The Well-Tempered Ear

Classical music: This Friday night, horn player Dafydd Bevil performs a FREE recital of music by concert-hall composers who also wrote film scores

September 19, 2018
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By Jacob Stockinger

Attention, brass fans!

This coming night Friday, Sept. 21, at 7:30 p.m., horn player Dafydd Bevil (below) will perform a FREE recital at the First Unitarian Society of Madison, 900 University Bay Drive, in Madison.

The program features the music of composers equally adept at creating music for the concert hall or the big screen.

The program includes Fantasy for Solo Horn by Malcom Arnold; Castel del Monte by Nino Rota; Romance by Camille Saint-Saens; Elegy for Mippy I by Leonard Bernstein (heard in the YouTube video at the bottom); and the Horn Concerto by John Williams. UW-Madison graduate piano student Satoko Hayami (below) will collaborate with Bevil.

Bevil is in the process of recording an album of original works for horn written by film composers, which will be released in the spring of 2019.

While pursuing his doctoral degree at the University of Wisconsin-Madison’s Mead Witter School of Music, Bevil is currently an Associate Lecturer of Horn at UW-Whitewater; the brass section coach of the Wisconsin Youth Symphony Orchestras; and a freelance performer throughout the upper Midwest.

For further information about the performer, go to his website at: www.dafyddbevil.com.

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Classical music: Do you hear “On, Wisconsin” in this piece of classical music? Do you know of others?

September 8, 2018
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ALERT: In the era of #MeToo and #Time’sUp, it is hard to think of a better and more appropriate program than the FREE all-female concert at the UW on Sunday afternoon at 3 p.m. in Mills Hall.

That’s when the acclaimed UW faculty violinist Soh-Hyun Park Altino (below) and guest pianist Jeannie Yu will perform works by Amy Beach, Cecile Chaminade, Rebecca Clarke and Lili Boulanger. Sorry, but The Ear can find no mention of specific works on the program.

For more background and biographical information about the performers, go to: https://www.music.wisc.edu/event/faculty-recital-soh-hyun-altino-violin/

By Jacob Stockinger

There he was.

On an ordinary afternoon, The Ear was just sitting at home listening to Wisconsin Public Radio.

On came the rarely heard Sonata for Clarinet by the French composer Camille Saint-Saens (below). It is a late work, Op. 167, written in 1921 and rarely performed.

And right away: BAM!!!

The neglected work sounded familiar.

That’s because the opening theme sure sounds like the University of Wisconsin-Madison’s fight song “On, Wisconsin!” which, with modified lyrics, is also the official state song of Wisconsin.

You can hear the familiar tune in the unfamiliar work’s first movement in the YouTube video at the bottom.

Is its appearance by accident or chance?

Is it a deliberate borrowing?

Today seems like an ideal day for asking the question, listening to the music and then deciding because it is a football Saturday. (The New Mexico Lobos and the Wisconsin Badgers will fight it out starting at 11 a.m. in Camp Randall Stadium (below, in a photo by Jeff Miller for the UW-Madison). It will be televised on BTN or the Big Ten Network).

Maybe history can help answer the question.

Here is the Wikipedia entry for “On, Wisconsin” with the history and lyrics of the song that was composed in 1909 — 11 years before the Saint-Saens clarinet sonata.

https://en.wikipedia.org/wiki/On,_Wisconsin!

The Ear could swear he has heard the same theme in other classical works, maybe even one by Mozart. But he can’t recall the name of that work or others.

Can you?

If you can, please leave the name of the composer and work, with a link to a YouTube video if possible, in the cOMMENT section.

The Ear wants to hear.


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
13 Comments

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: This weekend kicks off the 27th annual summer season of Bach Dancing and Dynamite Society concerts with the theme of musical works as toys to be “played” with for serious fun

June 7, 2018
2 Comments

By Jacob Stockinger

Four performances on this coming Friday night, Saturday night, Sunday afternoon and Sunday night will open the 27th annual summer concert series of the critically acclaimed but always informal and light-hearted Madison-based Bach Dancing and Dynamite Society (below and in the YouTube video at the bottom).

There will be six programs in 12 concerts performed in three venues over the next three weekends.

The venues are: The Playhouse in the Overture Center (below top) at 7:30 p.m.; the Stoughton Opera House (below middle) at 7:30 p.m.; and the Hillside Theater (below bottom) at Taliesin, the Frank Lloyd Wright compound in Spring Green, at 2:30 and 6:30 p.m.

Ticket prices are $43, or $48 if you want a prime seat at the Overture Center. For more information, go to: http://bachdancing.org/tickets/season-tickets/

This opening weekend features a lot of flute music and a lot of string music plus some unusual arrangements or transcription and music by unknown women composers.

As usual, BDDS has lined up a series of impressive local talent as well as favorite guest performers, including the critically acclaimed soprano Emily Birsan (below top) and bass-baritone Timothy Jones (below bottom).

