The Well-Tempered Ear

Classical music: The annual Karp Family Labor Day Concert for this year has been CANCELLED

July 30, 2017
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By Jacob Stockinger

Today’s posting has sad news to report.

The Ear has learned that the annual Karp Family Labor Day concert for this year has been CANCELLED.

It would have been the 39th annual FREE community gift from the talented Karp family (below) – Madison’s First Family of Music — to the community.

Over the years the well attended family concert, which was usually performed on Labor Day night or the Monday night before classes began at the UW-Madison, had become the unofficial start of the new concert season, both at the UW-Madison and in the larger community.

Performers included grandparents, parents, children and grandchildren as well as guest artists.

For 38 years, many new works were premiered and no work was ever repeated.

That is an impressive record.

The immediate reason for the cancellation is as follows: After the death of pianist Howard Karp in 2014, eldest son Parry Karp (below) became the patriarch and guiding spirit, and the show went on. Parry Karp is a cello professor at the UW-Madison and longtime member of the Pro Arte String Quartet.

But several months ago Parry Karp sustained a serious injury to the fourth finger on his left hand, which is the hand that finds the notes. (You can hear Parry Karp playing a cello duet five years ago with his daughter Ariana Karp in the YouTube video at the bottom.)

That same injury caused him to cancel performances this summer with the Bach Dancing and Dynamite Society and the upcoming Token Creek Chamber Music Festival.

Perhaps the Labor Day tradition will be revived next year. You can read about past concerts by using the search engine on this blog.

But perhaps not, although everyone certainly wishes Parry Karp a full and speedy recovery.

The Ear gives bravos and a big thank you to all the Karps, who gave us so much wonderful music over so many years.

Others can also leave words of gratitude and encouragement in the COMMENT section.


Classical music: Tonight is the opening of the Madison Savoyards’ production of Gilbert and Sullivan’s operatic satire “H.M.S. Pinafore.” Seven performances will run through Aug. 6

July 28, 2017
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By Jacob Stockinger

Tonight at 7:30 p.m. in UW Music Hall, on Bascom Hill, the Madison Savoyards will give the opening performance of their latest production of the popular operetta “H.M.S. Pinafore” by Gilbert and Sullivan (below).

The production, including two Sunday matinees at 3 p.m., will be performed on July 28, 29, 30 and August 3, 4, 5 and 6.

According to a press release, the production promises to be “visually stunning.”

Audrey Wax (below top), of Edgewood College, is the stage director, and Kyle Knox (below bottom), who studied at UW-Madison and has conducted for the Madison Opera, the University Opera and the Middleton Community Orchestra, is the music director.

The orchestra and cast are local.

SYNOPSIS

“Pinafore is the story of a lowly sailor in love with his Captain’s daughter, but she is betrothed to a wealthy officer of her own social class.

Political satire of the time (and today) permeates the story, making light-hearted fun of patriotism, party politics, and unqualified people reaching positions of power.

“Even though Pinafore premiered in 1878 skewering the “one percent” of its day, the class conflicts and romantic rivalry resonate with audiences of any generation. Rich orchestration and challenging vocal work make the music a joy to perform and to hear.” (You can hear the funny and popular song “I Am the Monarch of the Sea” in the YouTube video at the bottom.)

ADDITIONAL OPPORTUNITIES

Grant funding supports the artists and underwrites the Children’s Pre-Show (1 p.m. on this Sunday, July 30, at UW Music Hall).

Children will meet members of the cast and crew, and learn about the show and its music, tour the theater, and create a show-centric craft for free.

American Sign Language service is available, by request, for the July 29 performance.

TICKETS

Tickets cost $40 for premium seats; $30 for general admission; $28 for seniors; $15 for students and young people under 18; and $5 for children 6 and under. Tickets can be purchased through UW Box Office at (608) 265-2787, www.arts.wisc.edu, or in person at the door.  Group sales of 10 or more available by telephone only. Some disocunts are available.

ABOUT MADISON SAVOYARDS LTD.

