The Well-Tempered Ear

Classical music: Free “Just Bach” concerts change the starting time to NOON and begin their second season this Wednesday at Luther Memorial Church. Here are programs for this semester

September 15, 2019
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The Ear has received the following announcement from the organizers and performers of Just Bach, which had a very successful inaugural run last season:

Join us on this coming Wednesday, Sept. 18, as we kick off our second season of “Just Bach” concerts. The concerts are FREE and OPEN TO THE PUBLIC, with a goodwill offering collected.

The Just Bach concert series – which features Baroque period instruments and historically informed performance practices — resumes as part of the weekly free noontime “Music at Midday” concerts in the gorgeous sanctuary (below) of Luther Memorial Church, 1021 University Ave. For more information and a schedule of other performances and performers in the series,  go to: luthermem.org/music-at-midday

PLEASE NOTE: While the one-hour Just Bach concerts last season started at 1 p.m., this season they will start at NOON.

The photo (below, from left) shows three performers for this upcoming first concert: soprano Sarah Brailey, violist Marika Fischer Hoyt, and traverse flutist Linda Pereksta.

The season-opener is an instrumental program titled “Gamba Sonatas Without the Gambas.” (Gamba is the Italian word for leg and was used to describe what would evolve into the modern cello.)

Of the three sonatas written for viola da gamba (an early version of the modern cello) and harpsichord, BWV 1027-1029, we’ll hear the first and third, but in alternate versions.

First on the program is the hauntingly beautiful Sonata No. 3 in G Minor, BWV 1029, performed on viola da braccio (baroque viola) and harpsichord. (You can hear the opening movement of the original version, played on a modern cello and piano by Janos Starker and Gyorgy Sebok, respectively, in the YouTube video at the bottom.)

Following that will be the jaunty Sonata in G Major BWV 1039, the Trio Sonata arrangement for cello, flute and harpsichord that Bach made of the Sonata No. 1, BWV 1027.

Just Bach regulars traverse flutists Linda Pereksta and Monica Steger and violist Marika Fischer Hoyt return to the stage. They will be joined by cellist Lindsey Crabb (below top) and UW-Madison harpsichordist John Chapell Stowe (below bottom on the right), who are making their debuts at Just Bach.

Just Bach organizer and regular performer, as well as UW graduate student and professional touring soprano, Sarah Brailey (below) leads the chorale sing-along, a beloved audience-participation feature of these programs. 

Bring your lunch, bring your ears and your voice, and bring a friend, but most of all bring yourself to enjoy the sublime music of Johann Sebastian Bach.

Here is a schedule of upcoming Just Bach concerts this fall, all taking place on Wednesdays at noon:

Oct. 16:  Cantata 158 Der Friede sei mit dir (Peace be with you)

Nov. 20:  Cantata 151 Süßer Trost, mein Jesus kommt (Sweet comfort, my Jesus comes)

Dec. 18:  Christmas Pastiche

For more information, including tips on parking, go to the website justbach.org


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Classical music: The Well-Tempered Ear turns 10 today. Changes are probably in store. What do you like and dislike? What changes would you like to see or not to see?

August 20, 2019
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By Jacob Stockinger

Today – August 20, 2019 – The Well-Tempered Ear turns 10 years old.

To keep it interesting, entertaining, relevant and useful, but also to offer an easier workload for something that is a hobby, some changes are probably in store and maybe even needed.

For example, the “You Must Hear This” postings that offer pieces of classical music or stories about national and international issues often generate more traffic than local events.

And even with 2.1 million hits, subscriptions seem to have plateaued.

Perhaps all that is because, even with the explosion in classical music over the past decade, many individuals and groups now have their own websites and email newsletters.

But The Ear wants to know what you think.

What would make you and others read the blog more and pass it along?

What do you like or dislike?

Should it even continue?

What changes, if any, would you like to see – or not to see?

Whatever you decide and share, thank you for 10 years of loyal reading, positive reactions and many, many comments.

The Ear wants to hear.


