The Well-Tempered Ear

Classical music: The Madison Bach Musicians will perform its ninth annual Baroque Holiday Concert this coming Saturday night

December 1, 2019
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By Jacob Stockinger

On this coming Saturday night, Dec. 7, the Madison Bach Musicians will present its ninth annual Baroque Holiday Concert (below, in  2014, in a photo by Kent Sweitzer).

The concert, using period instruments and historically informed performance practices, is again at the First Congregational United Church of Christ, 1609 University Ave., near Camp Randall Stadium. A pre-concert lecture by MBM founder and director Trevor Stephenson is at 7:15 p.m. followed by the concert at 8 p.m.

Advance-sale tickets are $35 at Orange Tree Imports and the Willy St. Co-op (East and West). Online advance-sale tickets are available at https://madisonbachmusicians.org. Tickets at the door at $38 for general admission and $35 for seniors. Student Rush tickets are $10 at the door and go on sale 30 minutes before the lecture.

The program features masterworks by Bach, Handel, Purcell and Torelli which, in their appealing Baroque way, explore the fusion of celebration, reflection and ultimate renewal often felt as the year’s end approaches.

MBM welcomes baroque trumpet virtuoso Kathryn Adduci (below), who will show how wonderfully vintage brass resounds in the magnificent Old World acoustics of the church.

Other performers are: Ariadne Lih, soprano (below); Lindsey Meekhof, alto; Ryan Townsend Strand, tenor; Michael Hawes, bass; Christine Hauptly Annin and Nathan Giglierano, violins; Micah Behr, viola; James Waldo, cello; and Trevor Stephenson, harpsichord.

Here are a couple of fun facts, provided by Stephenson, about each piece on the program.

Sound the Trumpet, by Henry Purcell (1659−1695, below)
1. This piece was composed in 1694, the year before Purcell died at the age of just 36. It is part of a birthday ode — Come Ye Sons of Art, Away! — for Queen Mary II of England, wife of King James II.
2. There is no trumpet in it at all, but the two voices implore the trumpet to play and they emulate trumpet-style writing with long, swelling notes mixed in with brilliant decorative flourishes.


Trumpet Concert in D major 
by Giuseppe Torelli (1658−1709, below)
1. Torelli was one of the most prolific trumpet composers of all time.
2. The baroque trumpet has no valves and is designed to play in one tonality at a time. Favorite baroque keys were D major and C major.

Comfort Ye and Every Valley from Messiah, by George Frideric Handel (1685−1759, below)
1. After the instrumental Overture to Messiah, this Recitative and Aria are the work’s first sung pieces.
2. Handel was 56 years old when he composed Messiah in 1741 in London; the work was premiered, however, in Dublin in 1742, much to the chagrin of Handel’s librettist Charles Jennens.

Cantata BWV 51, Jauchzet Gott in allen Landen (Exult in God in Every Land), by Johann Sebastian Bach (1685−1750, below)
1. Composed around 1730, this is one of the very few Bach cantatas requiring only one singer.
2. In Bach’s Leipzig church, where the work was probably first heard, the soloist would have been either a male falsettist (or castrato) or an exceptionally skilled boy soprano.

Contrapunctus XIX and Vor deinen Thron tret ich hiermit (Before Thy throne I stand), from The Art of Fugue, BWV 1080, by J.S. Bach
1. According to Bach’s son Carl Philipp Emanuel (CPE), this fugue is the last piece his father wrote — though scholars hotly contest this claim.
2. In measure 195, Bach’s own name appears suddenly as a musical motive: B (B-flat in the German scale) – A – C – H (B natural) and the fugue has no ending but simply trails off in measure 239.

Grosser Herr, o starker König (Great Lord, O Powerful King) from Christmas Oratorio,BWV 248, by J.S. Bach
1. It features dance-like melodic figures in dialogue between trumpet and solo bass voice. (Heard in the YouTube video at the bottom.)
2. Text celebrates the birth of the savior, which makes the powers of the Earth irrelevant.

