The Well-Tempered Ear

Classical music: Farley’s Salon Piano Series starts a new season this coming Sunday afternoon with the prize-winning Varshavski-Shapiro piano duo. Plus, tonight is your last chance to hear and see the University Opera’s production of Benjamin Britten’s “Albert Herring.”

October 28, 2014
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ALERT: Tonight at 7:30 p.m. in Music Hall on Bascom Hill, is your last chance to hear the University Opera’s production of Benjamin Britten’s comic chamber opera “Albert Herring,” which is based on a short story by the 19th-century French writer Guy de Maupassant. (Below, in a photo by Michael R. Anderson, is a crucial scene.)

Tickets are available at the door. They are $22 for the public, $18 for seniors and $10 for students.

Here is a link with more information:

http://www.music.wisc.edu/events/brittens-albert-herring-3/

And here is a link to a review by John W. Barker of Isthmus. The Ear, who saw the Sunday afternoon performance instead of the opening on Friday night, agrees with Barker on the major points:

http://www.isthmus.com/daily/article.php?article=43859&sid=bd26396e522b7c37c6f143f5598af822

University Opera Albert Herring Michael R. Anderson

By Jacob Stockinger

Farley’s House of Pianos will host five concerts in the Salon Piano Series’ 2014-15 season, which starts this coming Sunday:

The Varshavski-Shapiro Piano Duo (below), this Sunday, November 2, at 4 p.m., in music by Schubert, Ravel, Milhaud, Saint-Saens and Poulenc.

varshavski shapiro duet

Pianist Ilya Yakushev (below), Sunday, January 25, 2015, at 4 p.m. in music by Beethoven, Prokofiev and Schumann.

ilya yakushev 3

Pianist Marco Grieco (below), Friday, March 13, 2015 at 7:30 p.m. in music by Johann Sebatsian Bach-Feruccio Busoni, Beethoven, Chopin and Liszt.

marco grieco

Pianist Martin Kasík (below), Saturday, April 18, 2015, at 7:30 p.m. in music by Beethoven, Ravel and Prokofiev.

martin kasik

A spring jazz concert, still to be announced

These concerts constitute the second season of the Salon Piano Series, a 501(c)(3) non-profit founded by Tim and Renée Farley to continue the tradition of intimate salon concerts at Farley’s House of Pianos.

The setting replicates that experienced by audiences throughout the 18th and 19th centuries, and enhances collaboration between performer and audience.

The Series offers audiences the chance to hear upcoming and well-known artists whose inspiring performances are enhanced by the setting and the fine pianos. Some performances are preceded by free lectures. An artists’ reception with light food and beverages follows each concert and is included in the ticket price.

VARSHAVSKI AND SHAPIRO

Here is more about the opening concert:

The program features: “Variations on a French Song”, D. 624, one piano-four hands, by Franz Schubert; “La Valse” for one piano-four hands by Maurice Ravel; the exciting and lyrical Brazil-inspired “Scaramouche” suite by Darius Milhaud (heard at the bottom played by piano superstars Martha Argerich and Evgeny Kissin in a YouTube video); “Variation on a Theme by Beethoven” for two pianos by Camille Saint-Saens; and the Sonata for Two Pianos by Francis Poulenc.

Ukrainian Stanislava Varshavski and Russian Diana Shapiro’s partnership began in 1998, while the two were students at the Jerusalem Rubin Academy in Israel. One year later, they won first prize at the International Piano Duo Competition in Bialystok, Poland.

Stanislava Varshavski-Diana Shapiro

Since then, the ensemble has participated in international festivals and performed solo recitals in at least eight different countries, and has appeared with a number of well-known orchestras, such as the Jerusalem Symphony Orchestra, Warsaw Philharmonic Orchestra, and the New World Symphony Orchestra of Miami.

In 2005, they placed first in the prestigious Murray Dranoff International Two Piano Competition. Varshavski and Shapiro both hold doctorates in Musical Arts from University of Wisconsin-Madison School of Music, where they studied under Martha Fischer. The duo appeared together at Farley’s in 2012 when they premiered the Villa Louis Steinway Centennial grand (below) that was rebuilt in the Farley workshop. Learn more about the Varshavski-Shapiro Piano Duo at www.piano-4-hands.com.