Classical music: After a year recovering from an injury, Chinese superstar pianist Lang Lang says he has become a more serious musician

August 11, 2019
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By Jacob Stockinger

The Chinese pianist Lang Lang (below) has long been popular, a best-selling superstar and one of the most bankable players in the business.

Yet such was his flamboyant showmanship and self-indulgence that many of his colleagues and critics did not take him very seriously. Many thought of him more as the Liberace of the classical concert stage.

But then a serious injury to his left arm, tendonitis from over-practicing and straining, forced Lang Lang to take a year off to recover.

During that time he married. He worked with young children and music students, even funding a new piano lab. And he released a new CD (“Piano Book”) of short pieces that he has loved since his student days. (You can see Lang Lang coaching a young pianist about a Mozart sonata that played a pivotal role in his life during a master class in the YouTube video at the bottom.)

Lang Lang now says that during that recovery period he rethought everything about his career and has made some major changes from practicing to performing.

And what seems to have emerged, at age 37, is a new approach that emphasizes more seriousness and regularity coupled with greater respect for the music he plays.

Time will tell – in both live and recorded performances — how much has really changed in Lang Lang’s approach to making music.

Nonetheless, the dramatic change was recounted recently in a comprehensive story in The New York Times, which even goes back to trace the pianist’s career, including failures, from his early childhood (below) in China.

Read it and see what you think.

https://www.nytimes.com/2019/07/24/arts/music/lang-lang-piano.html

Then tell us in the Comment section if it has changed how you think about Lang Lang.

The Ear wants to hear.


Classical music: The Bach Dancing and Dynamite Society again brings its surefire summery approach to serious classical chamber music when it starts its 28th annual series this weekend

June 11, 2019
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By Jacob Stockinger

It’s not just the calendar that makes the Bach Dancing and Dynamite Society the official start of the increasingly busy summer classical musical season in Madison.

The real reason is that the summer chamber music series, about to start its 28th annual summer this Friday night, June 14, is downright summery in its approach.

Say “summer,” and you think of lightness, of fun, of playfulness. And those are the very same qualities – along with serious, first-rate performances of great music by outstanding musicians – that BDDS brings to its six programs spread out in 12 concerts over three weekends and three venues during the month of June.

By now both the performers (below, in a photo by Dick Ainsworth for BDDS) and the audiences know that the formula works, however finely tuned or slightly changed it is from one summer to the next.

WHAT’S THE SAME

This year much remains.

There are still door prizes, spoken introductions and stories, mystery guests and a colorful art installation by UW-Madison designer Carolyn Kallenborn.

The titles of the six programs for 12 concerts over three weekends still have groan-inducing puns — “Name Dropping” in the theme for this summer — that are based on the musicians’ names like “Founteneau of Youth” after the San Francisco cellist Jean-Michel Fonteneau (below top) and “Quadruple Axel” after the Montreal-based violin virtuoso Axel Strauss (below bottom).

There are still the usual venues: the Playhouse in the Overture Center (below top); the Stoughton Opera House (below middle); and the Hillside Theater at Taliesin, the Frank Lloyd Wright compound in Spring Green.

There are still the many distinguished and accomplished musicians among the many imported guest artists and the many local musicians, including the co-founders and co-artistic directors flutist Stephanie Jutt and pianist Jeffrey Sykes (below). The Ear can’t recall ever hearing a bad BDDS performance, even of music he didn’t like.

And there is a mix of older well-known and classic repertoire along with newer and neglected composers and works.

WHAT’S NEW

But some things are different too.

The first concert this Friday will have a post-concert reception with free champagne and dessert to celebrate the 28th season.

This summer, unlike recent ones, there is no vocal music. All music is instrumental.

At both Stoughton and Spring Green, you can get food. Go to the home website for details.

Especially new and noteworthy is that the Russian virtuoso accordion player Stas Venglevski (below), from Milwaukee, will also perform on programs. Venglevski performs on the bayan, a Russian-style accordion noted for its deep bass sound and range and purity of tone.