Cantata BWV 196, Der Herr denket an uns (The Lord thinks of us),by J.S. Bach
1. With its textual focus on blessings (from Psalm 115), the work is likely a wedding cantata.
2. Written probably when Bach was only 22 years old, the work is absolutely perfect in its structure and easy concision; its high-energy but quiet final cadence has a curiously modern, neo-Classical charm that might have made Stravinsky smile.

Chorale: Wohl mir, dass ich Jesum habe (What joy for me that I have Jesus),from Cantata, BWV 147, Herz und Mund und Tat und Leben (Heart and Mouth and Deed and Life)by J.S. Bach
1. The famous opening figure in the strings is really just Bach’s ingenious obligato lead-in to a chorale tune that parishioners in his church would have instantly recognized.
2. This work has enjoyed tremendous popularity as “Jesu, Joy of Man’s Desiring” since it was arranged for one and then two pianos in 1926 and 1934 respectively by English pianist Myra Hess. It has since been arranged for myriad combinations of instruments and voices.


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Classical music: As we say goodbye to summer, YOU MUST HEAR THIS: Irish composer Joan Trimble’s “Pastorale” homage to the summery French composer Francis Poulenc

August 26, 2019
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By Jacob Stockinger

One week from today is Labor Day.

So it is time to start saying goodbye to summer and hello to fall — even though the autumnal equinox won’t arrive until Monday, Sept. 23, at 2:50 a.m. CDT.

The Ear’s favorite summertime composer is the French master Francis Poulenc (below), whose accessible and tuneful music possesses in abundance that Gallic sense of lightness and lyricism, of wit and charm, of modern Mozartean classicism and clarity — complete with trills and ornaments — that seems so appropriate to the summer season.

But then recently on Wisconsin Public Radio, The Ear heard for the first time something inspired by Poulenc that he thinks many of you will appreciate, especially during the transition between the seasons.

It is, appropriately, a 2-1/2 minute “Pastorale” for two  pianos – a form Poulenc himself used in his most famous piano concerto — by the underplayed and little known Irish 20th-century composer and pianist Joan Trimble (below). And it has many of the same qualities that distinguish Poulenc.

Here is a link to a Wikipedia entry with more about Trimble: https://en.wikipedia.org/wiki/Joan_Trimble

You can hear her homage to Poulenc in the YouTube video, from a Marco Polo CD distributed by Naxos Records, that is below.

Here’s hoping you enjoy it.

If you have a reaction, positive or negative, please share it.

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: The Middleton Community Orchestra and UW duo-pianists showcase the remarkable music of Camille Saint-Saens and Mozart in the popular concert that closes its season

June 1, 2019
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By Jacob Stockinger

Here is a special posting, a review written by frequent guest critic and writer for this blog, John W. Barker. Barker (below) is an emeritus professor of Medieval history at the University of Wisconsin-Madison. He also is a well-known classical music critic who writes for Isthmus and the American Record Guide, and who hosts an early music show once a month on Sunday morning on WORT-FM 89.9. For years, he served on the Board of Advisors for the Madison Early Music Festival and frequently gives pre-concert lectures in Madison.

By John W. Barker

The mostly amateur Middleton Community Orchestra (below, in a  photo by Margaret Barker) closed its season Thursday night at the Middleton Performing Arts Center with a promising and well-received program.

The centerpiece featured two graduate student soloists from the University of Wisconsin-Madison’s Mead Witter School of Music, pianists Thomas Kasdorf (below right) and Satoko Hayami (below left), who joined in Mozart’s Concerto in E-flat Major, K. 365, for two pianos and orchestra. The two soloists were alert and polished collaborators. (You can hear the energetic and catchy final movement, used in the Academy Award-winning film “Amadeus,” in the YouTube video at the bottom.)

Conductor Steve Kurr (below) set a bouncy pace but a rather fast and overpowering one, and with an orchestra — especially strings — quite overblown by the standards of Mozart’s day.

