The Well-Tempered Ear

Classical music: From Big 10 oboe music to Big Beethoven sonatas to a maestro’s final bow, this is a varied and busy week at the UW for faculty, guest artists and students

April 4, 2017
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By Jacob Stockinger

The Ear doesn’t see a unifying theme to this week’s events at the University of Wisconsin-Madison Mead Witter School of Music. But there is a lot of varied and appealing music and events — by acclaimed faculty members, guest performers and prize-winning students — on tap.

All concerts are FREE and OPEN TO THE PUBLIC.

Here is the lineup by day:

TODAY

At 7:30 p.m. in Mills Hall, oboist Aaron Hill (below) will give a recital featuring “Oboe Music From the Big 10.” The program includes works by three contemporary composers: Theresa Martin, Teddy Niedermaier and Daniel Black. Also performing are his UW colleagues bassoonist Marc Vallon and pianist Christopher Taylor.

For more information about the performers, the composers and the music, go to:

http://www.music.wisc.edu/event/oboist-aaron-hill-faculty-concert/

WEDNESDAY

From 11:30 to 1:30 in Music Hall, guest conductor Gary Thor Wedow (below), who will conduct the Madison Opera’s upcoming production of “The Magic Flute” by Wolfgang Amadeus Mozart, will give a public master class. Singers from the University Opera and the UW opera program will be featured.

For more information, go to:

http://www.music.wisc.edu/event/master-class-gary-thor-wedow/

At 7:30 in Mills Hall, clarinetist Amy McCann (below) will perform a recital featuring two works: the Sonata for Clarinet and Piano by Argentinean composer Carlos Guastavino; and the Clarinet Trio by Johannes Brahms. Pianist Martha Fischer and pianist Parry Karp will perform with McCann.

SATURDAY

At 3:30 p.m. in Morphy Recital Hall, the all-student Perlman Trio will perform its annual recital.

The program includes the Piano Trio in D Major, Hob. XV/7 by Franz Joseph Haydn; the Piano Trio N. 4 in E Minor (“Dumky”), Op. 90, by Antonin Dvorak; and the Piano Trio No. 2 in C Major, Op. 87, by Johannes Brahms.

Members of the Perlman Trio, which is funded by a gift from Dr. Kato Perlman, are (below, from left, in a photo by Katherine Esposito): cellist Michael Cheng, pianist Chan Mi Jean and violinist Adam Dorn.

For more information about the performers, go to:

http://www.music.wisc.edu/event/the-perlman-trio-annual-recital/

SUNDAY

At 3:30 in Morphy Recital Hall, the winners of the 32nd annual Beethoven Sonata Competition will perform. The program is: Kangwoo Jin playing the Sonata in C Major, Op. 53 (“Waldstein”); Leah Kang playing the Sonata in E Major, Op. 109; and Alberto Peña-Cortes playing the Sonata in A Major, Op. 101.

For more information, go to:

http://www.music.wisc.edu/event/32nd-annual-beethoven-piano-competition-winners-recital/

At 7:30 in Mills Hall, the UW Symphony Orchestra will perform its last concert under professor of conducting James Smith (below), who is retiring after 34 years at the UW-Madison.

The program includes the Overture to “Romeo and Juliet” by Peter Tchaikovsky; the Sinfonia Concertante for Violin and Viola by Wolfgang Amadeus Mozart; and the music from “Fancy Free” by Leonard Bernstein.

For more information go to:

http://www.music.wisc.edu/event/uw-symphony-orchestra-6/

UW Chamber Orchestra, James Smith, conductor

For information about the many student degree recitals that were scheduled, go to:

http://www.music.wisc.edu/events/


Classical music: Don’t miss tango weekend at the Bach Dancing and Dynamite Society

June 15, 2016
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By Jacob Stockinger

If there was ever a genre of music created specifically for the talented, eclectic and fun-loving musicians of the Madison-based Bach Dancing and Dynamite Society, it is surely the tango.

It is hard to imagine a more perfect kind of music because it seems so suited to the temperament of the BDDS and its participants. The tango and BDDS simply seem made for each other.

BDDS 25th poster

The sexy and sensual tango has become both a popular and populist form of South American dance music. It started in brothels and then went mainstream. Then it crossed over into the classical repertoire, thanks to composers Astor Piazzolla, Carlos Guastavino and others.

If you have heard the BDDS perform tangos before, you know how captivating the performances are.

This weekend, the BDDS Silver Jubilee season will feature two programs with tangos, arranged by Pablo Zinger (below), a Uruguayan native who now calls New York City home.

Pablo Zinger at piano

Last time they performed, Zinger and his BDDS colleagues were absolutely terrific. The Ear will never forget the BDDS version of Piazzolla’s “Oblivion,” a fantastic, soulful and heart-breaking piece of music. (You can hear another version of “Oblivion” in the YouTube video at the bottom.)

Here are links to the program with tango this weekend to be performed at the Playhouse in the Overture Center and in the Hillside Theatre (below) at Frank Lloyd Wright’s Taliesin compound in Spring Green:

http://www.bachdancinganddynamite.org/schedule.php

taliesin_hillside2

Besides tangos, there will also be music by Maurice Ravel (Piano Trio); Arnold Schoenberg (Chamber Symphony); Franz Schubert (Piano Trio No. 1); Joseph Haydn (Piano Trio No. 25, “Gypsy Rondo”); and movie music by Nino Rota, Henry Mancini and Luis Bacalov.

But featured prominently are tangos by Uruguayan composer Miguel del Aguila (below top) and by Argentine composer Astor Piazzolla (below bottom), who turned to the tango of his native land at the advice of Nadia Boulanger, the famous French teacher of Aaron Copland, Philip Glass and others.

Miguel del Aguila

astor piazzolla

If you are looking for a preview sample, you can of course go on YouTube. But you could also listen to the new CD of South American tangos by BDDS co-founder and co-artistic director Stephanie Jutt, who teaches at the University of Wisconsin-Madison School of Music and who is also principal flute of the Madison Symphony Orchestra.

Not long ago, Jutt (below) spent a sabbatical year in Argentina, if The Ear recalls correctly. She clearly fell in love with tango music and is anxious to share her enthusiasm with others. That enthusiasm and her flair for the dance form show in the terrific performances on the CD.