Farley 1877 piano

SALON PIANO SERIES

Visit http://salonpianoseries.org/concerts.html for complete concert programs, and artist information. Tickets are $35 for each concert and can be purchased online at www.brownpapertickets.com

Tickets are also available at Farley’s House of Pianos and Orange Tree Imports.

Farley’s House of Pianos is located at 6522 Seybold Road on Madison’s far west side near the Beltline and West Towne. Plenty of free parking is available at Farley’s House of Pianos, and it is easy to reach by bicycle or Madison Metro.

 

 


Classic music: Today is World Cup Sunday. As Argentina and Germany battle to win the soccer championship, here is another installment of the music by the great Brazilian composer Heitor Villa-Lobos.

July 13, 2014
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By Jacob Stockinger

As loyal blog readers already know, The Ear has been using the FIFA World Cup (below) competition in soccer — or football, as the rest of the globe knows the sport – as a fine occasion to explore and to hear the music of Brazilian composer Heitor Villa-Lobos.

World Cup 2014 playing

After all, the World Cup has taken place since June 12 in some dozen stadiums (below) throughout Brazil. And today’s championship match between Argentina and Germany will take place in Rio de Janiero.

World Cup 2014 stadiums

And after hearing the music of Villa-Lobos performed by the Cello Choir at the National Summer Cello Institute (below) at the University of Wisconsin-Madison School of Music, The Ear is more convinced than ever that this great but neglected 20th-century composer deserves a wider hearing and more live performances.

Cello Choir 2014 Bachianas Brasileiras No. 1

Villa-Lobos (below) attempted an ambitious and ingenious task: To reconcile and incorporate the music of Johann Sebastian Bach and concert hall music in general with the folk songs and folk dances of his native Brazil. Before Astor Piazzolla and his “new tangos,” there was Villa-Lobos and his Bachianas Brasileiras and Choros.

Villa-Lobos BW

Here are links to the previous installments:

This is the link to the Cello Choir concert of the annual National Summer Cello Institute that is held each summer at the University of Wisconsin-Madison School of Music and that inspired my Villa-Lobos video postings from YouTube.

https://welltempered.wordpress.com/2014/06/19/classical-music-the-ear-takes-the-cello-cure-at-the-university-of-wisconsin-madison-and-now-cant-wait-for-another-treatment-next-summer/

And here are the links to the first two installments that feature the Bachianas Brasileiras No. 5 and No 1, which both deserve repeated hearings:

https://welltempered.wordpress.com/2014/06/20/classical-music-the-fifa-world-cup-of-soccer-is-a-perfect-time-to-become-acquainted-with-the-astonishing-music-of-brazilian-composer-heitor-villa-lobos/

https://welltempered.wordpress.com/2014/06/28/classical-music-the-united-states-advances-in-the-world-cup-of-soccer-and-the-ear-advances-to-another-great-moment-in-music-by-brazilian-composer-heitor-villa-lobos/

And here is the third installment that featured Brazilian pianist Nelson Freire performing the chorale prelude-type opening of the Bachianas Brasilerias No. 3 for solo piano:

https://welltempered.wordpress.com/2014/07/05/classical-music-more-world-cup-soccer-means-more-music-by-brazilian-composer-heitor-villa-lobos-here-is-installment-no-3/

Villa-Lobos was championed by none other than the great pianist Arthur Rubinstein, who performed his suite “Prole do bebe”:

And his well-known piece “The Little Train From the Caipira,” from “Bachianas Brasileiras” No. 2, which Walt Disney was attracted to for possible use in a second “Fantasia” film and which imitates the sounds of a rural choo-choo, as played by a youth orchestra in Great Britain:

Now here is a link to Installment No. 4: A beautiful movement from one of his 17 string quartets — this one is No. 5 and is available on YouTube. It once again shows the lyrical songfulness and folk music vigor of Villa-Lobos. It is even more beautiful than the perfect soccer kick or dribble, pass or goal, and it is more long-lasting:

 


Classical music: More World Cup soccer this weekend means more music by Brazilian composer Heitor Villa-Lobos. Here is installment No. 3.