The MCO was blessed by the loan of a very special model of a Model B Steinway instrument, now owned and lovingly restored by Farley’s House of Pianos. This was paired against a Steinway of much later vintage, owned by the hall. But nowhere was there identification about which piano was which as they sat onstage, much less which pianist was playing which piano (and they switched between the two works utilizing them.) This was disappointing for it prevented making an informed comparison of the two instruments.

Camille Saint-Saens (1835-1921, below) is backhandedly treated as being on the margins of composer greatness. But his scope was remarkable, as witnessed by the two works that were the program’s bookends.

The opener was his humorous Suite, “Carnival of the Animals.” This set of 14 short pieces was written for one private performance, in chamber terms, one player per part. So the orchestra that was used — of 87 listed musicians, 60 of them were string players — became a crushing distortion. The two pianists were a bit formal, but ideally facile.

Saint-Saens made no provision for any kind of spoken text, certainly not in French. In the middle of the last century, the American poet of high-spirited doggerel, Ogden Nash, wrote wickedly funny verses with offbeat rhymes and puns to go with each movement.

It was these Nash verses that Wisconsin Public Radio host Norman Gilliland (below), who was only identified as the “narrator,” read with a good bit of tongue-in-cheek. Nowhere are these at all identified or credited in the bumbling program booklet.  (Many in the audience might have just thought that they were written by Gilliland himself.)

In many of the suite’s movements, Saint-Saens quoted or alluded to hit tunes by earlier composers, for parodistic purposes. Unfortunately, there are no program notes in the booklet, so these tidbits would easily go unnoticed by many listeners.

Saint-Saens composed, among his numerous orchestral works, a total of five symphonies, only three of which are numbered. I had originally been given to expect No. 2, a charming work I love, as the program closer. All but the last of them are early works in a graceful post-Classical style.

But No. 3 was composed much later in his life, and in a more expansive style. This is a frequently performed spectacle, unconventional in plan and in scoring. It adds the two pianists and an organ — hence the nickname the “Organ Symphony.”

Unfortunately, the hall has no organ of its own, so the substitute was a rig of electronic organ with its own booming speakers and exaggerated pedal notes. Again totally unmentioned is that this contraption was played by MCO sound technician Alex Ford (below, with the portable electronic organ keyboard from Austria with its computer-screen stops).

This kind of organ could never be integrated into the full orchestral texture and served only to allow the orchestra to play this grandiose score. Such ambition was backed by really splendid and well-balanced orchestral playing.

As intended, the large local audience, with many children and families, was wildly enthusiastic.


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Classical music: This Friday night, the Wisconsin Chamber Orchestra closes its season with a dark and unorthodox symphony by Shostakovich as well as lighter suites by Bizet and Debussy

May 6, 2019
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By Jacob Stockinger

The Wisconsin Chamber Orchestra (below top) ends its winter Masterworks season this coming Friday night, May 10, at 7:30 p.m. in the Capitol Theater of the Overture Center.

And it is going out in a big, eclectic way.

The WCO will perform under the baton of music director Andrew Sewell (below).

Sewell and the WCO will be joined by two guest singers: soprano Mary Mackenzie, a former Madison resident and member of the Wisconsin Youth Symphony Orchestras (WYSO); (below top); and the Grammy-nominated bass Timothy Jones (below bottom).

Both critically acclaimed singers are familiar to Madison audiences from past appearances with the Bach Dancing and Dynamite Society, the Madison Opera, the Token Creek Chamber Music Festival, the Madison Symphony Orchestra and previous appearances with the Wisconsin Chamber Orchestra.

They will all join in the major work that opens the concert, the Symphony No. 14, Op. 135, by Dmitri Shostakovich (below), his penultimate symphony that runs about 50 minutes and is highly unorthodox in its form.

Shostakovich wrote his symphony in 1969, and dedicated it to the British composer Benjamin Britten.

