The Well-Tempered Ear

Classical music: A busy week at the UW-Madison brings an early opera and an all-Bernstein brass and winds program plus orchestral and choral concerts that will be LIVE-STREAMED

November 14, 2018
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By Jacob Stockinger

A busy week brings an early opera plus orchestral and choral concerts with live streaming to the UW-Madison’s Mead Witter School of Music.

Here are details:

On Thursday and Saturday nights, the UW-Madison Mead Witter School of Music will LIVE STREAM concerts by the UW Symphony Orchestra and the UW Concert Choir.

“We plan to do more live streaming of ensemble groups,  especially large ones, and of non-ticketed events,” says concert manager Katherine Esposito. “It is more and more becoming the norm for music schools.”

Here is the all-purpose Live Streaming link where you can see what events will be live-streamed: https://www.music.wisc.edu/video/

At 7:30 p.m. on Thursday night, Nov. 15, in Mills Hall, the UW Symphony Orchestra (below top) will perform a FREE concert under director Chad Hutchinson (below bottom).

The program is American composer Jennifer Higdon’s “Blue Cathedral” and the Symphony No. 5 by Peter Ilyich Tchaikovsky.

For information about the program and the concert, go to: https://www.music.wisc.edu/event/uw-madison-symphony-orchestra-2/

On Saturday night, Nov. 17,  at 8 p.m. in Mills Hall, the Concert Choir (below) will perform a FREE concert featuring the “Hymn to St. Cecilia” by British composer Benjamin Britten and “Lamentations of the Prophet Jeremiah” by Argentinian composer Alberto Ginastera as well as works by several other composers.

Conductors will be Beverly Taylor (below), the director of choral activities at the UW-Madison, and graduate student Michael Johnson.

For details about the program and individual performers, go to: https://www.music.wisc.edu/event/uw-concert-choir-2/

On Friday night, Nov. 16, at 7:30 p.m. in Music Hall there is the first of three performances by the University Opera of Italian baroque composer Claudio Monteverdi’s “The Coronation of Poppea,” directed by David Ronis (below, in a photo by Luke Delalio).

Other performances are on Sunday afternoon, Nov. 18,  at 2 p.m. and Tuesday night, Nov. 20, at 7:30 in Music Hall. (Sorry, no photos of the UW production. But you can hear a famous duet from another professional production in the YouTube video below.)

Tickets are $25 for adults, $20 for seniors and $10 for students.

Chad Hutchinson will conduct the orchestra.

For more information about the plot of the opera, comments by the two singers playing Emperor Nero, the production and tickets, go to: https://www.music.wisc.edu/event/university-opera-monteverdis-the-coronation-of-poppea/

And here is a link to a press release about the opera: https://www.music.wisc.edu/2018/10/09/university-opera-poppea2018/

On Sunday night, Nov. 18, at 7 p.m. in Mills Hall, the UW Brass Ensemble and the Winds of Wisconsin join forces under conductor Scott Teeple for an FREE all-Leonard Bernstein (below) program. For details, go to: https://www.music.wisc.edu/event/uw-wind-ensemble-and-winds-of-wisconsin-joint-concert/


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Classical music: Superb music-making offset awkward acting and dancing in a concert that the Bach Dancing and Dynamite Society gave last weekend. This summer’s last BDDS concerts are tonight, Saturday and Sunday 

June 22, 2018
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By Jacob Stockinger

Here is a special posting, published belatedly but in time for this weekend’s upcoming closing concerts – two performances each of two programs — of the current summer season by the Bach Dancing and Dynamite Society.

It is 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 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.

Performance photos were taken by Dick Ainsworth for BDDS.

By John W. Barker

One of the two programs of the Bach Dancing and Dynamite Society’s second weekend this season was held in the Overture Center’s Playhouse last Saturday night.

The associations of its three works with war were somewhat strained, most of all for Robert Schumann’s Three Romances, Op. 94. They were composed in 1849 for the options of oboe and violin or clarinet with piano.

On this occasion they were presented in a transcription for bassoon, made by the performer, Adrian Morejon (below). He played these brief and lovely pieces beautifully, but I confess I would have liked them more if one of the stipulated, higher-range instruments had been used.

The first major work was from the contemporary American composer Kevin Puts (below), called Einstein on Mercer Street. It is a kind of cantata, a half-hour in length, cast in five sections, each beginning with spoken words but moving to singing.