July 5, 2014
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By Jacob Stockinger

It is the second-to-last weekend for the FIFA World Cup of soccer -– or football, as the rest of the world calls the sport –- in Brazil, especially now that Brazil has survived by defeating Colombia and that Germany defeated France.

World Cup 2014 playing

As I have said before, for The Ear the famed athletic competition has become a great excuse to explore a composer who is also world-class but whose music is too often overlooked.

I am talking about the 20th-century composer Brazilian composer Heitor Villa-Lobos. So here is another morsel to whet your appetite, to tease you into listening to — and maybe even playing more of –- the music of Villa-Lobos (below).

Villa-Lobos BW

Once again you can hear how he incorporates folk music – folk songs, tunes and dance rhythms – into his concert hall music. In this one you can even hear how he tries to bring in Bach to Brazil. It is neo-Classicism at its best.

At the bottom is the gorgeous first movement from the Bachianas Brasileiras No. 4 for solo piano, as played live by Brazilian native Nelson Freire (seen below with Martha Argerich).

nelsonfreire02

It is slowly and deeply moving, Amazonian Bach that I find is haunting and stays with you, making you want to listen to it again and again. It reminds The Ear of a Chorale Prelude by Johann Sebastian Bach (below), especially the ones reworked in piano transcriptions by Ferruccio Busoni; or maybe a Prelude from The Well-Tempered Clavier or an organ work, perhaps the prelude to a toccata; or maybe even a slow movement from one of the French or English Suites or the Partitas; or one of the variations from the “Goldberg” Variations.

Bach1

Here are links to the Cello Choir concert of the annual Summer National Cello Institute that is held each summer at the University of Wisconsin-Madison School of Music and that gave rise to the Villa-Lobos postings.

https://welltempered.wordpress.com/2014/06/19/classical-music-the-ear-takes-the-cello-cure-at-the-university-of-wisconsin-madison-and-now-cant-wait-for-another-treatment-next-summer/

And here are the links to the first two installments that feature the Bachianas Brasileiras No. 5 and No 1, which both deserve repeated hearings:

https://welltempered.wordpress.com/2014/06/20/classical-music-the-fifa-world-cup-of-soccer-is-a-perfect-time-to-become-acquainted-with-the-astonishing-music-of-brazilian-composer-heitor-villa-lobos/

https://welltempered.wordpress.com/2014/06/28/classical-music-the-united-states-advances-in-the-world-cup-of-soccer-and-the-ear-advances-to-another-great-moment-in-music-by-brazilian-composer-heitor-villa-lobos/

And finally here is the link to the YouTube video with today’s installment of the greatness of Heitor Villa-Lobos music, the neglect of which is yet another sign of how Eurocentric the concert hall programming usually is:

 


Classical music: The United States advances in the World Cup of soccer and The Ear advances to another great moment in music by Brazilian composer Heitor Villa-Lobos.

June 28, 2014
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By Jacob Stockinger

After its one-point loss to Germany, the U.S. soccer team will advance to the knockout round of the  FIFA World Cup, which is being held in Brazil until July 13.

The next game for the U.S. is against Belgium on Tuesday.

Loyal fans of The Ear may recall that a week or so ago he decided the global soccer event being held in Brazil was a good opportunity to explore the music of Brazilian composer Heitor Villa-Lobos (below), whose music is beautiful and much too under-programmed and under-played here and elsewhere.

Villa-Lobos BW

Here is a link to the original post that also featured the gorgeous Cantilena movement for soprano from the Bachianas Brasileiras No. 5 that has been recorded by folk singer Joan Baez as well as opera divas Kiri Te Kanawa, Barbara Hendricks, Victoria de los Angeles and Kathleen Battle.

https://welltempered.wordpress.com/2014/06/20/classical-music-the-fifa-world-cup-of-soccer-is-a-perfect-time-to-become-acquainted-with-the-astonishing-music-of-brazilian-composer-heitor-villa-lobos/

Here is another great moment in Villa-Lobos that I heard at the Cello Choir concert by the National Summer Cello Institute that was held this month at the University of Wisconsin-Madison School of Music.

This moment comes from the Bachianas Brasileiras No. 1 in a YouTube video below. It is the third movement, the finale, that happens in fugal form and again shows how Heitor Villa-Lobos tried to adapt the compositional techniques of Johann Sebastian Bach to the folk music and native dance rhythms of Brazil. That was an ambitious project, to be sure, and one in which The Ear thinks the composer was surprisingly successful.