Stephanie Jutt with flute

The new CD (below), on the Albany label, features pianists Elena Abend and the versatile arranger-pianist Pablo Zinger, whom you can hear live this weekend. It features 20 modern Latin American and Spanish works by Piazzolla and Guastavino as well as by Angel Lasada, the Brazilian composer Heitor Villa-Lobos and the Basque composer Jesus Guridi. (It is on sale at BDDS concerts for $15.)

Stephanie Jutt tango CD

Dance has always inspired classical music. Historically, the tango seems a natural modern progression from the Baroque minuets and allemandes of Johann Sebastian Bach, the Classical landler of Haydn, the Romantic waltzes of Franz Schubert and Frederic Chopin, the Hungarian Dances of Johannes Brahms and the Slavonic Dances of Antonin Dvorak.

But don’t take The Ear’s word for it.

Go listen for yourself. And be captivated, be transported. You won’t be disappointed.


Classical music: A multimedia concert – including poetry, dance, video and photographs — of Latin American and Spanish music will be held this Friday night at 8 in the Promenade Hall of the Overture Center by Bach Dancing and Dynamite Society co-director and flutist Stephanie Jutt and others.

March 17, 2015
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By Jacob Stockinger

Our friends from the always unusual and always first-rate Bach Dancing and Dynamite Society write:

Can’t wait for our summer festival in June? Come to Flautistico!  The multimedia event will be held this Friday, March 20, at 8 p.m. in Promenade Hall at the Overture Center. All tickets are $25.

Flautistico! is a continuation of co-founder and co-artistic director Stephanie Jutt’s exploration into Latin American, Mexican and Spanish music. (Jutt, below in a photo by Dick Ainsworth, teaches at the UW-Madison School of Music and is also Principal Flute of the Madison Symphony Orchestra.)

Stephanie Jutt CR Dick Ainsworth

This one-time-only concert will feature a wide variety of music from Argentina, Venezuela, Mexico and Spain that has never been performed at BDDS concerts.

Puerto Rican mezzo-soprano Yanzelmalee Rivera, Venezuelan clarinetist Orlando Pimentel, and Madison’s own fantastic collaborative pianist Thomas Kasdorf will join Jutt.

Flautistico collage

Composers include Jesús Guirdi, Heitor Villa-Lobos, Carlos Guastavino, Angel Lasala, and Astor Piazzolla, among many others.

Raquel Paraiso will weave poetry throughout the evening by Federico Garcia Lorca, Octavio Paz, Jorge Luis Borges and Pablo Neruda.

Dance choreographed by Ariel Juarez and performed by Jacques Saint-Cyr and Maria Castello will complement the music of Piazzolla.

An original art installation by UW-Madison artist Carolyn Kallenborn, including her film footage from Day of the Dead in Oaxaca, Mexico, will create a multi-dimensional concert evening.

Photos by Martin Chabi (below) will be projected during the concert.

Flautistico photo by Martin Chabi

To purchase tickets from Overture Center, visit: http://www.overturecenter.org/events/flautistico


Classical music: The University of Wisconsin-Madison School of Music will open its new season Saturday night with a FREE recital of Latin American and German music by flutist Stephanie Jutt.

September 5, 2014
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By Jacob Stockinger

The Ear likes that a new season at the University of Wisconsin School of Music will officially open in an intimate rather than grand manner with a chamber music concert.

At 8 p.m. in Morphy Recital Hall on this Saturday, Sept. 6, flutist Stephanie Jutt (below) will perform Latin American music plus a classic masterpiece sonata by Johannes Brahms. The concert is FREE and OPEN to the public.

Stephanie Jutt CR Dick Ainsworth

Jutt, who is a longtime professor the UW-Madison School of Music, is also the principal flute of the Madison Symphony Orchestra as well as a co-founder and co-artistic director of the Bach Dancing and Dynamite Society, which performs each summer in June. She also performs in the Wingra Woodwind Quintet (below, in a  photo by Michael Anderson) at the UW-Madison.

Wingra Woodwind Quintet 2013 Michael Anderson

On this program, Jutt and Venezuelan pianist Elena Abend will offer audiences a look at some of the beautiful and spicy music written by Latin American composers, including Argentinean composers Carlos Guastavino (below top), Astor Piazzolla (below middle) and Angel Lasala (below bottom).

Carlos Guastavino

astor piazzolla

Angel Lasala

Jutt recently traveled to Argentina to research this repertoire, and will be recording it with Elena Abend later this year in New York City.

Born in Caracas, Venezuela, pianist Elena Abend (below) has performed with all the major orchestras of her country. Receiving her Bachelor and Master degrees from the Juilliard School, she has performed at venues such as the Purcell Room in London’s Royal Festival Hall, Avery Fisher Hall in Lincoln Center, Weill Recital Hall at Carnegie Hall, Academy of Music with the Philadelphia Orchestra, as well as the Wigmore Hall in London, Toulouse Conservatoire, Theatre Luxembourg, the Corcoran Gallery in Washington D.C., Chicago Cultural Center and the Pabst Theater in Milwaukee.

More performances include Ravinia and Marlboro Music Festivals, live broadcasts on Philadelphia’s WFLN, The Dame Myra Hess Concert Series on Chicago’s WFMT and Wisconsin Public Radio at the Chazen Museum of Art in Madison.  She has recorded for the Avie label and numerous recording and editing projects for Hal Leonard’s G. Schirmer Instrumental Library and Schirmer Performance Editions.

Elena Abend currently serves on the Piano and Chamber Music Faculty at the University of Wisconsin-Milwaukee.

Elena Abend UW--M

Program:

Milonga en Re  (at bottom in a YouTube video)   Astor Piazzolla (1921-1992)

Tanguano                                     Astor Piazzolla 
(1912-1992)

Introduccion y Allegro             Carlos Guastavino 
(1912-2000)

With ELENA ABEND, PIANO

Sonata in E-flat Major, Op. 120          Johannes Brahms
 (1833-1897) as arranged for flute by Stephanie Jutt

With UW Piano Professor CHRISTOPHER TAYLOR (below)

ChristopherTaylorNoCredit

INTERMISSION

Poema del Pastor Coya                   Angel Lasala (1914-2000)

Con la Chola y el Changuito    Carlos Guastavino
 (1912-2000)

Fuga e Misterio                             Astor Piazzolla (1921-1992)

 


Classical music: The Ear gets totally immersed in two-piano music by the Bach Dancing and Dynamite Society, and loves it. Now he looks forward to “drowning” this weekend in European concertos and South American tangos, then piano trios and works for piano, four-hands.