Since 1963, it has been the mission of the Madison Savoyards, Ltd. to preserve the works of Gilbert and Sullivan and other light opera by producing and promoting live performances; to develop the skills and talent of cast, crew and musicians of all ages; and to inspire, entertain, and educate the community through performances and other initiatives.

“More information can be found on our Facebook page along with behind the scenes insights to the production.”

For full information about the production and the cast, and for clips from other Savoyard productions, go to: http://madisonsavoyards.org


Classical music: More chamber music should be performed at the Goodman Community Center on the east side. Are there other underused venues?

July 21, 2017
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By Jacob Stockinger

Last Saturday morning, The Ear headed off to the Goodman Community Center (below), on the near east side just off Atwood Avenue.

The reason was to hear a noontime concert by one of his favorite chamber music groups: The Willy Street Chamber Players.

The summer concert was part of the new and FREE Community Connect series by The Willys. And the terrific performances of works by Caroline Shaw, Daniel Bernard Roumain, Astor Piazzolla and Johannes Brahms seemed to draw in a good-sized crowd that was younger and even included some children.

Clearly, The Willys have indeed connected to the community in a different part of town than where they usually perform.

But another of the great things about The Willys is that they also explore new venues.

For the past two winters, they have performed a season preview concert in “A Place to Be” on Williamson Street.

What struck The Ear this time, however, was the Evjue Community Room (below) at the Goodman Center.

The handsomely rehabbed room sure seems an ideal venue for chamber music.

Why, The Ear wondered, was it the first time he was there for a concert?

The room seats about 100, making it ideal for intimate music.

It has lots of natural light, which the players (below) said they really like for reading music.

And the acoustics were superb, no doubt the result of the cream-colored brick, the dark wood, the glass windows and the metal ductwork – all hard surfaces that made for clarity and sufficient volume, even in the back rows. It is, as they say in the biz, a “live” space.

Take a look:

The Ear sure hopes the Goodman Center will see the return of The Willys.

More to the point, he also hopes that other chamber music groups will also use the center. It would be a wonderful spot for recitals and small groups of all kinds.

What do you think of the Goodman Center as a venue for classical music and other kinds of music?

Do you know of other underused performance spaces around the Madison area that you would recommend?

The Ear wants to hear.


Classical music education: Madison Music Makers becomes part of the Wisconsin Youth Symphony Orchestras

June 26, 2017
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By Jacob Stockinger

The Wisconsin Youth Symphony Orchestras has sent The Ear the following news announcement to post on the blog   He is very happy to do so and urges everyone to support the new venture. It is one of the best investments in the future of classical music that you can make:

“Recently, the Board of Directors of the Wisconsin Youth Symphony Orchestras unanimously voted to acquire the Madison Music Makers program (below are participants), founded by Bonnie Greene in 2007, making it a program of the Wisconsin Youth Symphony Orchestras.

“This historic decision was the culmination of two years of research and due diligence to lay the groundwork for this action. This will insure that the mission of Madison Music Makers — to provide access to music education and performance opportunities for underserved children — will be properly supported well into the future.

“Says Greene (below): “I’m absolutely thrilled that the WYSO organization is willing to adopt the Music Makers program, which has been so meaningful for so many children. This is another instance of how much support is in place in the Madison area community for children whose opportunities are so limited. This move will better ensure the long-term health of Music Makers.” (You can learn more about Madison Music Makers in the YouTube video at the bottom.)

“The members of the WYSO Music Makers program will have the opportunity to take private lessons on violin, guitar, piano and drums at a free or reduced cost. Group lessons will be held each week. There will be no audition required to be a part of WYSO Music Makers.

“WYSO has hired Paran Amirinazari (below) to act as the Program Director of WYSO Music Makers.

Says Amirinazari: “Over the years it has been a joy getting to know both Music Makers and WYSO students and families. I’m honored to be able to work closely with Bonnie Greene and WYSO to continue the vision of quality music education for all. I’m constantly inspired by the amount of support the city of Madison has for the arts and I look forward to becoming closer and more engaged in the community at large.”