Perhaps to avoid more confrontations with the government of the USSR and perhaps to critique global events such as war,  the composer gave it a very international flavor.

Written for strings and percussion with vocal soloists, the symphony is composed in 11 movements. It is also set to poetry by the French poet Guillaume Apollinaire (below top), the Spanish poet Federico Garcia Lorca (below middle) and the German poet Rainer Maria Rilke (below bottom). In the YouTube video at the bottom, you can hear a live recording of the first movement from the work’s world premiere in Moscow in 1969.

In the late work, Shostakovich (below, in 1950) – always suspect by the Soviet state and in danger during the Stalinist Terror — seeks to portray the idea of unjust and premature death that aroused deep feelings of protest in him. Shostakovich emphasized, however, that it was not out of pessimism that he turned to the problem of mortality but in the name of life on this earth.

The concert concludes on a lighter, more upbeat note by celebrating the innocence and joy of youth in two charming suites: “Jeux d’enfants” (Children’s Games), Op. 22, by Georges Bizet and the “Petite Suite” (Little Suite) by Claude Debussy.

Tickets are $12-$80. To buy tickets and to see more information about the program and detailed biographies of the performers, go to:

https://wisconsinchamberorchestra.org/performances/masterworks-v-4/


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Classical music: The Oakwood Chamber Players will play music by Russian, British, Canadian and American composers this Saturday night and Sunday afternoon

March 1, 2019
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ALERT: If you attend the concert by the Cuarteto Casals tonight at 7:30 p.m. in Shannon Hall of the Wisconsin Union Theater, you night want to read local writer and amateur cellist Paul Baker’s interview with the Chicago-born violist who analyzes the interpretation of each piece on the program. Here is a link to Baker’s blog “Only Strings” where you can find the interview: https://onlystringswsum.wordpress.com/author/pbaker/  

For more information about the group and the concert, go to yesterday’s post:  https://welltempered.wordpress.com/2019/02/28/classical-music-this-friday-night-the-wisconsin-union-theater-presents-a-world-class-spanish-string-quartet-and-will-also-announce-the-special-programs-for-its-centennial-anniversary-next-season/

By Jacob Stockinger

This coming weekend, the Oakwood Chamber Players (below) continue their season theme of Vignettes with compositions that depict concepts and stories.

The program includes dances from Panama, a string quartet from Russia and interpretation of the natural world woven into a composition by an American composer.

Performances will take place Saturday night, March 2, at 7 p.m. and Sunday afternoon, March 3, at 2 p.m. Both concerts will be held at the Oakwood Center for Arts and Education, 6209 Mineral Point Road, on Madison’s far west side not far from West Towne Mall.

Tickets can be purchased with cash or personal checks at the door: $25 for general admission, $20 for seniors, and $5 for students. Visit www.oakwoodchamberplayers.com or call (608) 230-4316 for more information.

Five Novelettes for string quartet by Russian composer Alexander Glazunov (below) showcase the composer’s imagination and romantic writing. From the opening elegance in the Spanish style to the spirited Hungarian character in the finale, each of the five contrasting movements is graceful and captivating.

Red Hills Black Birds was composed by American composer Libby Larsen (below) for clarinet, viola and piano after she viewed contrasting paintings of New Mexico by Georgia O’Keeffe. Many of O’Keeffe’s works embody a sense of perspective, color and horizon. Larsen’s music uses her impressions of O’Keeffe’s art as her compositional focus. She reimagines six paintings of the southwest and shapes her composition to concepts of breadth and timelessness.

Dash for flute, clarinet and piano by American composer Jennifer Higdon (below) is a riotous musical chase. The composer chose these three instruments specifically for their capability of velocity. The unrelenting pulse creates a breath-taking technical sprint for the players.

O Albion by British composer Thomas Adès (below) is excerpted from his string quartet Arcadiana. The music has an ethereal quality and mesmerizes with its slow beauty and simplicity. (You can hear “O Albion” in the YouTube video at the bottom.)

