lipay & Dmitriy Lipay, engineers (Ludovic Morlot, Augustin Hadelich & Seattle Symphony)
“Reflections” — Morten Lindberg, engineer (Øyvind Gimse, Geir Inge Lotsberg & Trondheimsolistene)
“Shadow of Sirius” — Silas Brown & David Frost, engineers; Silas Brown, mastering engineer (Jerry F. Junkin & the University Of Texas Wind Ensemble)
“Shostakovich: Under Stalin’s Shadow: Symphonies Nos. 5, 8 & 9” — Shawn Murphy & Nick Squire, engineers; Tim Martyn, mastering engineer (Andris Nelsons & Boston Symphony Orchestra)
PRODUCER OF THE YEAR, CLASSICAL
Marina A. Ledin, Victor Ledin
Judith Sherman (pictured below with the Grammy Award she won last year. She came to Madison to record the double set of new commissions for the centennial of the University of Wisconsin-Madison’s Pro Arte Quartet)
Robina G. Young
BEST ORCHESTRAL PERFORMANCE
“Bates: Works for Orchestra” — Michael Tilson Thomas, conductor (San Francisco Symphony). You can hear excerpts in the YouTube video at the bottom.
“Ibert: Orchestral Works” — Neeme Järvi, conductor (Orchestre De La Suisse Romande)
“Prokofiev: Symphony No. 5 In B-Flat Major, Op. 100” — Mariss Jansons, conductor (Royal Concertgebouw Orchestra)
“Rouse: Odna Zhizn; Symphonies 3 & 4; Prospero’s Rooms” — Alan Gilbert, conductor (New York Philharmonic)
“Shostakovich: Under Stalin’s Shadow – Symphonies Nos. 5, 8 & 9” (below) — Andris Nelsons, conductor (Boston Symphony Orchestra)
BEST OPERA RECORDING
“Corigliano: The Ghosts of Versailles” (below) — James Conlon, conductor; Joshua Guerrero, Christopher Maltman, Lucas Meachem, Patricia Racette, Lucy Schaufer & Guanqun Yu; Blanton Alspaugh, producer (LA Opera Orchestra; LA Opera Chorus)
“Handel: Giulio Cesare” — Giovanni Antonini, conductor; Cecilia Bartoli, Philippe Jaroussky, Andreas Scholl & Anne-Sofie von Otter; Samuel Theis, producer (Il Giardino Armonico)
“Higdon: Cold Mountain” — Miguel Harth-Bedoya, conductor; Emily Fons, Nathan Gunn, Isabel Leonard & Jay Hunter Morris; Elizabeth Ostrow, producer (The Santa Fe Opera Orchestra; Santa Fe Opera Apprentice Program for Singers)
“Mozart: Le Nozze Di Figaro” — Yannick Nézet-Séguin, conductor; Thomas Hampson, Christiane Karg, Luca Pisaroni & Sonya Yoncheva; Daniel Zalay, producer (Chamber Orchestra of Europe; Vocalensemble Rastatt)
BEST CHORAL PERFORMANCE
“Himmelrand” — Elisabeth Holte, conductor (Marianne Reidarsdatter Eriksen, Ragnfrid Lie & Matilda Sterby; Inger-Lise Ulsrud; Uranienborg Vokalensemble)
“Janáček: Glagolitic Mass” — Edward Gardner, conductor; Håkon Matti Skrede, chorus master (Susan Bickley, Gábor Bretz, Sara Jakubiak & Stuart Skelton; Thomas Trotter; Bergen Philharmonic Orchestra; Bergen Cathedral Choir, Bergen Philharmonic Choir, Choir of Collegium Musicum & Edvard Grieg Kor)
“Lloyd: Bonhoeffer” — Donald Nally, conductor (Malavika Godbole, John Grecia, Rebecca Harris & Thomas Mesa; the Crossing; below)
“Penderecki Conducts Penderecki, Volume 1” — Krzysztof Penderecki, conductor; Henryk Wojnarowski, choir director (Nikolay Didenko, Agnieszka Rehlis & Johanna Rusanen; Warsaw Philharmonic Orchestra; Warsaw Philharmonic Choir)