June 18, 2014
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By Jacob Stockinger

The Ear thinks of it as the Berlitz Method of learning a language, only applied to music.

It’s called “Total Immersion.”

Each June, the Madison-based chamber music ensemble the Bach Dancing and Dynamite Society always offers a lot of variety of outstanding music over three weekends, each featuring two different programs in three different venues. (This year’s theme, for the 23rd annual season is “23 Skiddoo.”)

23Skiddoo logo

But one thing I especially look forward to is that usually there is a chance to immerse yourself in a special style or genre or sub-category that you often don’t hear. That allows for added enjoyment and informative comparisons.

This summer’s immersion started this past opening weekend. This coming weekend and the weekend after that promise an immersion in Western European classics, especially concertos, and in Latin American music, especially Argentinian tangos.

For more details and information, including programs and tickets, visit:

www.bachdancinganddynamite.org

Some of that kind of immersion stems from the BDDS programming philosophy. Some of it probably also comes from the fact that BDDS hires guest artists for a weeklong stint and so must seek out repertoire to spotlight them.

In any case, this is the summer not only of Latin American music but also of two-piano works.
This is not to say I didn’t love the outstanding performance of Claude Debussy’s sublime Violin Sonata, his last work, by New York violinist Yura Lee (below) because I did.

Yura Lee in Debussy Sonata BDDS 2014

And I also liked the BDDS debut of Icelandic soprano Disilla Larusdottir (below) in her superb readings of “Five Popular Greek Melodies” by Maurice Ravel and especially contemporary American composer Aaron Jay Kernis’ Renaissance-based “L’arte della danssar” (“The Art of the Dance,” 2011).

Disella Larusdottir at TRaliesin BDDS 2014

I also thoroughly enjoyed the vivacious and captivating Introduction and Allegro for Flute and Piano by Carlos Guastavino with BDDS co-founder and co-artistic director Stephanie Jutt (below), who is also principal flute of the Madison Symphony Orchestra.

Stephanie Jutt in Gustavino at Taliesin BDDS 2014

Personally, The Ear is generally less enthusiastic about harp music, so the Celtic-themed sonata by Arnold Bax left him feeling half-hungry, despite a terrific performance (below) by Stephanie Jutt and the gifted guest harpist Heidi Krutzen. Even the Quartet by Carl Philipp Emanuel Bach struck me as not especially inspired, but rather a pretty run-of-the-mill Classical work that, despite a fine performance, has charms but not genius.

Heidi Krutzen at Taliesin BDDS 2014

Stephanie jutt and Heidi Krutzen in Arnold Bax sonata BDDS 2014

To The Ear, the true stand-outs stand-outs of the first weekend were Jeffrey Sykes, the pianist who co-founded and co-directs the BDDS  with Jutt and who teaches at the University of California-Berkley; and guest piano virtuoso and Van Cliburn Competition prizewinner Christopher Taylor of the University of Wisconsin-Madison School of Music, who has a national and international reputation.

jeffrey sykes

ChristopherTaylorNoCredit

And The Ear, himself a devoted amateur pianist, sure got an earful of great, first-class piano playing through four very difficult works for two pianos.

Such concerts are not easy to stage. To get two pianos on stage at The Playhouse in the Overture Center and the Hillside Theater famous architect Frank Lloyd Wright’s Taliesin compound in Spring Green involves a lot of difficult and expensive logistics.

But it was done, and the results were terrific.

Critic John W. Barker thought so too. Here is a link to his review for Isthmus:

http://www.thedailypage.com/daily/article.php?article=42978&sid=2d270176d08b03b104e01230f4e31d17

Two PIanos at Taliesin BDDS 2014

As almost always happens with BDDS, there were pleasant surprises.

I really didn’t think I would love Maurice Ravel’s popular and over-programmed “Bolero.”

But I did.

Jeffrey Sykes was completely right when he said that the two-piano version is drier and more modernistic, more like the work of Igor Stravinsky, than the better-known orchestral version, which has its more old-fashioned charms and colors as the melody bounces less percussively around various sections. (You can see for yourself in a YouTube video at the bottom. Let me know if you agree or disagree.)

On the other hand, it was something to see the insistent rhythms make the always physical and impressively dynamic Christopher Taylor  (below) rock out and to watch how a single repetitive note gradually worked up to five-finger chords.

Christopher Taylor rocks out

There was 20th-century Polish composer Witold Lutoslawski’s biting and percussive Variations on the famous theme by Niccolo Paganini that was also used by Franz Liszt, Johannes Brahms and Sergei Rachmaninoff.

There was Ravel’s “La Valse,” a grandly elegant and overblown nostalgia trip to the society embodied by the waltz as it came to its chaotic end in World War I.

And in the end there were Sergei Rachmaninoff’s Symphonic Dances, his last composition that is filled with luscious melodies, infectious rhythms, unusual harmonies and astonishingly virtuosic and precise playing. (The two-piano version was premiered by Rachmaninoff himself and Vladimir Horowitz. Now THAT would have been something to hear and see!)

Jeffrey Sykes and Christopher Taylor at Taliesin BDDS 2014

Now the two-piano part of the BDDS season is over. But The Ear can’t wait for this coming weekend, which will bring a Concerto for Two Cellos by Antonio Vivaldi as well as the lovely Piano Concerto No. 23 in A Major, K. 488, by Wolfgang Amadeus Mozart plus the great Clarinet Trio by Johannes Brahms and selected tangos by Astor Piazzolla with tango pianist Pablo Zinger (below), who performed with Piazzolla’s band, from Argentina.

Pablo Zinger at piano

During the week there will be piano trios by Dmitri Shostakovich and Antonin Dvorak and performed by the exceptional San Francisco Trio; more tangos by Piazzolla; and works for one piano-four hands by Darius Milhaud and William Hirtz with Sykes and frequent guest pianist Randall Hodgkinson, who teaches at the New England Conservatory of Music.