Also on the schedule is a Madison-based hip-hop dancer and choreographer, Blake Washington (below), for two pieces during the second weekend: Igor Stravinsky’s “The Soldier’s Tale” and Francis Poulenc’s “The Masked Ball.” In addition, four players from the BDDS Dynamite Factory – the apprentice school of BDDS for emerging performers – will take part.

Again, as always, there is a unifying theme to the season. This year it is “Toy Stories,” playing off the idea of “playing” pieces of chamber music.

Here is a background and overview story that appeared this week in The Wisconsin State Journal: http://host.madison.com/wsj/entertainment/music/bach-dancing-and-dynamite-gets-playful-with-toy-stories/article_918d38c4-1eba-5196-822e-2b2616eddb75.html

Here is an explanation from UW-Madison graduate and San Francisco-based teacher and pianist Jeffrey Sykes (below left), who co-founded, co-directs and performs in the series with retired UW-Madison and Madison Symphony Orchestra principal flutist Stephanie Jutt (below right):

“When we were kids, we would ride our hobby horses around the back yard pretending to be knights on a quest. We’d race our Slinkies down the stairs, cheering their contorted yet gymnastic moves. We made crazy cyborgs with our Mr. and Mrs. Potato Heads. The cyborgs would fight for world domination, and then they’d sit down to tea with our dolls. We cuddled our stuffed animals as we prepared for bed, confessing our deepest dreams and aspirations to them. How easily those toys sparked our imaginations and transported us to fantastic realms!

“I’m a grownup now, sort of, and while I might get a short-lived bang out of newfangled tech toys, I’ve mostly left behind the dolls, bears and rubber ducks (below) of my childhood. The “toys” that really light my fire are incredible pieces of chamber music that have their own personalities; that delight me, surprise me, cry with me, and laugh with me.

CHAMBER

“Performing chamber music is called “playing” for a good reason. Ask any artist who joins BDDS for our festival: chamber music is a magical way to recapture the spirit of imaginative play that came to us so easily as kids.

“We cherish favorite old toys — the great chamber works of Bach, Mozart, and Brahms, for example. Yet we can also delight in the new toys that come our way — the music of Gabriela Lena Frank (below top), Paul Wiancko (below middle) and Kevin Puts (below bottom).

“Whether these new playthings become favorite old friends, who’s to say? One thing’s for sure, we’ll never know unless we play with them.

“BDDS’s 27th season theme is TOY STORIES, and co-artistic director Stephanie Jutt and I have organized each of our programs around a quirky take on iconic toys.

“To celebrate the festival’s age, we’ve also scattered various “27s” across our programs. In the spirit of imaginative play, rather than spell ing everything out, here are some clues to what you’ll hear this June.

TEDDY TALKS. Just change the motto “ideas worth spreading” to “music worth hearing” and you have our modus operandi. In this case, we have all sorts of Teddies talking to us through their music: I wonder what they’ll say.

AMERICAN GIRLS. Proud and multi-ethnic, they have been coming on strong as composers for a hundred years, and here’s the proof!

PLAY DO(H). C Major is the most malleable of keys.

GI JOE. War is no game, but it has inspired some seriously imaginative music.

RUBBER DUCKY, YOU’RE THE ONE. Sesame Street’s beloved Ernie adored his bath toy: see who else jumps into the tub.

TRANSFORMERS. I’m amazed how a couple of twists and turns can transform a few unassuming blocks into something breathtakingly complex.

“Join us June 8-24 for TOY STORIES in Madison, Stoughton, and Spring Green. We’ll play together with some irresistible toys and have ourselves some serious fun.

“With a bang!”

For the schedule of performances, with times and places, go to: http://bachdancing.org

For the full programs, including the many new or neglected composers and works to be performed, go to: http://bachdancing.org/concerts/festival-concerts/

For a complete list of performing and helping personnel, go to:

http://bachdancing.org/concerts/cast-crew/

And for a complete and impressive list of BDDS repertoire throughout the years, listed in alphabetical order by the composer’s last name, go to:

http://bachdancing.org/about/repertoire-through-the-seasons/


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Classical music: Is Royal Wedding cellist Sheku Kanneh-Mason the next Yo-Yo Ma?

May 22, 2018
5 Comments

By Jacob Stockinger

If you watched the Royal Wedding of Prince Harry and American Meghan Markle – who are now known as the Duke and Duchess of Sussex – you were probably impressed by many things.

Not the least of them was the performance by the young Afro-British cellist Sheku Kanneh-Mason, who performed three pieces: “After a Dream” by Gabriel Faure; “Ave Maria” by Franz Schubert; and “Sicilienne” (an ancient dance step) by Maria Theresia von Paradis.

The young player acquitted himself just fine, despite the pressure of the event, with its avid public interest in the United Kingdom and a worldwide TV viewership of 2 billion.

But that is to be expected. He is no ordinary teenage cellist. Now 19, he was named BBC Young Musician of the Year in 2016 — the first black musician of African background to be awarded the honor since it started in 1938. A native of Nottingham, even as he pursues a busy concert and recording schedule, he continues his studies at the Royal Academy of Music in London.