“Steinberg: Passion Week” — Steven Fox, conductor (The Clarion Choir)
BEST CHAMBER MUSIC/SMALL ENSEMBLE PERFORMANCE
“Fitelberg: Chamber Works” — ARC Ensemble
“Reflections” — Øyvind Gimse, Geir Inge Lotsberg & Trondheimsolistene
“Serious Business” — Spektral Quartet
“Steve Reich” — Third Coast Percussion (below)
“Trios From Our Homelands” — Lincoln Trio
BEST CLASSICAL INSTRUMENTAL SOLO
“Adams, J.: Scheherazade.2” — Leila Josefowicz; David Robertson, conductor (Chester Englander; St. Louis Symphony)
“Daugherty: Tales of Hemingway” — Zuill Bailey; Giancarlo Guerrero, conductor (Nashville Symphony)
“Dvořák: Violin Concerto & Romance; Suk: Fantasy” — Christian Tetzlaff; John Storgårds, conductor (Helsinki Philharmonic Orchestra)
“Mozart: Keyboard Music, Vols. 8 & 9” – Kristian Bezuidenhout
“1930’s Violin Concertos, Vol. 2” – Gil Shaham; Stéphane Denève, conductor (The Knights & Stuttgart Radio Symphony Orchestra)
BEST CLASSICAL SOLO VOCAL ALBUM
“Monteverdi” — Magdalena Kožená; Andrea Marcon, conductor (David Feldman, Michael Feyfar, Jakob Pilgram & Luca Tittoto; La Cetra Barockorchester Basel)
“Mozart: The Weber Sisters” — Sabine Devieilhe; Raphaël Pichon, conductor (Pygmalion)
“Schumann & Berg” — Dorothea Röschmann; Mitsuko Uchida, accompanist
“Shakespeare Songs” — Ian Bostridge; Antonio Pappano, accompanist (Michael Collins, Elizabeth Kenny, Lawrence Power & Adam Walker)
“Verismo” — Anna Netrebko; Antonio Pappano, conductor (Yusif Eyvazov; Coro Dell’Accademia Nazionale Di Santa Cecilia; Orchestra Dell’Accademia Nazionale Di Santa Cecilia)
BEST CLASSICAL COMPENDIUM
“Daugherty: Tales of Hemingway; American Gothic; Once Upon A Castle” — Giancarlo Guerrero, conductor; Tim Handley, producer
“Gesualdo” — Tõnu Kaljuste, conductor; Manfred Eicher, producer
“Vaughan Williams: Discoveries” — Martyn Brabbins, conductor; Andrew Walton, producer
“Wolfgang: Passing Through” — Judith Farmer & Gernot Wolfgang, producers; (Various Artists)
“Zappa: 200 Motels – The Suites” — Esa-Pekka Salonen, conductor; Frank Filipetti & Gail Zappa, producers
BEST CONTEMPORARY CLASSICAL COMPOSITION
“Bates: Anthology of Fantastic Zoology” — Mason Bates, composer (Riccardo Muti & Chicago Symphony Orchestra)
“Daugherty: Tales of Hemingway” — Michael Daugherty, composer (Zuill Bailey, Giancarlo Guerrero & Nashville Symphony)
“Higdon: Cold Mountain” — Jennifer Higdon, composer; Gene Scheer, librettist (Miguel Harth-Bedoya, Jay Hunter Morris, Emily Fons, Isabel Leonard, Nathan Gunn & the Santa Fe Opera)
“Theofanidis: Bassoon Concerto” — Christopher Theofanidis, composer (Martin Kuuskmann, Barry Jekowsky & Northwest Sinfonia)
“Winger: Conversations With Nijinsky” — C. F. Kip Winger, composer (Martin West & San Francisco Ballet Orchestra)
ALERT: The Wisconsin Chamber Orchestra and its acclaimed music director Andrew Sewell are pretty busy these days playing the accompanying music for the Madison Ballet‘s multiple performances of Peter Tchaikovsky‘s holiday ballet “The Nutcracker.”