San Francisco Trio 1

Randall Hodgekinson 1

The Ear intends not to miss any of the four programs in the two coming weekends. And neither should you.

They mean more immersion, even if it is not quite as total.


Classical music Q&A: What should newcomers and old-timers know about this year’s Bach Dancing and Dynamite Society concerts? What has changed and what has stayed the same? How do co-founders and co-artistic directors Stephanie Jutt and Jeffrey Sykes measure the success of a BDDS season? Part 2 of 2.

June 10, 2014
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By Jacob Stockinger

Some people might refer to it as one of the highlights of the summer music season in Madison.

The Ear prefers to think of it as a high point of the entire season in Madison. He waits all fall, winter and spring to find out the next theme, the next repertoire, the next performers.

I am talking about this Friday night when the Madison-based chamber music group the Bach Dancing and Dynamite Society will open “23 Skiddoo,” its new six-concert, three-weekend and three-venue season at 7:30 p.m. in The Playhouse at the Overture Center. (Below is the poster for the 23rd annual season.)

23Skiddoo logo

And this summer series shows no sign of disappointing.

Much of the BDDS concert format or formula will remain the same: familiar classics of the repertoire mixed in with rarely heard artists and works, including commissions and a world or local premiere; familiar local performers mixed in with imported top-flight imported musicians; and the signature atmosphere that combines chatty levity with serious first-rate music-making.

Am I excited? You bet! And should you be too.

Some of my favorites are the piano trios, quartets and quintets performed by the San Francisco Trio. They will be playing here again, including one trio by Dmitri Shostakovich and another by Antonin Dvorak.

Other favorites of The Ear are the symphonies by Franz Joseph Haydn and the piano concertos by Wolfgang Amadeus Mozart in the long-neglected chamber music reductions intended to be performed as “house music” in private homes. This summer includes one of the most popular Mozart piano concertos –- again.

I love the string works that BDDS plays – and this summer I will get to hear Claude Debussy’s phenomenal Violin Sonata, the last work he composed, and Maurice Ravel’s unusual Sonata for Violin and Cello.

BDDS cello duo

I especially love piano music: the more, the better. This summer I will get to hear two of the best: Jeffrey Sykes, who possesses the chameleon-like gift of Richard Goode in that he can sound absolutely natural and at home in just about any musical style, from Baroque, Classical, Romantic and Modern. But this summer is a twofer. Sykes will also perform two-piano pieces by Sergei Rachmaninoff, Witold Lutoslawski and Maurice Ravel with the celebrated University of Wisconsin-Madison virtuoso Christopher “Kit” Taylor.

BDDS piano jumbotron

Then there is the fabulous new clarinetist,  Alan Kay, of the Orpheus Chamber Orchestra, performing the sublime Clarinet Trio by Johannes Brahms.

You can hear all that plus a lot more, including a generous serving of South American music — tangos by Astor Piazzolla and songs by Carlos Guastavino — that flutist Stephanie Jutt brought back from her sabbatical year in Argentina.

But you can check out the programs for yourself. I challenge you to find one that just doesn’t interest and impress you.

Here is a link to the compete new season:

https://welltempered.wordpress.com/2014/04/07/classical-music-bach-dancing-and-dynamite-society-announces-its-23rd-season-23-skiddoo-this-june-with-an-emphasis-on-latin-american-chamber-music-a-midwest-premiere-by-american-co/

You might recall that The Ear has been so impressed with consistent high quality of the BDDS programs and performances that he named the group Musician of the Year for 2012. Here is a link to that posting:

https://welltempered.wordpress.com/2012/12/31/classical-music-madisons-bach-dancing-and-dynamite-society-is-musician-of-the-year-for-2012/

And here is a link to the BDDS website with full details about the dates, time, venues, programs and performers’ bios.

http://bachdancinganddynamite.org

The co-founders and co-artistic directors flutist Stephanie Jutt and pianist Jeffrey Sykes, agreed to an email Q&A that has run in two parts.

The first part ran yesterday. Here is a link to Part 1:

https://welltempered.wordpress.com/2014/06/09/classical-music-qa-how-do-you-make-chamber-music-both-fun-and-fine-co-directors-stephanie-jutt-and-jeffrey-sykes-discuss-this-summers-23rd-annual-three-weekend-three-venue-season-of-t/

Here is Part 2:

bddsjuttandsykesjpg

What would you like young people and newcomers to know about BDDS?

SJ: This is the perfect concert to go to if you haven’t been to a concert since grade school. It’s a perfect concert to take a date to – he’ll think you’re smart and artistic. She’ll think you’re thoughtful and edgy. The Bach Dancing and Dynamite Society is perfect for novices and connoisseurs alike.

JS: We are VERY user-friendly. We know that classical music concerts, and chamber music concerts in particular, can sometimes feel as if they are designed for the “initiated.”

We promise to give you an experience that makes great music FUN to listen to, not a chore, and certainly not like listening to a sermon at church. Whether you’ve been to a thousand chamber music concerts or none, you are welcome at our concerts, and we have something for you. (Below top, playful playing card uniforms are worn for a “Jokers Are Wild” program.)

BDDS 6 2013 Card costumes

What would you like fans and longtime audience members to know?

 JS: We are so inspired by your loyalty, your generosity, your roll-up-your-sleeves offers to help in hundreds of ways, big and small. We get many of our best ideas from our audience, so keep talking to us, because we are listening! If I could ask a favor, please bring a friend or two to a BDDS concert – someone that hasn’t been before. That’s the way we build our audience, one listener at a time.

SJ: We love you and we wouldn’t be here without your incredible enthusiasm and generosity! But if we could ask you a favor: bring someone new to a concert, someone who has never been to hear BDDS — or chamber music — before. Our very best advertising has always been word-of-mouth.

BDDS 4 ovation

Do you any favorite repertoire or programs? What are the virtues of each of the three different venues, and which one is the most popular venue with public? How do you measure the success of a season?

SJ: Oh dear – my favorite concert always is the one I’m currently playing, and our concerts are on such a level that I’m captivated by virtually everything. I don’t mean to gush, but since I’m the flutist, I’m not in all the pieces, so I get to watch and listen as some of them get put together.