Venglevski will be featured in works that range from polkas and heart-on-the-sleeve tangos by Argentinian composer Astor Piazzolla, Cuban composer Ernesto Lecuona and Russian composer Igor Stravinsky; down-and-dirty original works by Russian master Tatyana Sergeyeva and arrangements of favorite pieces by Johann Sebastian Bach and others.

This Wednesday night, June 12, from 7 to 9 p.m., Venglevski and Jutt will perform “Bayan-o-rama” at the Arts and Literature Lab, 2021 Winnebago Street. Tickets are $10 at the door. Refreshments will be served.

Here is a summary of the first weekend:

WEEK ONE

The elegance, charm, and finesse of French cellist Jean-Michel Fonteneau is displayed in a program called “Fonteneau of Youth.”

It includes music written by great composers in their youth, including the ravishing Elegy for cello and piano of French composer Gabriel Fauré; the rhythmically exciting Trio for flute, cello and piano of living American composer Ned Rorem; and the astonishing D’un soir triste (One Sad Evening) and D’un matin de printemps (One Spring Morning), both for piano trio, of 21-year old Lili Boulanger (below), who was the Prix de Rome-winning composer sister of famed teacher Nadia Boulanger and who died very young. (You can hear both pieces by Lili Boulanger in the YouTube video at the bottom.)

The great Franz Joseph Haydn—always the most youthful of composers, even into his late years—is represented by the masterful Piano Trio no. 28 in E major, in honor of BDDS’ 28th season.

“Fonteneau of Youth” will be performed at The Playhouse in the Overture Center for the Arts on this Friday, June 14, at 7:30 p.m. A free champagne and dessert reception will be held following the performance to celebrate the 28th season opener. It will also be performed in Spring Green at the Hillside Theater on Sunday, June 16, at 2:30 p.m.

Audience favorite Axel Strauss—not just a virtuoso violinist, but a virtuoso musician and artist of the highest distinction—will brave gravity-defying musical heights in “Quadruple Axel.” Carl Philipp Emanuel Bach’s Trio Sonata in D minor for violin, flute, cello and piano starts the program on an elegant note. Johannes Brahms’ fiery Piano Trio No. 3 in C minor, Op. 101, raises the temperature significantly. And all sorts of hijinks are on display in Maurice Ravel’s extraordinary and ravishing Sonata for Violin and Piano.

“Quadruple Axel” will be performed at The Playhouse in the Overture Center for the Arts on Saturday, June 15, at 7:30 p.m. and in Spring Green at the Hillside Theater, Sunday, June 16, at 6:30 p.m.

For more information about the full BDDS season and how to purchase tickets ($43 and $49), go to: https://bachdancing.org


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Classical music: Pianist James Giles will replace Ya-Fei Chuang for TONIGHT’s recital at Farley’s House of Pianos

April 6, 2019
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By Jacob Stockinger

The Ear has received the followed announcement from Farley’s House of Pianos about its solo recital tonight.

“We are sad to announce that pianist Ya-Fei Chuang has sustained an injury that will prevent her from performing for us TONIGHT and teaching a master class on Sunday. It is our intent to reschedule her as soon as her health and schedule permit.

“In the meantime, we are very fortunate that James Giles (below), of Northwestern University, is able to step in and perform for us, and we are excited about the program and repertoire he has shaped for us.

“We apologize for this last-minute change, but are excited to introduce James Giles to our Salon Piano Series audience, and look forward to seeing you TONIGHT at 7:30 p.m. at 6522 Seybold Road, on Madison’s far west side near West Towne Mall.”

His recital at Salon Piano Series will include works of Johannes Brahms, Franz Schubert, Isaac Albeniz, Ignaz Jan Paderewski, Leopold Godowsky and others.

An artist’s reception will follow the concert.