Then on this coming Friday night at 7 p.m. at the Blackhawk Church in Middleton, the WCO, the WCO Chorus, the Festival Choir of Madison and guest soloists, all under the baton of Sewell, also give their annual and usually sold-out performance of George Frideric Handel‘s oratorio “Messiah.” The Ear has been told that this year’s performance is also close to selling out to. For more information and tickets, go to:
By Jacob Stockinger
At 8 p.m. this Saturday night, Dec. 10, the Madison Bach Musicians (below top) will give their sixth annual Baroque Holiday Concert.
The event will once again be held in the beautiful and sonorous sanctuary (below) of the First Congregational United Church of Christ, 1609 University Avenue.
There is a free pre-concert lecture by the always witty, informative and entertaining MBM founder, artistic director and harpsichordist Trevor Stephenson (below) at 7:15 p.m. NOTE: Trevor Stephenson will also discuss the upcoming holiday concert and play excerpts from past ones TODAY AT NOON on The Midday program aired by Wisconsin Public Radio.
The program will feature: a cappella (solo vocal) masterworks by Orlando di Lassus and Josquin des Prez performed by a vocal quartet; a Christmas Cantata for soprano and strings by Alessandro Scarlatti—featuring soprano soloist Chelsea Morris (below top); a trio sonata by Johann Joseph Fux; an intriguing Partita for two scordatura violins (scordatura means the open strings are re-tuned into a new interval configuration!) by Heinrich Biber; the Sonatina in A minor for baroque bassoon and continuo by Georg Philipp Telemann ― with soloist and UW-Madison professor Marc Vallon (below bottom, in a photo by James Gill); one of the Christmas Cantatas, BWV 122, Das neugeborne Kindelein (The Newborn Baby) by Johann Sebastian Bach (heard in the YouTube video at the bottom); and a bonus feature ― a preview of MBM’s upcoming April performance of Bach’s oratorio St. John Passion, the tenor aria Ach, mein Sinn.
Advance-sale discount tickets: $28 for general admission, $23 for students and seniors 65 and over. They are available at Orange Tree Imports, Farley’s House of Pianos, Room of One’s Own, and Willy Street Co-op (East and West) . You can also find online advance-sale tickets at madisonbachmusicians.org
Tickets at the door are: $30 for general admission; $25 for students and seniors 65 and over. Student Rush tickets are $10 at the door and go on sale 30 minutes before lecture (student ID is required)
Musicians will include: Chelsea Morris, soprano; Joseph Schlesinger, counter-tenor; Scott Brunscheen, tenor; Matthew Tintes, bass; Kangwon Kim and Brandi Berry, baroque violins; Marika Fischer Hoyt, baroque viola; Martha Vallon, baroque cello; Marc Vallon, baroque bassoon; and Trevor Stephenson, harpsichord
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:
This Friday and Saturday are also busy, though less so.
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).
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:
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.
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.
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.
By Jacob Stockinger
This week will be a busy one at the University of Wisconsin-Madison School of Music, which is now funded in large part by the Mead Witter Foundation.
The big event is the long-awaited groundbreaking for the new performance center. That, in turn, will be celebrated with three important and appealing concerts.
Here is the lineup:
From 4 to 5:30 p.m., an official and public groundbreaking ceremony for the new Hamel Music Center will take place at the corner of Lake Street and University Avenue. (Below is an architect’s rendering of the completed building.)
At 8 p.m. in Mills Hall, pianist Christopher Taylor (below) will perform the “Goldberg” Variations by Johann Sebastian Bach on the two-keyboard “Hyperpiano” that he has invented and refined. (You can hear the opening aria theme of the “Goldberg” Variations played by Glenn Gould in the YouTube video at the bottom.)
For more information about the concert and the innovative piano, visit:
Tickets are $18 and are available at the Wisconsin Union Theater box office. Last The Ear heard, the concert was close to a sell-out.
At 7 p.m. in Mills Hall, UW-Madison faculty bassoonist Marc Vallon (below, in a photo by James Gill), who studied and worked with the recently deceased French composer and conductor Pierre Boulez, will lead a FREE “Breaking Ground” concert of pioneering music from the 17th, 19th, 20th and 21st centuries.