Enjoy as you prepare to root for Team U.S.A.


Classical music: The FIFA World Cup of soccer is a perfect time to become acquainted with the astonishing music of Brazilian composer Heitor Villa-Lobos.

June 20, 2014
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By Jacob Stockinger

Go ahead. Forget the scores.

I know, I know.

In the 2014 World Cup of championship soccer (below), this week the U.S. beat the odds-makers and won against favored Ghana while Spain disappointed the odds-makers when it lost to underdog Chile.

World Cup 2014 playing

Nonetheless, The Ear is no jock.

But he knows a lot of people here and around the world will spend this weekend watching the competition.

So he got to wondering.

What would be good classical music to post in honor of the World Cup soccer championships that are taking place in Rio de Janeiro and many other stadiums (below) throughout Brazil between June 12 and July 13?

World Cup 2014 stadiums

And then last Saturday I went to the Cello Choir concert (below), a free concert given by the “the National Summer Cello Institute at the University of Wisconsin-Madison School of Music, and BAM!!! there was the answer.

Here is a link to the positive review I did of the concert:

https://welltempered.wordpress.com/2014/06/19/classical-music-the-ear-takes-the-cello-cure-at-the-university-of-wisconsin-madison-and-now-cant-wait-for-another-treatment-next-summer/

Cello Choir 2014 Bachianas Brasileiras No. 1

It was there that I heard two totally absorbing works by the 20th-century Brazilian composer, Heitor Villa-Lobos.

Villa-Lobos (below) was a very prolific composer, writing over 2,000 works in his lifetime (1887-1959). Given such productivity it is not surprising that some works seems second-rate. What is more amazing is how many seem so memorable and so first-rate.

Boy, did that man ever have a sense of melodic line, of poignant harmonies, of contagious and fiery Latin African rhythms. His music seems as robust and straightforward as the portraits that show the beefy composer chomping away on big cigars.

The Ear suspects that Villa-Lobos would have been a lot of fun to know and pal around with. He seems as outsized and rich in natural resources as his native country.

Villa-Lobos BW

And so does his body of work.

So why isn’t Villa-Lobos better known and more often performed outside his native country? I can’t think of the last time a work of his was performed by the Madison Symphony Orchestra, by the Wisconsin Chamber Orchestra or by pianists and chamber music groups at the University of Wisconsin-Madison School of Music. Maybe some readers can.

And Villa-Lobos used his native land to inform his work and the effect can be enthralling and even magical. He is a sure remedy to Eurocentric programming, and especially with a growing Hispanic population. (I know: Portuguese, not Spanish, is the colonial culture and language of Brazil. But still.)

Anyway, there I was, sitting in Mills Hall and listening to two outstanding works performed by the choir of 16 cellos and one soprano in works designed to “Brazilian-ize” Johann Sebastian Bach and update his Baroque musical style -– which I think they succeed in doing. Bach goes ethnic!

The first work was the famous Bachianas Brasileiras No. 5 –- with its soaring aria-like Cantilena that has been recorded by great singers from folksinger Joan Baez (below top) to opera divas such as Victoria de Los Angeles, Anna Moffo (below bottom), Kiri Te Kanawa, Kathleen Battle and Barbara Hendricks.

Joan Baez

anna moffo

The performance that I heard live featured the UW-Madison soprano Anna Whiteway, who was absolutely exquisite. She had fabulous pitch, big volume, smooth vibrato, great diction and lovely tone. She was superb, and the cellists and conductor thought so too.

Cello Choir 2014 Anna Whiteway

Then there was the less famous Bachianas Brasileiras No. 1, which included a gorgeous second movement and fabulous fugal finale.

So below is a sample from YouTube, where you can find quite a lot of quality performances of music by Villa-Lobos.

And I think that during the month-long World Cup play in Brazil, we can’t do better than to listen to other samples of beautiful music by this prolific composer who seems to The Ear way, way underplayed and under-appreciated.

Personally, these days The Ear is checking out the Bachianas Brasileiras, the Choros and the chamber music, especially the cello sonatas and the string quartets.