Trio for flute, clarinet and bassoon is an upbeat piece written by Canadian composer, bassoonist and jazz pianist Bill Douglas. His writing brings together both classical and jazz influences.

The concert concludes with Danzas de Panama by William Grant Still (below) for string quintet and flute. A noted 20th century African-American composer, Still based this piece on Panamanian folk tunes collected in the 1920s. He used the lushness of the songs and compelling rhythms with great success. He was a talented orchestrator and it is hard to resist the panache and charm of the four movements: Taborita, Mejorana, Punto and Cumbia y Conga.

Oakwood Chamber Players members are Marilyn Chohaney, flute; Nancy Mackenzie, clarinet; Amanda Szyczs, bassoon; and Maggie Townsend, cello. They will be joined by guest artists Elspeth Stalter-Clouse, violin; Ariel Garcia, viola; Brad Townsend, bass; and Satoko Hayami, piano.

This is the fourth of five concerts in the Oakwood Chamber Players’ 2018-2019 season series entitled Vignettes. Remaining concerts will take place on May 18 and 19.

The Oakwood Chamber Players are a group of Madison-area professional musicians who have rehearsed and performed at Oakwood Village for over 30 years. They have also played in other local groups, including the Madison Symphony Orchestra and the Wisconsin Chamber Orchestra, and at the University of Wisconsin-Madison.

The Oakwood Chamber Players is a professional music ensemble proudly supported by Oakwood Lutheran Senior Ministries and the Oakwood Foundation.


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Classical music: The Token Creek Festival will “harvest” gardens of music from next Saturday through Sept. 2

August 20, 2018
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By Jacob Stockinger

The summer season for classical music in Madison has gotten busier and busier. But the summer still ends on the same high note — the Token Creek Chamber Music Festival that is co-directed by John Harbison and Rose Mary Harbison.

Here is the announcement about this year’s festival, the 29th, that begins this coming weekend:

“The late-summer garden inspires the 2018 season theme of “Harvest” at this year’s Token Creek Chamber Music Festival.

“Both garden and festival share much in common:  risk, patience, experimentation, disappointment, and finally amazement that a piece —whether a piece of ground or a piece of music — is capable of such nourishment, abundance and variety.

“In the musicians’ garden, with its unpredictability and surprise, there is always the hope of reducing the variables — but they persist, and the richness of choice, the endlessness of the resources we inherit drive us to continue to create.

“One of the advantages of our season title is that it implies a summing up, a reaping of things planted, but of a kind that can occur each year,” writes co-artistic director and composer John Harbison (below). “Each planting retains certain elements and adjusts others with the hope of increased productivity. But so many of the adjustments made in hope of improvement do not work, but create new problems, require new approaches.  What a fine analogy for the making of art.”

Here are this year’s Concert Programs. Please note something new this year: All weekend concerts start at 4 p.m.

Program I: ROOTS – Music of Bach and Primosch. On Saturday, Aug. 25, at 4 p.m. and Sunday, Aug. 26, at 4 p.m.

“Continuing our ongoing exploration of the music of Johann Sebastian Bach (below top) in cantatas and instrumental works, and its reflection in the music of James Primosch (below bottom), one of the few composers in our time able to grasp both the possibilities and responsibilities available in sacred music in a tradition inherited from Bach.”

Program II: NEW GROWTH – The Kepler Quartet (below, with composer Ben Johnston, and playing Johnston’s String Quartet No. 7 in the YouTube video at the bottom) on Wednesday, Aug. 29, at 7:30 p.m.

“A recital of beautifully alluring micro-tonal music “in between the notes.” The attractive and intelligible musical surface, and our experience hearing it, belies the at-times complex compositional methods.

“We are impressed by the pure pleasure of hearing tones combining differently but convincingly. The recital will be augmented with a demonstration and discussion by the Keplers.

Works are by Ben Johnston, Stefano Scodanibbio (below top), Henry Cowell (below middle) and Harry Partch (below bottom).”