Tickets are $50 in at the door ($10 for tickets) and $45 in advance at:

https://www.brownpapertickets.com/event/3499200

For more information about the master class, including participants and repertoire, call Farley’s at (608) 271-2626 or go to:

https://welltempered.wordpress.com/2019/04/04/classical-music-acclaimed-pianist-ya-fei-chuang-plays-works-by-schubert-liszt-and-ravel-this-saturday-night-at-farleys-house-of-piano/

Giles has been praised as “a technically polished, elegant pianist” (Sibelius Academy, Helsinki), “with a riveting intelligence given to everything he play[s],” (Wigmore Hall, London), a “distinctive interpretive persona [and] beautiful pianism … direct and unmannered” (Alice Tully Hall, New York). His Paris recital at the Salle Cortot in 2004 was hailed as “a true revelation, due equally to the pianist’s artistry as to his choice of program.” (You can hear Giles playing the Humoresque by Robert Schumann in the YouTube video at the bottom.)

Giles regularly performs in important musical centers in America, Europe, and Asia, in solo and chamber recitals and as concerto soloist. A native of North Carolina, he studied at the Manhattan School, the Juilliard School, Eastman School of Music, and at Oberlin College. He was awarded a Fulbright Grant to study in Italy with the legendary Russian pianist Lazar Berman.

Coordinator of the Piano Program and Director of Music Performance Graduate Studies at Northwestern University, Giles is director of the Amalfi Coast Music Festival during the summers, and was director of the 2017 American Liszt Society Festival.


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Classical music: The Madison Choral Project will sing and celebrate young people’s “Hope for the Future” at its concerts this Saturday night and Sunday afternoon

December 13, 2018
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By Jacob Stockinger

Christmas is for the children, goes the old saying — and in more than one way such as gift-giving. The birth of Jesus represents the birth of hope and salvation in Christianity.

Other holiday traditions can claim the same — the extra light theme of Hanukkah in Judaism and the harvest theme of the African celebration of Kwanzaa, for example — and of course the New Year will soon be here with its promise of hope and change.

Now the critically acclaimed and professional Madison Choral Project (below top, in a photo by Ilana Natasha) and its founder, artistic director and conductor Albert Pinsonneault – who used to teach at Edgewood College and now works at Northwestern University near Chicago while living in Madison – has taken that saying to a new level and given it new meaning.

You can hear the results for yourself this Saturday night, Dec. 15, at 7:30 p.m. and Sunday afternoon, Dec, 16, at 3 p.m. in Madison, and at 7:30 p.m. on Tuesday night, Dec. 18, in Milwaukee.

The Madison performances are at Christ Presbyterian Church, 944 East Gorham Street. The Milwaukee performance is at the Cathedral of St. John the Evangelist, 812 Jackson St.

Tickets are $24 in advance online; $28 at the door. Students with ID are $10. Preferred seating is $40.

The theme of the sixth holiday concert by MCP is “Hope in the Future,” which is relevant at any time but seems particularly so this year. So it includes specially commissioned writings by young people, middle school and high school students from grades 6 through 12. Their work will be read by Noah Ovshinsky (below), the news director at Wisconsin Public Radio.

There’s no need to reinvent the wheel, so The Ear wants instead to direct you to a fine story about the MCP concert by reporter Gayle Worland for The Wisconsin State Journal.

There you will find out much more about the identities of the young writers, with a couple of examples of their work, and the inspiration or background of the theme that Pinsonneault (below) came up with.

Here is a link:

https://madison.com/wsj/entertainment/music/madison-choral-project-offers-young-vision-of-hope/article_9aff921e-2446-51d7-9c8c-5195e41f4b32.html

Unfortunately, what you will not find in that story or at the MCP’s home web page is the music program. No composers or specific works are mentioned.

But judging from past performances, you can count on outstanding repertoire of both classics and new music.

For more information about the MCP and its past concerts as well as it personnel and singers, go to: http://themcp.org

Here is a sample of the outstanding work by the Madison Choral Project:


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Classical music: The Wisconsin Chamber Orchestra’s “Messiah” marks 10 years with another sold-out performance and two new soloists this Friday night. Then starting Saturday, it’s on to “The Nutcracker”

December 6, 2018
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By Jacob Stockinger

There is no more iconic piece of classical music for the holiday season than the oratorio “Messiah” by George Frideric Handel. (You can hear the famous “Hallelujah” Chorus in the YouTube video at the bottom.)