But there is also much more in the way of piano music, guitar music and vocal music.

So from now to the end of the World Cup, I will periodically offer examples of music by Villa-Lobos.

And what do you think of Villa-Lobos?

Do you have a favorite piece that others should listen to?

The Ear wants to hear.


Classical music education: The Ear takes the “Cello Cure” at the University of Wisconsin-Madison and now can’t wait for another “treatment” next summer.

June 19, 2014
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By Jacob Stockinger

Last Saturday night, for the first time ever, I went to the free public concert put on every June by the National Summer Cello Institute, which takes place each summer at the University of Wisconsin-Madison School of Music.

Cello Choir 2014 with Uri Vardi

The NSCI is under the direction of University of Wisocnsin-Madison cello professor Uri Vardi (below top) and his wife Hagit Vardi (below body), who works with the UW-Madison Institute of Integrative Medicine and emphasizes the use of the Feldenkrais Method to help performers in workshops called, fittingly, “You Body is Your Strad.”

Uri Vardi with cello COLOR

hagitvardistretching artm

Here is a link to a previous post about the cello institute, with still other links to even earlier stories:

https://welltempered.wordpress.com/2014/06/11/classical-music-a-free-cello-choir-concert-will-take-place-this-saturday-night-at-the-university-of-wisconsin-madison-it-features-new-music-and-works-by-villa-lobos-poulenc-j-s-bach-cesar-frank/

The event proved so thoroughly enjoyable and so deeply pleasurable, and put me in such a great mood and frame of mind, that a close friend referred to the experience as the “Cello Cure.”

I won’t argue because it sure did feel curative.

But then I find that experiencing great beauty often feels that way.

One came away from the concert -– which included a cello choir of 16 undergraduate, graduate and professional cellists, selected by audition, from around the nation and perhaps even the world –- completely understanding why the cello, with its human voice-like singing tone, is the favorite instrument of so many listeners. (For The Ear, the cello ranks right up there, just below the piano and alongside the violin and the oboe.)

Cello and bow

One thing The Ear liked was the lack of purism. Enjoyment was the goal of the evening, and so the program featured some simply gorgeous isolated single movements from sonatas and concertos, and NOT the entire pieces. The Great Hits format worked exceptionally well. And so was featuring soloists, and not just ensembles, for the first time.

And on top of all the cellos, The Ear also had two special and bonus experiences: He heard Anna Whiteway, a fabulously talented undergraduate soprano at the UW-Madison, and he heard what sounds like an eminently listenable contemporary composer, Kyle Price, who will be attending the UW-Madison for a graduate degree.

So here are the highlights with photos and not a lot of commentary except to say I found excellence from everyone and disappointment from no one.

The concert opened up with UW-Madison conductor James Smith (below right) leading the famous “Bachianas Brasileiras” No. 5, with its soaring and lyrical soprano aria or wordless vocalise, by Brazilian composer Heitor Villa-Lobos. In it and the other similar suites, the composer attempted to adapt and update the musical style of Johann Sebastian Bach to his native country’s indigenous folk melodies and dance rhythms.

Cello Choir 2014 Jim Smith

Here are members of the cello choir, which wouldn’t fit well in a single photo.

Cello Choir 20144 left

Cello Choir 2014 right

And here is Anna Whiteway, who got enthusiastic applause from the cellists and the woefully small audience of several dozen listeners. No wonder. She is The Real Deal. She possesses beautiful tone, big volume, pleasant and modest vibrato, excellent diction and a thoroughly confident stage presence:

Cello Choir 2014 Anna Whiteway

Here is Brian Klickman and pianist Claire Mallory in the poignantly moving Cavatina movement from the Cello Sonata by Francis Poulenc.

Cello Choir 2014 Brian Klickman, Claire Mallory piano

Here is that wonderfully tuneful last movement from Cesar Franck‘s Violin Sonata transcribed for cello and played by Cordula Aeschbacher with pianist Claire Mallory:

Cello Choir 2014 Cordula Aeschbacher

Then Aleks Tengesdal played the impressively turbulent first movement of the Cello Concerto No. 1 by Finnish composer Einojuhani Rautavaara, with piano accompaniment.