“Amirinazari is a WYSO chamber music coach and has led the Music Makers Honors Ensembles for the past few years. Her many musical accomplishments and her familiarity with both WYSO and the Music Makers programs make her uniquely qualified to build a successful program that will benefit many children in our community.

“She is also a professional violinist with the Madison Symphony Orchestra, Wisconsin Chamber Orchestra and the Willy Street Chamber Players. She will receive her Doctor of Musical Arts in Violin Performance from UW-Madison in the fall and is looking forward to carrying out the WYSO Music Makers mission and being a part of the WYSO team.

“The acquisition of Madison Music Makers will not only help to serve the mission of WYSO by enriching lives by providing transformational musical experiences and opportunities, but also provide access to a quality music education, the opportunity to improve confidence, focus and discipline to achieve better academic results, and performance opportunities that will make members proud of themselves and improve their self-esteem.

“Over the last 52 years, WYSO has continued to evolve and grow both in the size of its membership and the scope of its programs. Without a doubt, under the WYSO umbrella, WYSO Music Makers will continue to evolve and grow as well.

“With the addition of WYSO Music Makers, WYSO will be able to expand the outreach of its music education program to a wonderfully diverse group of children who will come to know the joy of music.”

For more information about WYSO, got to: https://www.wysomusic.org

For more information about Madison Music Makers of Madison, go to: http://madisonmusicmakers.org


Classical music: Two FREE “garage” performances of Fresco Opera Theatre’s “The Ugly Duckling” remain in Fitchburg and Madison on Saturday and Sunday afternoons

June 23, 2017
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By Jacob Stockinger

The Ear has received the following information from Fresco Opera Theatre:

Take “The Ugly Duckling” — the fairy tale by Danish writer Hans Christian Andersen — mashed up with opera and all set in the context of a typical John Hughes movie.

Fresco revisits the joys that were the ’80s.

The hair.

The fashion.

The mean girls.

The cute boys.

Teenage angst at its best, and what better way to convey it than through opera?

Best of all – WE BRING THE SHOW TO YOU!

This is fun for the whole family, whether you are an opera fan, unfamiliar with opera, or frankly even think you hate opera. This is a totally awesome production!

The final two FREE “garage” performances (below top, by Max Wendt, and below bottom) are this Saturday at 2 p.m. at 4412 Sentinel Pass in Fitchburg and Sunday at 2 p.m. at 21 Shea Court, on Madison’s west side)

This is part of Fresco’s 2017 season of outreach. All that we do this year will be FREE OF CHARGE to get people interested in the fine arts.

We will have our Opera Unplugged series starting up at the end of July, which will take place on the Capitol Square during the Saturday morning Dane County Farmers’ Markets.

This is a great opportunity for families of young children to introduce them to opera.

For more information about Fresco Opera Theatre, including portraits of the cast for “The Ugly Duckling”; past productions; dates and places of Opera Unplugged productions; opera at Olbrich Gardens; and how to support the company, look at the YouTube video at the bottom and go to: http://www.frescooperatheatre.com


Classical music: Mozart masterfully melds the emotional and the intellectual, says maestro Gary Thor Wedow, who will conduct two performances of “The Magic Flute” this weekend for the Madison Opera. Here is Part 1 of his two-part interview with The Ear

April 18, 2017
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By Jacob Stockinger

The Madison Opera will stage Wolfgang Amadeus Mozart’s The Magic Flute this Friday night, April 21 at 8 p.m. and Sunday afternoon, April 23, at 2:30 p.m. in Overture Hall. (Production photos are courtesy of the Arizona Opera, from which the Madison Opera got its sets and costumes.)

Here are an introduction and some details, courtesy of the Madison Opera:

Written in the last year of his life, Mozart’s opera is part fairy tale, part adventure story, and is filled with enchantment.

Set in a fairy-tale world of day and night, the opera follows Prince Tamino and the bird-catcher Papageno as they embark on a mission to rescue Pamina, the daughter of the Queen of the Night. Pamina had been kidnapped by Sarastro, the leader of a religious order. But it turns out that exactly who is “good” and who is “evil” is not always what it appears.