For 10 years, the Wisconsin Chamber Orchestra, the WCO Chorus, the Festival Choir and four guest soloists (all forces from a previous performance are in the photo below) have been bringing the masterwork to Madison. And it usually plays to a full house.

This year’s performance once again takes place at 7 p.m. this Friday night, Dec. 7, at the Blackhawk Church, 8629 Brader Way in Middleton. And once again, all 800 seats are sold out.

For more information, go to: https://wisconsinchamberorchestra.org/performances/messiah-1/

“It is very successful and has become a real tradition,” says WCO’s Chief Operating Officer Sue Ellen McGuire. “We have people and families who come year after year.”

But that does not mean each year’s performance, both acclaimed by critics and popular with the public, is a repetition of the previous year’s.

True, some things carry over, such as the longtime soprano soloist Sarah Lawrence and bass soloist Peter Van de Graaff (below), who is also the overnight resonant voice of classical music on Wisconsin Public Radio via The Beethoven Satellite Network.

“It is such a great masterpiece that I feel I can play around with it somewhat and make each year’s performance distinctive and different,” says WCO music director and conductor Andrew Sewell (below). Some years, he says, he cuts out or adds certain choruses; or changes the intermission break; or alters the makeup of the instruments or choruses; or uses different soloists, or continues to adapt to and adopt early music practices.

Take this year. For the first time, the performance will include two singers who competed in the annual Handel Aria Competition held in Madison: mezzo-soprano Johanna Bronk (a finalist in 2017), and tenor Gene Stenger (bottom left, the second prize winner and audience favorite in 2017).

“It’s a no-brainer and a natural fit to use the world-class talent that takes part in a local event,” says Sewell, who is also the music director of the symphony orchestra in San Luis Obispo in California.

And for those of you who wonder what the Wisconsin Chamber Orchestra does after Concerts on the Square end in the summer and before its Masterworks series starts in January, the answer is marking the holidays.

In addition to “Messiah,” the WCO will accompany the Madison Ballet’s performances of Peter Tchaikovsky’s “The Nutcracker” that take place between Dec. 8 and Dec. 26 in the Overture Center. For details and tickets, go to: https://www.madisonballet.org/nutcracker/


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Classical music: Superstar cellist Yo-Yo Ma goes to NPR to perform and talk about spending 58 years learning and playing Bach

August 18, 2018
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By Jacob Stockinger

Superstar cellist Yo-Yo Ma has just recorded the six suites for solo cello by Johann Sebastian Bach for the third time.

Ma, now 62, started learning them when he was four years old.

Over so many years, his approach has changed. He says he finds new things in the music as he himself changes and matures, much the way you see different things in the same novel you read at 18 and then again at 55 after you have experienced more of life.

That’s why Ma calls his latest recording “Six Evolutions.” And truth be told, to The Ear his interpretations seem lighter, dancier and more up-tempo while his earlier readings seemed heavier, sometimes even gooey thick.

Anyway, the cellist (below), who has won 19 Grammy Awards and has often performed in Madison at the Wisconsin Union Theater, recently stopped by the studios of National Public Radio (NPR) for a Tiny Desk Concert.

He played three movements, and he talked about his long experience with playing and learning and exploring Bach to students, who loved him.

It is well worth listening to.

Here is a link: https://www.npr.org/2018/08/16/639206471/yo-yo-ma-tiny-desk-concert

What do you think?

Do you have an opinion about Ma’s current readings of solo Bach versus his past ones?

The Ear wants to hear.


Classical music: Want to know about Chinese classical music composers in our time? Read this story about the six-day Juilliard festival that starts today

January 19, 2018
1 Comment

By Jacob Stockinger

Classical music – like everything else in China – has undergone momentous changes over the past few decades.