Cello Choir 2014 Aleks Tengesdal, Claire Mallory piano

Julian Mueller closed out the first half with the gorgeous Andante Cantabile by Peter Ilyich Tchaikovsky, who, it seems, was never at a loss for a beautiful, bittersweet melody. (You can hear it played by superstar cellist Yo-Yo Ma in a YouTube video at the bottom):

Cello Choir 2014 Julian Mueller

The second half opened with seven cellists playing the Recitative and Meditation movements from the young contemporary American composer Kyle Price’s “Requiem in Memory of Connie Barrett.” The Ear found it a very promising and appetizing foretaste of what sounds like a listener-friendly composing style, something too often missing from new music:

Cello Choir 2014 Kyle Price Requiem cellos

Then came back-to-back performances by father and son cellists.

Son Andrew Laven played three movements –- the Bourees 1 and 2 and the Gigue -– from the Suite No. 4 for Solo Cello by Johann Sebastian Bach:

Cello Choir 2014 Andrew Laven

Father Steven Laven, with pianist Christina Lalog, played “The Tears of Jacqueline” by Jacques Offfenbach, a work he said he first heard when it was dedicated to the late great British cellist Jacqueline du Pre. You understand the dedication because the piece is appropriately lyrical in its lament:

Cello Choir 2014 Steven Laven, Christina Lalog piano

And then the concert closed as it opened, with the music of Villa-Lobos. But this was a work The Ear didn’t know, the “Bachianas Brasileiras” No. 1, which has a lovely and soulful slow movement and catchy fugal finale:

Cello Choir 2014 Bachianas Brasileiras No. 1

As an encore, the cello choir demonstrated an improvisational exercise that it used during the two-week workshop. It involves a conductor using unusual and unpredictable hands movements that are unrelated to a particular score or piece of music, and to which the cellists must each respond as they desire or hear is necessary. To The Ear, it sounded a bit like the famous simultaneous, full-orchestra crescendo in the Beatles’ “A Day in the Life” song from “Sgt. Pepper’s Lonely Hearts Club Band” album.

Cello Choir 2014 Improvisation exercise

Uri Vardi graciously thanked the small but very appreciative audience that rose to its feet and added: “See you next year.”

Indeed, he will.

He will almost certainly see The Ear, although I hope the NSCI can find a way to avoid a conflict with a concert on the same night by the popular Bach Dancing and Dynamite Society. Audiences shouldn’t have to choose between two such deserving groups.

And Vardi should also see a full house in Mills Hall.

The Cello Choir concert is that good and that lovely, that beautiful and, yes, that curative.


Classical music: University of Wisconsin-Madison flutist Stephanie Jutt will survey Spanish and Latin American music at her two recitals with pianist Thomas Kasdorf this weekend in Madison and Richland Center. Plus pianist Mark Valenti performs music by Ives, Bach, Beethoven and Debussy for FREE on Friday at noon.

January 30, 2014
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ALERT: Pianist Mark Valenti will perform this Friday at the weekly FREE Noon Musicale in the Landmark Auditorium of the historic First Unitarian Society of Madison, 900 University Bay Drive, from 12:15 to 1 p.m. His program includes: “The Alcotts” movement from the “Concord” Sonata by Charles Ives; Four Preludes and Fugues (three from Book II of the Well-Tempered Clavier) by Johann Sebastian Bach; Sonata No. 30 in E Major, Op. 109, by Ludwig van Beethoven; and “L’Isle Joyeuse” by Claude Debussy.

Mark Valenti

By Jacob Stockinger 

This Saturday night and Sunday afternoon, University of Wisconsin-Madison School of Music flute professor Stephanie Jutt will perform recitals that survey flute masterpieces from Spain and Latin America. 

Jutt (below, in a photo by Paskus Photography) will perform her program for FREE on Saturday at 8 pm. in Mills Recital Hall; and then again on Sunday at 2 p.m. at the Seventh-Day Adventist Church in Richland Center, where it is presented by the Richland Concert Association. The address is: 26625 Crestview Drive, Richland Center. Tickets are $15 for adults, $5 for students and FREE for students with UW-Richland ID.