Program III: CORNUCOPIA – Saturday, Sept. 1, at 4 p.m. and Sunday, Sept. 2, at 4 p.m.

“Schumann’s beloved and timeless song cycle “Dichterliebe” (A Poet’s Love) with tenor Frank Kelley (below) and his impassioned, enigmatic and exuberant Piano Trio in D minor anchor this program.

“The program also includes the Violin Sonata in G Major, K. 301, by Wolfgang Amadeus Mozart and Piano Sonata in E Major by Franz Joseph Haydn sonatas and the world premiere of John Harbison’s new song cycle, “In Early Evening,” to poems by Louise Gluck.”

The ARTISTS are Mark Bridges, cello; Laura Burns, violin; Ryne Cherry, baritone; Ross Gilliland, bass; John Harbison, portative organ and piano; Rose Mary Harbison, violin; Frank Kelley, tenor; The Kepler Quartet; Karl Lavine, cello; Sharan Leventhal, violin; Jennifer Paulson, viola; James Primosch, piano; Brek Renzelman, viola; Eric Segnitz, violin;  Janice Weber, piano; and Sarah Yanovitch, soprano.

Performances take place in the Festival Barn (below top and bottom), on Highway 19 near the hamlet of Token Creek (10 minutes north of Madison, near Sun Prairie). 

The charming and rustic venue — indoors and air-conditioned, with modern comforts — is invitingly small; early reservations are recommended, and casual dress is suggested. Ample parking is available.

Tickets are $12-$32, and can be purchased at https://www.eventbrite.com/e/token-creek-festival-2018-harvest-tickets-47217166817

For more information about the performers and specific works on programs, call (608) 241-2525 or go to www.tokencreekfestival.org

ABOUT THE FESTIVAL

The Token Creek Festival has been called “ferociously interesting and important, an ideal musical experience, a treasure nestled in the heart of Wisconsin cornfields.” (Photo below is by Jess Anderson.)

“Now in its 29th season, this late-summer series near Madison is known for its artistic excellence, diverse and imaginative programming; a deep engagement with the audience; and a surprising, enchanting and intimate performance venue in a  comfortable refurbished barn.”


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Classical music: Irish pianist John O’Conor charms and excels in solo works by Haydn, Schubert, Beethoven and John Field. Ancora String Quartet plays Nielsen and Debussy Friday night. 

May 14, 2018
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ALERT: The Ancora String Quartet will close out its 17th season with a performance this Friday night at 7:30 p.m. in St. Andrew’s Episcopal Church, 1833 Regent Street. The program features the String Quartet No. 4 in F Major, Op. 44, by Danish composer Carl Nielsen and the String Quartet in G Minor, Op. 10, by Claude Debussy. Tickets are available at the door and are $15, $12 for seniors, $5 for children. A reception follows the concert. For more information, go to: https://www.ancoraquartet.com

By Jacob Stockinger

Here is a special posting, a review written by frequent guest critic and writer for this blog, John W. Barker. Barker (below) is an emeritus professor of Medieval history at the University of Wisconsin-Madison. He also is a well-known classical music critic who writes for Isthmusand 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.

By John W. Barker

Lovers of piano music were given a special treat this past weekend — a double-header, allowing access to two different dimensions of one of the important pianists of our time.

John O’Conor (below), the Irish pianist, appeared on Friday evening with the Wisconsin Chamber Orchestra (WCO), presenting a stimulating performance of the Piano Concerto No. 3 by Ludwig van Beethoven.

Then, the following evening, at the Salon Piano Series at Farley’s House of Pianos, O’Conor gave a solo recital that showed the more personalized aspects of his art.

O’Conor concentrates particularly on the early Romantics in both his performing and recording activities, and from such concentrations was the recital program derived.

He began it with a reach back to an early favorite, Franz Joseph Haydn, in the Sonata No. 32 in B minor. In this work from 1776 O’Conor could find hints of the Romantic spirit to come — in a composer usually more identified with High Classicism.