For more information and the complete program, go to:
At 3 p.m. in Mills Hall, the Wisconsin Brass Quintet will give a FREE concert.
For more information about the group and the program, go to:
By Jacob Stockinger
The Oakwood Chamber Players will kick off their 2016-2017 season with a concert entitled “Looking Across the Table: Can We Find Common Ground?” on this coming Saturday night, Sept. 10, at 7 p.m. and Sunday afternoon, Sept. 11, at 2 p.m.
The concerts will both be held in the Oakwood Village University Woods Center for Arts and Education, 6209 Mineral Point Road, on Madison’s far west side.
Tickets can be purchased with cash or personal checks at the door: $20 for general admission, $15 for seniors and $5 for students.
Visit www.oakwoodchamberplayers.com or call (608) 230-4316 for more information.
The season’s theme of “Perspective” is full of interesting viewpoints on life and relationships; the blended use of diverse musical styles with film and theater will help the audience see things from another’s point of view.
Here is a link to a preview of the entire season:
This weekend’s program concert will begin Cafe Music for piano trio by the Michigan-based composer Paul Schoenfield. The work draws inspiration from a range of styles including 20th-century American, Viennese, gypsy and Broadway. (You can hear the catchy music in the YouTube video at the bottom.)
Cuban composer Paul Colina’s “Stairway to Midnight Café” has a delightful current of dance influence and is dedicated to his friends in the First Coast Chamber Ensemble.
The Oakwood Chamber Players will welcome guests to the stage for the charming Dixtuor by French composer Jean Françaix (below). The engaging interplay of strings and winds creates an atmosphere of instrumental commentary parallel to an upbeat social gathering.
Guest musicians include Maureen McCarty, violin; Katrin Talbot, viola; Brad Townsend, string bass; Jennifer Morgan, oboe; and Juliana Mesa-Jaramillo, bassoon.
Famed British composer Sir Edward Elgar (below) wrote Elegy, a poignant adagio, when processing the untimely loss of a friend and colleague. He created a piece that tugs at the heartstrings of both listeners and performers.
This is the first of five concerts in the Oakwood Chamber Players’ 2016-2017 concert season. Remaining concerts include “Looking Back and Forward” on Nov. 27; “Looking Within” on Jan. 21 and 22”: “Looking Through the Lens” on March 18 and 19; and “Looking Closely at the Score” on May 13 and 14.
The Oakwood Chamber Players are a group of Madison-area professional musicians who have rehearsed and performed at Oakwood Village for over 30 years. They have experience with the Madison Symphony Orchestra, the Wisconsin Chamber Orchestra, the University of Wisconsin-Madison School of Music and other groups and institutions.
The Oakwood Chamber Players are a professional music ensemble proudly supported by Oakwood Lutheran Senior Ministries and the Oakwood Foundation.
By Jacob Stockinger
The Oakwood Chamber Players (below) have long been known for programming new music as well as neglected old music or neglected composers that they perform with top-quality music-making – often with a unifying theme to the programs.
Just look at the details of the following announcement of the new season:
The Oakwood Chamber Players are excited to announce their 2016-2017 concert series, “Perspective.”
Full of interesting viewpoints on life and relationships, the blended use of diverse musical styles with film and theater will help concertgoers see things from another’s point of view.
All concerts will be held in the auditorium (below) at Oakwood’s Center for Arts and Education, 6002 Mineral Point Road, on the far west side of Madison.
Tickets can be purchased at the door: $20 for general admission, $15 for seniors, and $5 for students. More information can be found at www.oakwoodchamberplayers.com
LOOKING ACROSS THE TABLE: CAN WE FIND COMMON GROUND?
Saturday, September 10, at 7 p.m. and Sunday, September 11, at 2 p.m.
Paul Schoenfield (below) – Café Music for piano trio
Michael Colina – Stairway to Midnight Café for mixed instruments
Jean Françaix – Dixtuor for woodwind quintet and string quintet
Edward Elgar – Elegy for string quintet
LOOKING BACK AND FORWARD: CAN THE PAST, PRESENT, AND FUTURE CHANGE US?
Sunday, November 27, 2016 at 1 p.m. and 3:30 p.m.