It’s thrilling to watch the development of ideas and the intense communication between the artists, which the audience can truly appreciate in the small venues in which we perform. At Taliesin, the audience can literally read the notes on the page, and sometimes they do! We love that aspect of our performances, and it’s something our audiences only experience at BDDS.

JS: I love all our programs, so it’s hard to pick a favorite. During the process of putting together the season, any music we don’t like almost always gets weeded out 🙂

As for what I’m actually playing, again I’m happy about everything I’m playing—but I suppose if pressed, I’ll say that I’m especially looking forward to playing two-piano music with Kit Taylor again. Ravel’s “La valse” and Rachmaninoff’s “Symphonic Dances”—they are such juicy masterpieces, both originally written for two pianos, and really, really fun to play.

I’m also very self-indulgently looking forward to playing the Mozart concerto in Week Two. We pianists are so lucky—27 concertos by Mozart, and 19 of them absolute masterpieces. I hope to play one every year until I make my way through all of them.

I’m also very much looking forward to the Dvorak Piano Trio in F minor in Week Three. (Editor’s note: You can hear the Boston Trio play the first movement of the Dvorak Trio in F minor at the bottom in a YouTube video.) I’ve never played it before, and I love it so much. It’s music of such incredible depth and emotional honesty. (Below is the San Francisco Piano Trio with pianist Jeffrey Sykes, violinist Axel Strauss and cellist Jean-Michel Fonteneau.)

San Francisco Trio 1

Venues:

They are all great. Each has its pluses and minuses. I’d suggest you try them all on for size! (Below top is The Playhouse at the Overture Center; below middle is the Stoughton Opera House; and below bottom is the Hillside Theater at famed architect’s Frank Lloyd Wright’s Taliesin compound in Spring Green.)

BDDS Playhouse audience

StoughtonOperaHouse,JPG

taliesin_hillside2

Measuring the success of a season.

1. Well, one measure is certainly financial—this is the “butts in seats” measure. We want a butt in every seat! Aside from meaning we’ve had great ticket sales, the energy of a full house is incredibly exciting.

2. Another measure of success is whether the season as a whole, and the concert programs individually, have a successful narrative arc. I think (hope) they do (will). Of course, you never really know until you actually do the programs…

3. Yet another measure of success is fairly internal—how the chemistry works for these artists playing these pieces together. It’s always a risk mixing musicians and pieces. We’ve had a pretty good success rate with this, but we do make mistakes now and again. We’re all pros, and we will pull it out for performance whatever has happened in rehearsal, but there is something fundamentally satisfying about great chemistry in the rehearsal process.

4. And yet another measure of success is the effect everything has on the audience. We all love a thunderous, spontaneous standing ovation. But even more than that, I love it when a piece ends and is followed by a very pregnant silence in the audience, like you’re so caught up in the moment that you forget to breathe. THAT is a sure sign of success. I think we have possibilities for a couple of these this season.

BDDS standing ovation

What else would you to say or add?

SJ: We have a wonderful FREE children’s concert on Saturday morning, June 14, at 11 a.m. in The Playhouse of the Overture Center. It is called, “Getta Move On, Kids!” and is sponsored by CUNA Mutual, and that is getting a large and enthusiastic audience. It is friendly for children of all ages -– so please join us!

Hightail it to the Overture box office or our BDDS website and buy a season ticket. Student tickets are only $5 and we’d love to see more music loving students in our audience. BDDS comes only once a year and it means to me that summer’s here!

JS: Thank YOU, Jake, for being such a loyal fan and supporter of BDDS!

 

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Classical music Q&A: How do you make chamber music both fun and fine? Co-directors Stephanie Jutt and Jeffrey Sykes discuss this summer’s 23rd annual three-weekend, three-venue season of the Bach Dancing and Dynamite Society that starts this Friday night. Part 1 of 2.

June 9, 2014
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By Jacob Stockinger

Some people might refer to it as a highlight of the summer music season in Madison.

The Ear prefers to think of it as a highlight of the entire concert season in Madison. He waits all fall, winter and spring to find out the next theme, the next repertoire, the next performers. But the waiting ends soon.

This Friday night the Madison-based chamber music group the Bach Dancing and Dynamite Society (below top) will open its six-concert, three-weekend and three-venue season at 7:30 p.m. in The Playhouse (below bottom) at the Overture Center. Then it will move on to the Hillside Theater at Frank Lloyd Wright’s Taliesin compound in Spring Green and the beautifully restored Opera House in Stoughton, Wisconsin.

BDDS 3 Faure piano quartet 2

BDDS 4 ovation

And this summer shows no sign of disappointing.

Much of the BDDS concert format or formula will remain the same: familiar classics of the repertoire mixed in with rarely heard artists and works, including commissions and a world or local premiere; familiar local performers mixed in with top-flight imported musicians; and the signature atmosphere that combines chatty levity with serious first-rate music-making.

Am I excited? You bet! And you should be too.

Some of my favorites are the piano trios, piano quartets and piano quintets performed by the San Francisco Trio. They will be playing here again, including one trio by Dmitri Shostakovich and another by Antonin Dvorak.

Other favorites of The Ear are the symphonies by Franz Joseph Haydn and the piano concertos by Wolfgang Amadeus Mozart in the long-neglected chamber music reductions intended to be performed as “house music” in private homes. This summer includes one of the most popular Mozart piano concertos –- again.

I love the string works that BDDS plays – and this summer I will get to hear Claude Debussy’s phenomenal Violin Sonata, the last work he composed (you can hear it played by violinist James Ehnes, who has performed in Madison with the Madison Symphony Orchestra in a YouTube video at the bottom), and Maurice Ravel’s unusual Sonata for Violin and Cello.

I especially love piano music: the more, the better. This summer I will get to hear two of the best: Jeffrey Sykes, who possesses the chameleon-like gift of Richard Goode in that he can sound absolutely natural and at home in just about any musical style, from Baroque, Classical and Romantic to Modern and New Music. But this summer is a twofer. Sykes will also perform two-piano pieces by Sergei Rachmaninoff, Witold Lutoslawski and Maurice Ravel with the celebrated University of Wisconsin-Madison virtuoso Christopher Taylor.