The pianist was more fully in his own comfort zone, however, with the four Impromptus that make up the Op. 90 (D. 899) by Franz Schubert.

Dating from 1827, the composer’s last year, these are simply marvelous gems, and they made me realize that part of their delightfulness is what differentiates them from Schubert’s larger-scale piano works (sonatas,a fantasy, etc.).

The latter correspond to his efforts at music of grand scope and structure, as in the string quartets and symphonies, whereas the shorter piano pieces correspond to Schubert’s Lieder, or art songs, in their greater directness and intimacy. O’Conor played them with conviction and affection.

After the intermission came music by two composers with whom O’Conor has his most-established affinity. He has been the outstanding and crucial champion in the revival of interest in the piano music — both concertos and the pace-setting nocturnes — by John Field (1782-1837, below), the Irish pianist and composer who is recognized now as an important forerunner to Chopin.

Three of Field’s nocturnes (Nos. 5, 6, and 18) were presented, the last a kind of picture of party life in old Russia — where Field spent his later years — ending at the tolling of midday chimes. (You can hear John O’Conor play the lyrical and lullaby-like Nocturne No. 6 in the YouTube video at the bottom.)

Beethoven’s music is O’Conor’s other speciality. He has recorded all of the sonatas and the concertos, among other things. For this program, he performed the Sonata No. 14 in C-sharp minor (1801), a work nowadays cursed by the nickname given its first movement, “Moonlight.” He reminded us that the other two movements are the more fascinating and important ones.

As an encore, he suggested the John Field connection with one of Chopin’s own nocturnes.

Before each half of the program, the pianist gave his own comments, on both personal and analytical matters, and laced with his delightful Irish charm.

O’Conor performed on the amazing 1906 Chickering concert grand piano that Tim Farley has so lovingly restored. The post-recital conversation I had with O’Conor suggested that he had had too little time to adjust to the very remarkable individualities of the instrument. We may hope that he will return to Madison to fill out that acquaintance.

And we hope for more examples of the fruitful cooperation between the WCO and Farley’s in jointly bringing so fine a performer as this to the Madison scene.


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Classical music: The Middleton Community Orchestra draws its largest crowd yet as it rings in the New Year with Viennese waltzes, ethnic dances and violin showpieces

December 22, 2017
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By Jacob Stockinger

Here is a special posting, a review written by frequent guest critic and writer for this blog, John W. Barker. Barker (below) is an emeritus professor of Medieval history at the University of Wisconsin-Madison. He also is a well-known classical music critic who writes for Isthmus and the American Record Guide, and who hosts an early music show once a month on Sunday morning on WORT-FM 89.9. For years, he served on the Board of Advisors for the Madison Early Music Festival and frequently gives pre-concert lectures in Madison. He also took the performance photos.

By John W. Barker

On Wednesday night, the mostly amateur Middleton Community Orchestra (below)  had the last word of the December holiday season with a distinctly non-Christmas program.

To be sure, it was not a typical concert devoted to a tiny handful of major works. Rather, conductor Kyle Knox (below) devised something a cut above simplistic “pops” programming, with a clutch of nearly a dozen short works, each one of charm and substance—more like what Sir Thomas Beecham used to call “lollipops.”

The opener was a group of three selections from Tchaikovsky’s score for the ballet Swan Lake. There followed three of the Hungarian Dances by Brahms intermingled with two of the Slavonic Dances by Dvorak, in their orchestral versions.

The first half then closed with the first of two pieces featuring the conductor’s wife, violinist Naha Greenholtz (below), who is also the concertmaster of the Madison Symphony Orchestra. This was a kind of mini-concerto tidbit by Tchaikovsky, his Danse Russe.

The high point of the program’s second half was the second violin solo for Greenholz. Ravel’s Tzigane is a contemplation of Gypsy style. It begins with a wild unaccompanied solo for the violin, to which the orchestra then joins in a colorful set of variations. Here the playing by Greenholz was simply dazzling.