Frank Bridge (below) – Sir Roger de Coverly Christmas Dance for strings
Jon Deak – “Passion of Scrooge” for large mixed ensemble with baritone voice
LOOKING WITHIN: CAN WE SEE WITHIN OURSELVES THOSE WHO HAVE GONE BEFORE?
Saturday, January 21, 2017 at 7 p.m. and Sunday, January 22, 2017 at 2 p.m.
Byron Adams (below) – Serenade (Homage de Husa) for large mixed ensemble
Arnold Schoenberg – Notturno (Nocturne) for strings and harp (in the YouTube video at the bottom)
Francis Poulenc – Sextet for woodwind quintet and piano
Maurice Ravel/David Bruce – Kaddish for large mixed ensemble
LOOKING THROUGH THE LENS: CAN WE SPEAK WHEN THERE ARE NO WORDS?
Saturday, March 18, 2017 at 7 p.m. and Sunday, March 19, 2017 at 2 p.m.
Paul Bowles (below) – Music for a Farce (Movie – The Fireman) for clarinet, trumpet, piano and percussion
Dan Visconti – Low Country Haze with film for large mixed ensemble
Gaetano Donizetti – Trio for flute, bassoon and piano
LOOKING CLOSELY AT THE SCORE: CAN WE GET INSIDE THE MINDS OF THE COMPOSERS?
Saturday, May 13, 2017 at 7 p.m. and Sunday, May 14, 2017 at 2 p.m.
Joan Trimble (below) – Phantasy Trio for piano trio
Vincent d’Indy – Chanson et Danses (Song and Dances) for winds
Joachim Raff – Sinfonietta for double woodwind quintet
The Oakwood Chamber Players is a professional music ensemble proudly supported by Oakwood Lutheran Senior Ministries and the Oakwood Foundation.
By Jacob Stockinger
The Ear has received the following news:
The concert is at 7:30 p.m. in the Hillside Theater, which is part of Frank Lloyd Wright’s Taliesin compound and is located at 6604 Hwy 23, Spring Green.
The concert is not ticketed and is open to the public. A free-will offering will be taken to support the concert series.
For additional information and driving directions, see www.ruralmusiciansforum.org.
Black Marigold is a dynamic wind quintet that has dazzled audiences throughout Wisconsin since 2012. As advocates of new music and living composers, they present captivating concerts introducing new music, while also highlighting the classic woodwind quintet repertoire.
Members of Black Marigold are (below left to right, in a photo by Vincent Fuh) Carl Wilder, Elizabeth Marshall, Bethany Schultz, Laura Medisky and Kia Karlen.
Black Marigold fosters fresh perceptions of new music by showcasing pieces that are equally enjoyable for performers and audiences alike. (You can hear a sample of Black Marigold performing in the YouTube video at the bottom.)
The ensemble is comprised of five members who play the flute, clarinet, oboe, bassoon and horn. They present thoughtful verbal program notes to engage the audience and enliven the concert experience.
In addition to an exciting program of American music, for the August concert Black Marigold will introduce a composition by the acclaimed composer Brian DuFord (below).
Commissioned by the ensemble just this year, “Beer Music” in its entirety is a suite of 18 short pieces, each inspired by a local craft brew, plus a finale movement.
“There are so many reasons to make this music about beer,” says DuFord. “Beer has such a long history, especially in Wisconsin and the Madison area in particular. It’s social and music is social. It just makes sense.”
According to Kia Karlen of Black Marigold, “The idea originated from a Facebook message from Brian a couple of years ago, jokingly suggesting he compose a piece about Wisconsin’s beer heritage for us.
“What started as a joke two years ago is now a reality. We will be premiering the piece in full this September, but will include a sneak preview of select movements (a “flight” or a “6-pack”) at the Rural Musicians Forum concert.”
“Beer Music” is the first commission for the group, just four years old. The piece will be like a narrative of the Madison area blended to the sound of music, but it will also incorporate the personalities of each of the musicians.
RMF’s Artistic Director Kent Mayfield promises “Black Marigold breathes new life into the woodwind quintet setting, and you will leave their concert smarter, happier and more inspired than when you arrived.”