The importance of Western classical music in contemporary China is not seen only through the construction of new conservatories and opera houses; or through the many outstanding instrumentalists, especially pianists such as Lang Lang, Yundi Li, Haochen Zhang and Sa Chen, who have won prizes in Western competitions and become major performers.

Chinese composers have also left their mark, as the Juilliard School in New York City will prove over six days, starting today, during this year’s “Focus” festival.

One such older composer is Chou Wen Chung (below, in a photo by Andrew Reneissen for The New York Times).

A much younger composer is Chen Lin (below in a photo by Dawes Li).

You will find some but not a lot of their music on YouTube – yet.

But The Ear bets that many of the 33 Juilliard performances will soon find their way to social media.

Anyway, here is a link to the comprehensive preview in The New York Times, which also features some sound and video samples.

https://www.nytimes.com/2018/01/12/arts/music/juilliard-china-music.html


Classical music: The Wisconsin Baroque Ensemble celebrates its 20th anniversary with concerts this Friday night in Milwaukee and Sunday afternoon in Madison

November 21, 2017
1 Comment

By Jacob Stockinger

Here, as elsewhere in the U.S. and around the world, the period instrument movement has become more and more mainstream over the years.

The instruments and the historically informed performance practices have expanded.

The repertoire has also grown, extending both back to Medieval and early Baroque music and forward to the Classical, Romantic and even more modern periods.

Historical research into early music, along with performances and recordings, has influenced even modern music groups such as the Madison Symphony Orchestra and the Wisconsin Chamber Orchestra, which now sound lighter, clearer and faster when they play Handel operas, Bach concertos and Beethoven symphonies.

Twenty years ago, the Madison Bach Musicians did not exist. Neither did the Madison Early Music Festival or the fully developed early music program at the UW-Madison.

But the Wisconsin Baroque Ensemble (below) was there, having grown out of other period instrument ensembles and performers who pioneered the long-lived and now very successful early music revival.

And the WBE, with changes in personnel, continues strong.

This coming Sunday you can help celebrate the ensemble’s 20th anniversary by attending a concert of mixed baroque chamber music.

The concert is on this Sunday, Nov. 26, at 2 p.m. in Saint Andrew’s Episcopal Church (below), at 1833 Regent Street on Madison’s near west side. (The Wisconsin Baroque Ensemble will also perform the same program in Milwaukee this Friday night at 7:30 p.m. at the Charles Allis Museum. See the WBE website, below, for details)

Performers are Brett Lipshutz, traverse flute; Eric Miller, viola da gamba; Sigrun Paust, recorder, Consuelo Sañudo, mezzo-soprano; Monica Steger; traverse flute and harpsichord; Anton TenWolde, baroque cello; and Max Yount, harpsichord.

Tickets at the door are $20, $10 for students.

A free reception will be held after the concert at 2422 Kendall Ave., second floor.

The program is:

Luigi Rossi – “Io lo vedo, o luci belle” (I see, O beautiful lights)

Georg Philipp Telemann – Trio Sonata for two recorders and basso continuo, TWV 42:F7 (The two opening movements can be heard in the YouTube video at the bottom.)

Marin Marais – Pièces de viole, movements from Book 2  (viol pieces)

Jacopo Peri – “Solitario augellino”(lonely little bird) “O miei giorni fugaci”(O my fleeting days)

Alexander Munro – Bony Jeane, from A Collection of the Best Scots Tunes Fited to the German Flute  (1732)

INTERMISSION

Benedetto Marcello – Sonata for recorder and basso continuo, Op. 2, No. 1

Michel Pignolet de Montéclair – “Les Syrenes” (The Sirenes)

Jakob Friedrich Kleinknecht – Sonata in G major for two flutes and basso continuo

Francisco de Santiago – “Ay, como flecha la Niña Rayos” (Like Arrows, the Girl Rays)

For more information, call (608) 238-5126 or email info@wisconsinbaroque.org, or visit www.wisconsinbaroque.org


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