So it was with great anticipation that The Ear listened to “Inspiration,” Kanneh-Mason’s new recording from Decca Records, which is already a bestseller on Amazon.com and elsewhere, and has topped the U.S. pop charts. (There are also many performances by him on YouTube.)

Unfortunately, The Ear was disappointed by the mixed results.

The cellist’s playing is certainly impressive for its technique and tone. But in every piece, he is joined by the City of Birmingham Orchestra or its cello section. The collaboration works exceptionally well with the Cello Concerto No. 1 by Dmitri Shostakovich. 

However, so many of the other works seem too orchestrated and overly arranged. So much of the music becomes thick and muddy, just too stringy. The Ear wanted to hear more of the young cellist and less of the backup band.

One also has to wonder if the recording benefits from being a mixed album with a program so full of crossovers, perhaps for commercial reasons and perhaps to reach a young audience. There is a klezmer piece, “Evening of the Roses” as well as a reggae piece, “No Woman, No Cry” by Bob Marley and the famous song “Hallelujah” by Leonard Cohen.

In addition, there are the familiar “The Swan” from “The Carnival of the Animals” by Camille Saint-Saens and two pieces by the inspiring cellist referred to in the title of the recording, Pablo (or Pau in Catalan) Casals (below).

A great humanist and champion of democracy who spent most of his career in exile from dictator Franco’s Spain, Casals used the solo “The Birds” as a signature encore. Played solo, it is a poignant piece — just as Yo-Yo Ma played it as an encore at the BBC Proms, which is also on YouTube). But here it simply loses its simplicity and seems overwhelmed.

Clearly, Sheku Kanneh-Mason is a musician of great accomplishment and even greater promise who couldn’t have wished for better publicity to launch a big career than he received from the royal wedding. He handles celebrity well and seems a star in the making, possibly even the next Yo-Yo Ma, who has also done his share of film scores and pop transcriptions

But when it comes to the recording studio, a smaller scale would be better. Sometimes less is more, and this is one of those times. (Listen to his beautiful solo playing and his comments in the YouTube video at the bottom.)

To take the full measure of his musicianship, The Ear is anxious to hear Kanneh-Mason in solo suites by Johann Sebastian Bach and concertos by Antonio Vivaldi; in sonatas by Ludwig van Beethoven, Franz Schubert and Johannes Brahms; in concertos by Antonin Dvorak and Edward Elgar; and in much more standard repertory that allows comparison and is less gimmicky.

Did you hear Sheku Kanneh-Mason’s live performance at the royal wedding? What did you think?

And if you have heard his latest recording, what do you think of that?

Do you think Sheku Kanne-Mason is the next Yo-Yo Ma?

The Ear wants to hear.


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Classical music: Here are the Final Forte results. Plus, new and modern music is in the spotlight at two FREE concerts and a master class today and Friday at the UW-Madison

March 15, 2018
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ALERT: If you missed seeing the “Final Forte” concert broadcast live last night on Wisconsin Public Television and Wisconsin Public Radio, the results of the Madison Symphony Orchestra‘s concerto competition for high school students are: First Prize and a $2,000 scholarship to violinist Hannah White; Second Prize and a $2,000 scholarship to pianist Jessica Jiang; and Honorable Mentions ($1,000 scholarship for each) to violinist Isabelle Krier and violinist Arianna Brusubardis.

By Jacob Stockinger

If you are a fan of modern and new music, you may want to attend one or more of the three FREE events that are happening TONIGHT and Friday at the University of Wisconsin-Madison’s Mead Witter School of Music.

The first concert is TONIGHT at 7 p.m. in Mills Hall. It features UW bassoonist Marc Vallon and friends. Vallon is a versatile musician who is also a specialist in period performances of Baroque music.

But Vallon (below in a photo by James Gill) also worked with and performed with the pioneering French avant-garde 20th-century composer Pierre Boulez. And that genre of music will be featured on the concert tonight, which is titled “The Musical Domain.”

Unfortunately, The Ear has received no information about composers or pieces on the program. But Vallon is known for his adventurous taste and compelling performances.

On Friday night at 7:30 p.m. in Mills Hall, the guest artists are the new music ensemble Duo Cortona (below), which will perform a varied program of works by contemporary composers.

Those composers and works include “Love Sonnets” – based on texts by William Shakespeare — by UW composer Laura Schwendinger (below). You can sample the Duo Cortona performing Schwendinger’s work in the YouTube video at the bottom.

The unusual makeup of the DUO is string and voice – specifically, violin and mezzo-soprano. The husband-and-wife duo of Ari Streisfeld and Rachel Calloway will give a FREE and PUBLIC master class on contemporary composition before the concert from 4 to 5 p.m. in Mills Hall.

For more background information about Duo Cortona and a link to the complete program, go to:

https://www.music.wisc.edu/event/guest-artists-cortona-duo/


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