Then there is the fabulous new clarinetist, Alan Kay, performing the sublime Clarinet Trio by Johannes Brahms.

You can hear all that plus a lot more, including a generous serving of South American music — tangos by Astor Piazzolla and songs by Carlos Guastavino — music that flutist Stephanie Jutt brought back from her sabbatical year in Argentina.

But you can check out the programs for yourself. I challenge you to find one that just doesn’t interest and impress you.

Here is a link to the complete new season:

https://welltempered.wordpress.com/2014/04/07/classical-music-bach-dancing-and-dynamite-society-announces-its-23rd-season-23-skiddoo-this-june-with-an-emphasis-on-latin-american-chamber-music-a-midwest-premiere-by-american-co/

You might recall that The Ear has been so impressed with the consistent high quality of the BDDS programs and performances that he named the group Musician of the Year for 2012. Here is a link to that posting:

https://welltempered.wordpress.com/2012/12/31/classical-music-madisons-bach-dancing-and-dynamite-society-is-musician-of-the-year-for-2012/

And here is a link to the BDDS website with full details about the dates, time, venues, programs and performers’ bios.

http://bachdancinganddynamite.org

The co-founders and co-artistic directors flutist Stephanie Jutt and pianist Jeffrey Sykes, agreed to an email Q&A that will run two parts. The first part runs today. The second part will run tomorrow.

Stephanie jutt and Jeffrey Sykes  CR C&N photographers

Why is this summer’s season called “23 Skiddoo,” and what exactly does the term mean or refer to?

SJ: Jeff and I love old-fashioned American vernacular -– like “Deuces are Wild” for 2013, and now “23 Skiddoo” for 2014.

It’s a lot of fun trying to find out where words come from, what expressions mean, and how it defines a country’s style and idiom. As musicians, we are constantly doing this kind of detective work -– what does the composer intend? What else was going on when he wrote it? What are the references and the “inside jokes?”

JS: The following passage comes from the “preface” in our 2014 program booklet: “Popular legend has it that “23 skiddoo” was first heard in the area around the Flatiron Building at the intersection of 23rd Street, Fifth Avenue and Broadway in New York City. Because of the building’s triangular shape, winds swirl around it. During the early 1900s, groups of men would allegedly gather to watch women’s skirts get caught by the wind, revealing their legs, which were seldom seen publicly at that time. Local constables, telling such groups of men to take a hike, were said to be giving them the “23 skiddoo.” ”

Our 23rd season is appropriately entitled “23 Skiddoo” (see the poster below) and this year’s programs are inspired by energetic departures and exit strategies of all kinds.

Why would we choose a title that tells you to cut and run when we want you to flock to our concerts? We want to give the “23 skiddoo” to your expectations of what a chamber music concert ought to be. We aim to deliver an experience that makes your skirt fly up, reveals a little leg, and makes you hightail it to our next concert with a smile on your face. So getta move on and join in on the fun. Hasta la vista, baby!

23Skiddoo logo

Is there some overarching theme or continuity to the entire season, or to the various weekend programs?

JS: Absolutely. It’s an oblique theme and a surprising continuity, but it’s definitely there. Stephanie and I love word games of all kinds, and this comes into play when we pick season titles and concert titles.

The expression “23 skiddoo” relates to the idea of “getting out while the getting’s good.” As it turns out, English is full of colloquialisms that express the idea of a rapid departure—expressions like “take a hike” or “cut and run” or “hightail it.” We thought of a bunch of expressions that relate to this idea—and from them, we chose expressions that could ALSO be read in a different way.

“Take a hike” can also mean “scram!” or it can mean to go wander out in the countryside. It fits in with our season theme because of its colloquial meaning. We used it as a program title with its literal meaning in mind — music that was inspired by the countryside, like Johannes Brahms’ Clarinet Trio and Wolfgang Amadeus Mozart’s Piano Concerto No. 23 in A Major, K. 488.

“Getta move on” can mean “scram!” or it can mean “to dance”—as in “get your moves on.” It fits with our season theme because of the first meaning, and its second meaning gave us a program of dance-inspired music.

One of our cutest titles (in my humble opinion) is “hightail it,” again, an expression that means to leave quickly. As I’m sure you know, many pieces of chamber music have very exciting codas, the coda being the last section of a movement or a piece. And “coda” is the Italian word for—you guessed it—”tail.” We picked pieces that have super-exciting codas for this program.

Of course, there are a lot of other considerations in picking music. Expense is certainly a big one.

We can only hire a certain number of artists each week, so we have to find programming that works with those artists and instruments.

We like variety, so you’ll never find us doing an all-Baroque program or an all-modern program.

(I actually find that such programming in the end marginalizes the music it’s designed to celebrate. Maybe it’s just me, but I find the Bach’s music actually benefits from being heard alongside Aaron Jay Kernis and Rachmaninoff and vice versa.)

Another big consideration is, of course, what we want to play. I really wanted to do another two-piano extravaganza with University of Wisconsin-Madison professor Christopher “Kit” Taylor; Stephanie really wanted to do this brand new piece by Aaron Jay Kernis, “L’arte della danssar” (The Art of Dancing), one of the few pieces he’s written that has a flute part. We figured out a way to do BOTH things in a single week of programming.

I’m very keen on the music of Osvaldo Golijov, especially this gorgeous piece he wrote for klezmer clarinet and string quartet called “The Dreams and Prayers of Isaac the Blind.” When playing in a music festival in New York, I worked with this incredible clarinetist Alan Kay, co-principal of Orpheus Chamber Orchestra. I wanted to have him come to BDDS. Turns out he’s played this piece—which is VERY hard—a lot.

Another thing I’ve been loving lately is playing arrangements of the Mozart piano concertos. Well, here we have a string quartet and a clarinet. Just add in Stephanie’s flute, and suddenly you’ve got a mini-orchestra for the Mozart concerto.

I often say that putting together the season is like putting together a giant jigsaw puzzle—except the pieces change size and shape as you work with them, and you don’t know the picture you’re aiming for. The pieces of this season’s jigsaw puzzle have come together beautifully.

BDDS 5 2013 Mozart concerto 22

What have you changed for this season, and what have you kept and continued? Program elements? Repertoire? Artists ?