The text, whose origins were not made clear, purports to represent the thinking of Albert Einstein in his last years in Princeton, N.J., as he contemplates his place in science and in the creation of the atomic bomb.

The vocal part was written for baritone Timothy Jones (below center), who performed it this time, delivering it with confident eloquence. To tell the truth, though, a lot of his words, spoken and sung, did not come through clearly, at least for where I sat.

Though the vocal writing goes through one ear and out the other, there is a lot of very pleasant melodic music in the score, and it occurred to me that, with a little tightening, the work could nicely be left just to the instrumental ensemble (violin, cello, flute, clarinet, trumpet, percussion and piano), the vocal part dispensed with — heresy, of course.

The second half of the program was devoted to the classic work of 1918, L’Histoire du Soldat (The Soldier’s Tale), originally with a French text by the Swiss writer Charles Ferdinand Ramuz, and with brilliant music, in the style of blues, jazz and ragtime by Igor Stravinsky.

The spoken text, in a rhymed English translation, calls for three actors: a narrator, a Soldier and the Devil. Jones was quite good as the narrator, but well enough could not be left alone.

With utter arbitrariness, the character of the Soldier was turned into the soldierette “Josie,” so that the Prince he woos and wins becomes a “Princess.”

This absurdity was absolutely pointless, save, perhaps, to allow the two co-directors of the festival, Stephanie Jutt and Jeffrey Sykes (below) to play soldierette and the Devil against each other. In hilarious costumes, the two did well enough, Sykes especially, but the gender change grated all the way through the piece.

And there was another problem. The work was not only written for actors and musicians, but also with dancers in mind. No choreography survives, and the use of dancers in performances of the work is patchy.

Here we had hip-hop dancer Blake Washington introduced during the Three Dances movement as the recovering “Prince,” with a lot of spastic shivering and shaking that suggested more of painful decomposition than recovery.

The stars of the piece, however, were the seven outstanding instrumentalists: violinist Axel Strauss; David Scholl, double bass; Alan Kay, clarinet; Morejon, bassoon; Matt Onstad, trumpet; Dylan Chmura-Moore, trombone; and Anthony di Sanza, percussion. With truly superb playing, they upheld the high standards of the musicians that the BDDS brings us.

For more information about BDDS’ closing concerts this weekend – featuring guest soprano and critically acclaimed UW-Madison alumna Emily Birsan and music by Mozart, Schumann, Saint-Saens, Fauré, Ravel, Prokofiev, Barber and other composers in Madison, Stoughton and Spring Green tonight, Saturday and Sunday, go to: http://bachdancing.org/concerts/festival-concerts/


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Classical music: Russian pianist Ilya Yakushev returns to Madison to give a master class and to perform a solo recital of Haydn, Tchaikovsky, Mussorgsky and Gershwin at Farley’s House of Pianos this Sunday afternoon

November 8, 2017
2 Comments

By Jacob Stockinger

If you recall the name of Ilya Yakushev (below), it is no doubt from the two impressive concerto appearances by the Russian virtuoso with the Wisconsin Chamber Orchestra and conductor Andrew Sewell.


Madison audiences will finally have a chance to hear Yakushev, who directs the International Keyboard Institute and Festival at Mannes College of Music in Manhattan, in a solo recital.

It will be held this coming Sunday afternoon, Nov. 12, at 4 p.m. at Farley’s House of Pianos, 6522 Seybold Road, on the city’s far west side near the West Towne Mall. The concert is part of the Salon Concert Series, and a reception will follow the performance.

Tickets are $45, $10 for students. You can call (608) 271-2626 or go online (see below).

The program includes: Sonata in D Major by Franz Joseph Haydn; the Sentimental Waltz by Peter Tchaikovsky; “Pictures at an Exhibition,” in the original solo piano version, by Modest Mussorgsky; and a solo piano version of “Rhapsody in Blue” by George Gershwin.  (You can hear Yakushev play the opening part of the Mussorgsky in the YouTube video at the bottom)

On this Saturday, Nov. 11, at 4 p.m. Ilya Yakushev will also teach a master class at Farley’s House of Pianos. Yakushev will instruct three pianists, all of whom are on the piano faculty at Farley’s House of Pianos. This is a FREE event that the public is invited to observe.