Stephanie Jutt CR Dick Ainsworth

Jutt — who is also known as the principal flute of the Madison Symphony Orchestra and as the co-founder and co-artistic director of the Madison-based Bach Dancing and Dynamite Society –- has sent the following notes and background.

“I have received a grant from the Wisconsin Alumni Research Foundation (WARF) to record Latin American and Spanish masterpieces for flute and piano. Recording will take place in New York in August of 2014, with Venezuelan pianist Elena Abend and Uruguayan pianist Pablo Zinger. The music was collected and researched during my sabbatical to Argentina in 2010.

“The pianist for my recitals is the impressive Thomas Kasdorf (below), a Middleton native who studied at the UW-Madison with pianists Christopher Taylor and Martha Fischer.

“While at the UW, he won many award and prizes, and was an inaugural member of the Perlman Piano Trio. He has also studied at the University of Michigan-Ann Arbor with Martin Katz and been very active in Madison-area concerts including being a vocal coach for the University Opera and working in dozens of productions of musical theater, especially works by Stephen Sondheim.

“Thomas is the co-director and musical director of the Middleton Players Theatre’s production of “Les Miserables” and has performed a Mozart piano concerto with the Middleton Community Orchestra. He has also performed and appeared on Wisconsin Public Radio.

thomas kasdorf 2:jpg

“The theme of my concert is “Evocaçao” (Evocation), and it features music from Argentina, Brazil and two distinctive ethnic regions of Spain. 

“The program includes works by South Americans: the “the Schubert of the pampas” Carlos Guastavino (below top, 1912-2000), whose popular and beautiful song “The Dove Was Confused” s on the program and can he heard as a song with guitar accompaniment in a YouTube video at the bottom); Heitor Villa-Lobos (below middle, 1887-1959); and the “New Tango” innovator Astor Piazzolla (below bottom, 1921-1992):

Carlos Guastavino

Villa-Lobos BW

astor piazzolla

Also included are the Barcelona Catalan composer Salvador Brotons (b. 1959) and the Basque composer Jesús Guridi (1886-1961).

Salvador Brotons

Jesus Guridi sepia

For more information, here is a link to the UW-Madison School of Music’s website. Click on events calendar and then click on Feb. 1 and the concert by Stephanie Jutt:

http://www.music.wisc.edu/calendar?eventcategory_id=0&ensemble_id=0&faculty_id=0&month=1&year=2014&nextmonth.x=7&nextmonth.y=4&nextmonth=true

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Classical music: “Grace Presents” gets its own new website just in time for its FREE vocal concert of Hugo Wolf’s “Italian Songbook” this Saturday at noon. Plus, Karlos Moser and friends perform FREE Brazilian music at noon on Friday.

October 24, 2013
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ALERT: This week’s FREE Friday Noon Musicale at the First Unitarian Society of Madison,  900 University Bay Drive, features Brazilian Song and Dance with retired University Opera director and pianist Karlos Moser and guests. It runs from 12:15 to 1 p.m. in the Landmark Auditorium (below).

FUS1jake

By Jacob Stockinger

There are quite a few free classical music organizations and concert presenters in Madison.

“Grace Presents” is one of the most up-and-coming. It provides an enjoyable and increasingly well-known a series of FREE and PUBLIC concerts of all kinds of music presented by Grace Episcopal Church (below), which is downtown at 116 West Washington Avenue on the Capitol Square.

grace episcopal church ext

The church itself is a fine place to hold a concert – classical, pop, folk and others. The dark wood and stained glass windows make for a beautiful venue, and the resonant acoustics add to the charm of the music.

MBM Grace stained glass window

MBM Grace cantatas ensemble

When she was appointed the new coordinator this summer, Kelly Hiser (below) , a graduate student at the University of Wisconsin-Madison School of Music, said one of her first priorities was to generate a website for the series.

Kelly Hiser

Now her promise has become a reality – just in time for the FREE vocal concert by soprano Marie McManama and tenor Daniel O’Dea of Hugo Wolf’s “Italian Songbook” this Saturday from noon to 1 p.m. (To what your appetite, an excerpt of alive performance by Lucia Popp and Hermann Prey is at the bottom in a YouTube video.)