SJ: The Bach Dancing and Dynamite Society tradition is a blend of the hottest, cutting-edge compositions, combined with our love of the Baroque, Romantic and Impressionistic eras of music. When you take the huge breadth of musical expression and mix it with musicians of the loftiest caliber, you’ll always find “something for everyone” at our concerts.

Just like the weather in Wisconsin, if you don’t like one piece, that’s fine, because in ten minutes we’ll play something that will break your heart and make you fall in love all over again.

Sometimes we are asked, “Would you like to grow Bach Dancing and Dynamite into a larger festival, with more cities, more venues?” Our answer is an enthusiastic, “No!”   The festival is just about perfect the way it is – small venues, intimate and profound music, a living room atmosphere, informality, surprises – these are the hallmarks of BDDS, and if it ain’t broke, don’t fix it!

JS: What we have changed: We have new artists and new repertoire for the season, combined in surprising, interesting and unusual ways.

What we’ve continued: We have new artists and new repertoire for the season, combined in surprising, interesting and unusual ways.

Maybe it’s funny answering two questions with the same answer, but it’s really true. I wouldn’t say we have a “formula.” That implies that we get the same result every season. We don’t. Our results vary widely. The result is always great (in my humble opinion), but it’s really different each time.

I guess you could say we are like chefs working with the crème-de-la-crème of ingredients (musicians and musical compositions). Using our skills, we can combine these ingredients into staggeringly different yet exciting meals: same high-quality ingredients, same well-honed chef skills, completely different meals.

A couple of people to watch out for:

The aforementioned clarinetist Alan Kay (below top)  in Week Two. He’s amazing.

Soprano Disella Larusdottir (below middle)  in Week One. She’s a gorgeous singer, and she sings Aaron Jay Kernis’ music beautifully.

The return of the San Francisco Piano Trio (me, Axel Strauss and Jean-Michel Fonteneau) playing Dvorak and Shostakovich.

Tango pianist Pablo Zinger (below bottom) from New York in Week Two. Authentic Argentine flair!

Repertoire to look out for:

Aaron’s new piece (Week One)

Golijov’s piece (Week Two)

Sergei Rachmaninoff’s “Symphonic Dances” and Maurice Ravel’s “La valse” with me and Kit Taylor. (Fun!)

Darius Milhaud’s piano, four-hand version of “Le boeuf sur le toit,” which was originally conceived as a score for a Charlie Chaplin silent movie. We’re reuniting it with Chaplin’s classic “The Count”—a movie that culminates in an exceedingly well-timed cut-and-run.

OLYMPUS DIGITAL CAMERA

Disella Larusdottir

Pablo Zinger at piano

Tomorrow: What should newcomers and old-timers know about this year’s Bach Dancing and Dynamite Society concerts? What has changed and what has stayed the same? How do Stephanie Jutt and Jeffrey Sykes measure the success of a BDDS season?

 

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Classical music: Bach Dancing and Dynamite Society announces its 23rd season “23 SKIDDOO” this June, with an emphasis on Latin American chamber music, a Midwest premiere by American composer Alan Jay Kernis and a silent Charlie Chaplin film with a musical score. It will take place June 13-29 and includes 3 weekends, 3 venues and 12 concerts with six different programs.

April 7, 2014
6 Comments

By Jacob Stockinger

The Ear’s friends at the Madison-based fun-filled and pun-filled Bach Dancing and Dynamite Society –- which The Ear named as Musician of the Year –- has announced its 23rd annual summer concert series, called “23 Skiddoo.”

The eclectic and unorthodox chamber music series, which will emphasize Latin American music, will take place this summer, from June 13 to June 29, 2014. It will be held over three weekends in three different venues and with 12 concerts offering six different programs. (Below is the official poster logo for 23 SKIDOO.)

23Skiddoo logo

Here is the official press release:

Bach Dancing & Dynamite Society (BDDS) presents its 23rd annual summer chamber music festival, “23 SKIDDOO,” from June 13 to June 29, 2014.

This festival features 12 concerts over three weekends, each weekend offers two different programs.

Concerts will be performed in The Playhouse at the Overture Center in Madison (below top); the renovated historic Stoughton Opera House (below middle); and the Hillside Theater at architect Frank Lloyd Wright’s Taliesin compound in Spring Green (below bottom). 

BDDS Playhouse audience

StoughtonOperaHouse,JPG

taliesin_hillside2

Combining the best local musicians and top-notch artists from around the country, a varied repertoire and delightful surprises, BDDS presents chamber music as “serious fun” infused with high energy and lots of audience appeal, and makes this art form accessible to diverse audiences.

Led by artistic directors and performers Stephanie Jutt, flute, and Jeffrey Sykes, piano, (below in a photo by C Photography) 15 guest artists will perform in the festival.

Stephanie jutt and Jeffrey Sykes  CR C&N photographers

“23 Skiddoo” is early 20th century American slang that refers to leaving quickly or taking advantage of an opportunity to leave. Jutt and Sykes have taken some great colloquial expressions and found musical connections for them: sometimes obvious, sometimes oblique — but always leading to thrilling music.

Highlights for this season include Latin American music — especially from Argentina — two pianos on stage in one weekend, a Midwest premiere by Pulitzer Prize-winning American composer Aaron Jay Kernis, and a silent film score including a screening of the film, below, by and with Charlie Chaplin.

Charlie Chaplin The Count

WEEK 1

We have two spectacular programs our first week, “Getta Move On” and “Exit Strategy.”

“Exit Strategy” features music written at the end of composers’ careers. It includes Claude Debussy‘s profound Sonata for Violin, the last work he wrote; Maurice Ravel’s popular “Bolero” in its original two-piano incarnation, almost his last work; Arnold Bax’s beautiful sonata for flute and harp; and the scintillating “Paganini” Variations of Witold Lutoslawski for two pianos.

“Getta Move On” features music inspired by dance, including Sergei Rachmaninoff‘s thrilling “Symphonic Dances” for two pianos, Ravel’s nostalgic “La valse” for two pianos, and the Midwest premiere of Aaron Jay Kernis’ evocative work “The Art of the Dance” for soprano, flute, harp, viola and percussion.