The Master Class program includes: Stravinsky’s Piano Sonata (1924) – First movement, performed by Jason Kutz; Beethoven’s Sonata in E Major, Op. 109 “Andante molto cantabile ed espressivo,” performed by Kangwoo Jin; and Ravel’s “Miroirs” (Mirrors) – Third movement “Une barque sur l’ocean” (A Boat on the Ocean) performed by Jonathan Thornton.

For more information about the artist, the program, the master class. other concerts and tickets, go to:

http://salonpianoseries.org/concerts.html


Classical music: UW oboist Aaron Hill performs world premieres and little known composers in a FREE recital Sunday afternoon

October 20, 2017
1 Comment

By Jacob Stockinger

This is Homecoming weekend at the University of Wisconsin-Madison, and it is busy on many counts, including several classical music concerts in the city on Sunday afternoon.

But one of the more intriguing is a FREE recital at 3 p.m. in Mills Hall by UW-Madison Professor Aaron Hill (below), who teaches oboe and also performs in the Wingra Woodwind Quintet.

Hill will be joined by collaborative pianist Daniel Fung (below), who is also a vocal coach at the Mead Witter School of Music at the UW-Madison.

Particularly noteworthy is the number of world premieres and relatively unknown contemporary composers on the program.

Here is the program:

“Poem,” for oboe and piano (1953) by Marina Dranishnikova (1929-1994, below). (You can hear it in the YouTube video at the bottom.)

Oboe Sonata (1947) by Jean Coulthard (1908-2000)

  1. Gently Flowing
  2. Sicilienne
  3. Allegro

Intermission

* Soliloquies (2013) by Andre Myers (b. 1973)

  1. To be or not to be
  2. There’s Rosemary, that’s for remembrance
  3. In the Month of May
  4. Spring Discourse

   * world premiere performance

* After Manchester (2017) Aaron Hill and Michael Slon (b. 1982 and 1970, respectively) * world premiere performance

Four Personalities (2007) Alyssa Morris (b. 1984)

  1. Yellow
  2. White
  3. Blue
  4. Red

Here are some program notes by Aaron Hill:

“This program highlights five different ways to program previously unfamiliar music, as explained below.

“Poem” by Marina Dranishnikova came to me through our local community. Oliver Cardona, currently a junior music major at UW-Madison, initially brought it to my attention. The work was discovered and edited by my predecessor, Professor Marc Fink (below), during his travels in Russia.

I first heard the Oboe Sonata by Jean Coulthard (below) at the 2017 International Double Reed Society conference at Lawrence University  in Appleton, Wis.

Charles Hamann, the principal oboist of the National Arts Centre Orchestra in Ottawa, edited and recorded it as part of a large project to bring international attention to masterpieces by Canadian composers.

Andre Myers (below) attended the University of Michigan with me and we first became acquainted when I performed one of his orchestral works. His beautiful writing for English horn started our friendship and 15 years later, he wrote his Soliloquies for me.

The first two are based on famous scenes from Shakespeare’s “Hamlet.” The third is based on a poem by Minnesota’s first poet laureate, Robert Bly, which will be read aloud from the stage. The final movement is inspired by a dream vision he had of centaurs playing in a meadow.

“After Manchester” was originally a free improvisation I recorded and posted to social media in the wake of the terror attack at Ariana Grande’s concert on June 4, 2017.

Later in the summer, Professor Michael Slon (below), the Director of Choral Activities at the University of Virginia, transcribed my improvisation and wrote a piano part to transform it into a piece of chamber music. The work was completed just days before the violent events in Charlottesville.

Professor Alyssa Morris (below) currently teaches oboe at Kansas State University and her compositions have become widely performed as standard literature for oboists in recent years.

She wrote “Four Personalities” to perform in her own undergraduate recital at Brigham Young University and I first heard it while searching for oboe music on YouTube. The piece is based on the Hartmann Personality Test.

In her words, the colors correspond to the following types:

Yellow: Yellow is fun-loving. The joy that comes from doing something just for the sake of doing it is what motivates and drives yellow.

White: White is a peacekeeper. White is kind, adaptable, and a good listener. Though motivated by peace, white struggles with indecisiveness. 

Blue: Blue brings great gifts of service, loyalty, sincerity, and thoughtfulness. Intimacy, creating relationships, and having purpose is what motivates and drives blue.

Red: Motivated by power. Red is aggressive and assertive. Red is visionary, confident, and proactive. 


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