(You can hear Ravel’s virtuosic “Tzigane” — played by superstar violinist Itzhak Perlman with the New York Philharmonic conducted by Zubin Mehta —  in the YouTube video at the bottom.)

Otherwise, the second half of the program was a bit of old Vienna, via Johann Strauss II, perhaps hinting at that city’s famous New Year’s Concert.

Setting the scene was the overture to Die Fledermaus. Knox’s direction throughout showed a lot of hard work to bring off all the selections with precision, but I often felt that he strove mainly for exuberance at the cost of subtleties. Notably in this overture, it seemed to me that the strings, especially the violins, sounded a bit coarse, certainly below their best ensemble polish.

But doubts were certainly dispelled with one Strauss miniature, the Persian March, followed by that noblest of the composer’s achievements, the Kaiserwalzer or Emperor Waltz.

All in all, this worked as a responsible seasonal treat. It seemed to me that it drew the largest audience that the Middleton Community Orchestra has yet had, and this audience simply loved everything.

So, if you will, Happy New Year!


Classical music: After 20 years, the Wisconsin Baroque Ensemble still delivers performances to relish of Baroque vocal and instrumental music

November 28, 2017
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By Jacob Stockinger

Here is a special posting, a review written by frequent guest critic and writer for this blog, John W. Barker. Barker (below) is an emeritus professor of Medieval history at the University of Wisconsin-Madison. He also is a well-known classical music critic who writes for Isthmus and the American Record Guide, and who hosts an early music show once a month on Sunday morning on WORT-FM 89.9 FM. For years, he served on the Board of Advisors for the Madison Early Music Festival and frequently gives pre-concert lectures in Madison. He also took the performance photographs.

By John W. Barker

On Nov. 26, 1997, the Wisconsin Baroque Ensemble gave its first public performance.

On Sunday afternoon, exactly 20 years later to the very date, the group (below) presented a concert at St. Andrew’s Episcopal Church in honor of this distinguished anniversary.

This ensemble is the longest-lasting, still-continuing group in Madison devoted to early music. Despite the arrival three years later of the Madison Early Music Festival, the WBE gave the very first start to building an audience here for this literature. (You can hear a typical concert in the lengthy YouTube video at the bottom.)

Working under Sunday afternoon time pressures, the group offered a particularly rich and diversified program, employing a total of seven performers: one singer, mezzo-soprano Consuelo Sañudo, with instrumentalists Brett Lipschutz (traverso flute), Monica Steger (recorder, traverse flute, harpsichord), Sigrun Paust (recorder), Eric Miller (viola da gamba), Max Yount (harpsichord), and founder Anton TenWolde (cello).

There were nine items on the program.

Sañudo (below) had in some ways the amplest solo role, singing five pieces: a cantata aria by Luigi Rossi; a long cantata by Michel Pignolet de Monteclair; a late villancico by Francisco de Santiago; and two particularly lovely songs by Jacopo Peri.

All these she sang with her usual devotion to textual as well as musical subtleties—making it a little sad that the provision of printed texts could not have been managed.

One solo sonata by Benedetto Marcello was for recorder and continuo, while one double sonata (below), a particularly delightful one by Georg Philipp Telemann for two recorders, and another one by the obscure Jacob Friedrich Kleinknecht rounded out these ingredients.

Along with continuo assignments, Eric Miller (below) played an extensive viol da gamba suite by Marin Marais.

Active in his own varying assignments, Lipschutz (below) bubbled with skill and charm in a set of variations for flute on a Scots folk melody, taken from a published collection credited to a mysterious Alexander Munro.

The program pattern was generally familiar, with each of the performers having a say in the choice of selections, notably their particular solos. In this sense, the group acts as a collective, as TenWolde likes to say, rather than an operation exclusively shaped by him.

As it has been defined and employed over two decades now, this organizational format has given so much for both performers and audiences to relish.

But, to be sure, there is more to come. So we will check back in another 20 years.


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