Madison’s piano star Christopher Taylor (below top) will pair up with BDDS artistic director Jeffrey Sykes on the two-piano works. The programs will also showcase the talents of Canadian harp virtuoso Heidi Krutzen and Pro Musicis award winner Yura Lee (below bottom) on violin and viola.

ChristopherTaylorNoCredit

Yura Lee 2

Icelandic soprano Dìsella Làrusdóttir, hailed by Opera News as “a voice of bewitching beauty and presence,” will join in the premiere of the work by Aaron Jay Kernis (below)  and other works.

Concerts will be performed at The Playhouse in the Overture Center for the Arts on Friday and Saturday, June 13 and 14, at 7:30 p.m. and Spring Green at the Hillside Theater on Sunday, June 15, at 2:30 p.m. and 6:30 p.m.

aaron jay kernis at piano

WEEK 2

The second week features “Take a Hike” and “Hasta La Vista, Baby.”

“Take a Hike” includes music inspired by the countryside, from an Amy Beach “Romance,” to Johannes Brahms’ gorgeous Clarinet Trio and Mozart’s pastoral Piano Concerto No. 23, which celebrates the Austrian countryside, to works by Argentinian composer Carlos Guastavino (below).

Carlos Guastavino

“Hasta La Vista, Baby” is an extravaganza of Latin American chamber music from the sultry, sensuous, heart-on-the-sleeve tangos of Astor Piazzolla (below) to the mystic profundity of Osvaldo Golijov‘s “The Dreams and Prayers of Isaac the Blind.”

We are thrilled to have clarinetist Alan Kay, principal of the Orpheus Chamber Orchestra, joining BDDS for the first time.

He will be joined by audience favorites Carmit Zori and Suzanne Beia, violins; David Harding, viola; and Tony Ross and Beth Rapier, cellos.

astor piazzolla

Finally, we have invited master pianist and arranger Pablo Zinger (below), one of Piazzolla’s champions who played with Piazzolla own’s quintet and is an international authority on Latin music, to give our programs authentic Latin flair. (You can hear Pablo Zinger playing with the composer in a popular YouTube video with over 1 million hits at the bottom in the beautiful bittersweet song “Adios, Nonino” that Piazzolla wrote when his father died. Zinger opens with a long and impressive solo piano riff and at about 1:48 minutes finally breaks into the heartbreaking melody.)

Concerts will be performed at the Stoughton Opera House on Friday, June 20, at 7:30 p.m.; at the The Playhouse in the Overture Center for the Arts on Saturday, June 21, at 7:30 p.m.; and in Spring Green at the Hillside Theater, on Sunday, June 22, at 2:30 p.m. and 6:30 p.m.

Pablo Zinger at piano

WEEK 3

The final week includes “Cut and Run” and “Hightail It.”

“Cut and Run” features music by composers who made well-timed exits or transitions in their lives. Bohuslav Martinu escaped Europe just before the outbreak of World War II; when he arrived in the US, he wrote his jazzy Trio for flute, cello and piano. In Russia, Dmitri Shostakovich (below) responded to the war by writing his very moving piano trio. In this work, he got himself back into the good graces of the Soviet authorities—and yet still managed to sneak into his work an ironic critique of Soviet life.

dmitri shostakovich

Darius Milhaud’s great work for piano four hands, “Le boeuf sur le toit,” was originally intended as the score for Charlie Chaplin’s silent movie “The Count,” a movie (below) that culminates in a hilariously well-timed exit. Our program will reunite the movie with its erstwhile score.

Charlie Chaplin The Count 2

“Hightail It” includes music with fast codas. “Coda” is the Italian word for “tail,” and it refers to the final section of a movement or a piece. This program includes William Hirtz’s fun, over-the-top “Fantasy on the Wizard of Oz” for piano four-hands, and the jazzy, rhythmic Sonata, for violin and cello, of Maurice Ravel. The thrilling, symphonic Piano Trio in F minor of Antonín Dvořák brings the season to a close.

The San Francisco Piano Trio (below) — violinist Axel Strauss, cellist Jean-Michel Fonteneau and BDDS artistic director pianist Jeffrey Sykes — will be joined by Boston Symphony pianist Randall Hodgkinson and BDDS Artistic Director flutist Stephanie Jutt in these programs.

San Francisco Trio 1

Randall Hodgekinson 1

Concerts will be performed at The Playhouse of the Overture Center for the Arts on Friday, June 27, 7:30 p.m.; at the Stoughton Opera House on Saturday, June 28, at 7:30 p.m.; and in Spring Green at the Hillside Theater, Sunday, on June 29, at 2:30 p.m. and 6:30 p.m.

FREE FAMILY CONCERT

For the fourth year, BDDS will also perform one FREE family concert, “Getta Move On Kids,” an interactive event that will be great for all ages. Together with the audience, BDDS will explore why dance-like melodies and rhythms can get people on their feet; they’ll listen to and repeat rhythms and move to the music.

This will take place at 11 a.m. on Saturday, June 14, in The Playhouse at the Overture Center.  This is a performance for families with children ages 6 and up and seating will be first come first served. CUNA Mutual Group, and Overture Center generously underwrite this performance.

University of Wisconsin-Madison artist Carolyn Kallenborn (below top with a set from 2011 below bottom), who works in textiles artist, will create a stage setting for each concert in The Playhouse. All concerts at The Playhouse, the Opera House and Hillside Theater will be followed by a meet-the-artist opportunity.

BDDS Carolyn Kallenborn 2

BDDS 2011 Kallenborn installation

The addresses of location and venues are: Stoughton Opera House, 381 East Main Street in Stoughton; the Overture Center in Madison at 201 State Street; and Frank Lloyd Wright’s Taliesin Hillside Theater on County Highway 23 in Spring Green.

Single general admission tickets are $39. Student tickets are only $5. Various ticket packages are also available starting at a series of three for $111.  First-time subscriptions are 50 percent off.

For tickets and information, call (608) 255-9866 or visit: www.bachdancinganddynamite.org

Single tickets for Overture Center concerts can also be purchased at the Overture Center for the Arts box office, (608) 258-4141, or at overturecenter.com (additional fees apply).  Hillside Theater tickets may be purchased from the Frank Lloyd Wright Visitors Center on County Highway C, (608) 588-7900.  Tickets are available at the door at all locations.

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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
1 Comment

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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