By Jacob Stockinger
Here is a special posting, a review written by frequent guest critic and writer for this blog, John W. Barker. Barker (below) is an emeritus professor of Medieval history at the University of Wisconsin-Madison. He also is a well-known classical music critic who writes for Isthmus and the American Record Guide, and who hosts an early music show once a month on Sunday morning on WORT-FM 89.9. For years, he served on the Board of Advisors for the Madison Early Music Festival and frequently gives pre-concert lectures in Madison.
By John W. Barker
The Wisconsin Baroque Ensemble offered its latest specimen of intimate Baroque chamber music at St. Andrew’s Episcopal Church on Regent Street last Sunday afternoon.
As always, each of the performers—six in this case—had one or two opportunities as soloist.
Mezzo-soprano Consuelo Sañudo (below), for instance, was featured in two solo cantatas.
One, by Giovanni Bononcini was on conventional emotional themes.
But the other was a real curiosity. By the French composer Louis-Nicolas Clérambault, it was written for the Nativity season, and has been given a French title as “Hymn of the Angels.” But its text was no more or less than the Latin words of the Gloria section of the Mass Ordinary.
A new member in the group, recorder player Sigrun Paust (below), delivered the Sonata No. 1 from a 1716 collection of works written by Francesco Veracini alternatively for violin or flute.
For flutist Monica Steger (below) the vehicle was a Sonata Op. 91, No. 2, for Flute and Harpsichord duo, by Joseph Bodin de Boismortier.
The spotlight was on viola da gambist Eric Miller (below) in another duo with harpsichord, no less than the Sonata in D Major, BWV 1028, by Johann Sebastian Bach, but Miller also participated in continuo functions elsewhere. (You can hear the Bach sonata in the YouTube video at the bottom.)
Likewise active in continuo work was viola da gambist Anton TenWolde (below), but he had one solo, a Capriccio for cello, by Joseph Ferdinand Dall’Abaco.
And the harpsichordist Max Yount (below), also involved in continuo roles, presented two contrasting keyboard pieces, a Toccata by Jan Pieterszoon Sweelinck and a Fantasie by Johann Jakob Froberger.
For a colorful finale, Paust and Miller joined TenWolde and Steger (on harpsichord) in a Trio Sonata in F by Georg Philipp Telemann.
The artistry of these performers (below) was fully up to their own high standards, and their delight in trading off assignments to play together is palpable.
St. Andrew’s Church (below) on Regent Street may have been a bit bigger than a Baroque salon or parlor, but still served well as a setting for this kind of amiable gentility in musical substance.
The group’s next Madison concert is at St. Andrew’s on Sunday, Feb. 12, 2017. No program has been announced.
By Jacob Stockinger
Grace Presents, now entering its seventh year offering FREE public concerts at Grace Episcopal Church (below), located at 116 West Washington Avenue on the Capitol Square, will host resident organist Mark Brampton Smith with violinist Maureen McCarty on this Saturday, Nov. 19.
The concert begins at noon and ends at 1 p.m. Audience members are invited to bring their lunch.
The program — an asterisk indicates that both the violin and organ will play — includes:
Psalm 19: “The Heavens Declare the Glory of God” by Benedetto Marcello (1686-1739)
Partita on “Werde munter, mein Gemüte” (Sing not yet, my soul, to slumber) by Johann Pachelbel (1653-1706)
*”Ornament of Grace” by Bernard Wayne Sanders (b. 1957)
Variations on ‘Cwm Rhondda’ by Mark Brampton Smith (b. 1954) Introduction – Allegro – Duo – Reflection – Finale
*Meditation from “Thaïs” by Jules Massenet (1842-1912)
Concerto in a minor, after Vivaldi (BWV 593) – Johann Sebastian Bach Allegro
Toccata and Fugue in d minor (BWV 565) – Johann Sebastian Bach
The final concert of 2016 will feature the widely renowned Russian Folk Orchestra on Dec. 10.
Mark Brampton Smith Biography:
Mark Brampton Smith (below) serves as the current organist at Grace Episcopal Church. Mark began his church music career as a boy soprano at St. Paul’s Parish on K Street in Washington, D.C., eventually serving on the music staff of churches in seven states. He holds degrees in organ performance from the Eastman School of Music and the University of Michigan.
As an organist, Mark won prizes in the Fort Wayne, Ann Arbor, and American Guild of Organists National Competitions, and he’s performed solo recitals at venues such as Overture Hall. As a collaborative pianist, Mark has worked with numerous singers, instrumentalists, and ensembles, including the Ann Arbor Cantata Singers, University of Michigan choirs, Colgate University Chorus, and currently the Wisconsin Chamber Choir.
Maureen McCarty Biography:
Maureen McCarty (below) began the violin in the Madison public schools, and played in the Wisconsin Youth Symphony Orchestras for many years. She received a BA in violin performance from the University of Wisconsin-Madison.
While working on her degree, she performed as a musician with American Players Theatre for five seasons. She has extensive orchestral experience playing in such local ensembles as the Madison Symphony Orchestra and Wisconsin Chamber Orchestra, as well as various orchestras in five Midwestern states, the Barcelona City Orchestra and the Orquesta Filarmónica de Gran Canaria in Spain.
Maureen returned to UW-Madison for a teaching certificate in music education in 1999, and taught strings and general music for students in grades 3-12 in Monona Grove during her fifteen years in the district. Recently retired from public school teaching, she now teaches privately, performs with the Camerata String Quartet, tutors Spanish, and takes photographs for her local newspaper. Formative violin teachers include Eva Szekely, Sharan Leventhal, Thomas Moore and Vartan Manoogian.
For more information, visit www.GracePresents.org