The work by Hugo Wolf (below, in a  1902 photo) is a song collection of 46 Italian vignettes translated into German, divided between male and female perspectives. wolf

Hugo Wolf 1902 photo

Writes Hiser: I’m happy to let you know that Grace Presents now has a website, which you can find at http://gracepresents.org/

The concert itself offers sanctuary, a perfect short respite from the crowds and business of the Dane County Farmers’ Market, which will hold its to last market on the Square for this season on Saturday, Nov. 9.

Here is more about the performers, who have local ties, this Saturday.

Originally from St. Louis, Missouri, Marie McManama (below) is an accomplished opera singer and stage performer. Trained in classical voice at CCM in Cincinnati with both Bachelor’s and Masters degrees, McManama has performed in recital halls, concert halls, and operatic stages all over the country with the Madison Choral Project, Cincinnati Opera, St. Louis Symphony, San Francisco Festival Chorus, SongFest in Malibu, California, and the Grand Teton Music Festival in Jackson, Wyoming.

Though her background is in performance, she completed her music education licensure in December 2012 and has been teaching in the Madison area since January. In addition to her singing, she grew up studying violin and ballet and has recently added piano, guitar, and flute to her solo instrument skills. She teaches private voice in Waunakee and elementary general music in Madison.

Marie McManama

Daniel O’Dea (below) is a tenor from Chicago, Illinois. He is currently working towards his Doctor of Musical Arts in Voice at the University of Wisconsin-Madison where he is the recipient of the Paul Collins Wisconsin Distinguished Fellowship. In Madison he has recently performed with Madison Choral Project and the role of Jean Valjean in “Les Mis” with Middleton Players Theater. He has recently performed with the Chicago Lyric Opera Chorus, Chicago Bach Project, Grant Park Symphony Chorus, Chicago Symphony Orchestra, and the Rockford Symphony Orchestra. He has also performed in The Crossing choir in Philadelphia and with VAE Cincinnati.

He received his Artist Diploma in Opera from the University of Cincinnati’s College-Conservatory of Music (CCM), Masters of Music in Voice from CCM and Bachelor’s of Music in Vocal Performance from Westminster Choir College. He was an Apprentice Artist with Des Moines Metro Opera and is an alumnus of the Aspen Opera Theater Center, Brevard Music Center and the Chautauqua Institute.

Daniel O'Dea headshot


Classical music: Fifth Symphonies, like Ninths, can mark a turning point in a composer’s career and in the history of music.

August 23, 2012
5 Comments

ALERT and REMINDER: A new chamber group in the area, the Black Marigold wind quintet (below) performs its second feee concert tomorrow, on Friday, Aug. 24, at 7:30 p.m. in the Grand Hall of Capitol Lakes Retirement Center, 333 W. Main St. For more  informaiton about the performers and the program, go to: http://host.madison.com/calendar/music/black-marigold-summer-concert-series/event_0b76af2a-e0b3-11e1-9f8f-1777522ac029.html#.UCFecwfQz_A.facebook

By Jacob Stockinger

Most classical music fans know about the so-called Curse of Beethoven’s Ninth, which seems to have intimidated many composers who cam later and kept them from completing more than nine symphonies. (A small number compared to Haydn’s 104 and Mozart’s 41, no?)

But Fifth Symphonies also mark a sea change in a composer’s career and inspire a certain kind of awe and legend, also going back to Beethoven (below).

Baltimore Symphony Orchestra conductor Marin Alsop (below), who has recorded for Naxos Prokofiev’s Fifth Symphony with her new additional orchestra, the Sao Paulo Symphony Orchestra in Brazil. She discussed Fifth Symphonies with NPR’s Scott Simon.

It is an illuminating talk with great audio clips that help her explain the music. Here is a link:

http://www.npr.org/blogs/deceptivecadence/2012/07/21/157113606/a-grand-soviet-symphony-by-way-of-brazil

Curiously, my favorite fifth symphony – after Beethoven’s Fifth, that is – was never even mentioned: Sibelius’ Fifth Symphony, with its great final movement featuring brass and strings plus an unbeatably dramatic finale punctuated by silence (at bottom).

I also don’t recall hearing them talk about Tchaikovsky’s Fifth, which is also a great one, though Shostakovich’s great Fifth Symphony gets a nod.

Do you have favorite Fifth Symphony?

Let The Ear know what it is.


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