Along the way to happily-ever-after, Pamina, Tamino and Papageno face many challenges, but are assisted by a magic flute, magic bells, a trio of guiding spirits and their own clear-eyed sense of right and wrong.

“The Magic Flute has been beloved around the world since its 1791 premiere,” says Kathryn Smith (below in a photo by James Gill), Madison Opera’s general director. “It has been called a fairy tale for both adults and children, with a story that works on many levels, all set to Mozart’s glorious music. I’m so delighted to be sharing it again with Madison, with an incredible cast, director and conductor.”

The opera runs about 2 hours and 45 minutes with one intermission.

Tickets are $18 to $130.

“The Magic Flute” will be sung in German with English supertitles.

For more about the production and cast, go to:

http://www.madisonopera.org/performances-2016-2017/the-magic-flute/

And also go to:

http://www.madisonopera.org/performances-2016-2017/the-magic-flute/cast/

Dan Rigazzi, who has been on the directing staff at the Metropolitan Opera for 10 years, makes his Madison Opera debut with this beautiful production that incorporates some steampunk elements into its fairy-tale setting.

Gary Thor Wedow, a renowned Mozart conductor, makes his mainstage debut with this opera, after having conducted Opera in the Park in 2016 and 2012.

Conductor Wedow (below) recently agreed to do an email Q&A with The Ear:

Could you briefly introduce yourself to readers?

Hello! I’m an American conductor, born in LaPorte, Indiana. A faculty member at The Juilliard School, I spend a lot of time with music of the 18th century — Handel and Mozart and often earlier, like Monteverdi, Purcell and Cavalli. But I conduct everything and grew up in love with the Romantics. I’ve also always done a lot of contemporary music. I love it all.

Mozart’s music sounds so clear and easy or simple, but the reality is quite different, musicians say. What do you strive for and what qualities do you think make for great Mozart playing?

Mozart engages both the brain and the heart. He challenges your intellect with amazing feats of counterpoint, orchestration and structure while tugging at your heart, all the time pulling you along in a deep drama.

Mozart was an Italian melodist with a German contrapuntal, harmonic engine – like an incredible automobile with an Italian slick body and a German motor.

Do you share the view that opera is central to Mozart’s music, even to his solo, chamber and ensemble instrumental music? How so? What is special or unique to Mozart’s operas, and to this opera in particular?

From all accounts, Mozart (below, in his final year) was a huge personality who was full of life and a keen observer of the human condition; his letters are full of astute, often merciless and sometimes loving evaluations of family, colleagues and patrons.

Mozart’s music speaks of the human condition: its passions, loves and hopes— no matter what genre. His music is innately dramatic and primal, going immediately to the most basic and universal human emotions with breathtaking nuance, variety and depth. (You can hear the Overture to “The Magic Flute,” performed by the Metropolitan Opera orchestra under James Levine, in the YouTube video at the bottom.)

Tomorrow: Tricks to conducting Mozart and what to pay special attention to in this production of The Magic Flute.


Classical music: University Opera’s “Turn of the Screw” is a completely satisfying production of a complex modern masterpiece by Benjamin Britten

March 5, 2017
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By Jacob Stockinger

The Opera Guy filed this review, with photos by Michael R. Anderson, for The Ear:

By Larry Wells

I attended the opening performance of Benjamin Britten’s 1954 chamber opera “The Turn of the Screw” that was presented by University Opera and directed by David Ronis.

It was a completely satisfying theatrical experience of a complexly organized musical work.

The libretto is based on Henry James’ serial novella of the same name. Whereas the James work is an ambiguous, psychological tale, Britten’s opera is an eerie ghost story laden with suggestions of psychosexual mischief.

Musically the opera is based on a 12-tone theme with each of its scenes preceded by a variation of the theme. There are further structural complexities in this highly organized work, but the music is very accessible and was admirably performed by 13 musicians ably led by conductor Kyle Knox. Particular praise goes to the percussionist Garrett Mendlow.

The beautiful, minimalistic set and stunning lighting enhanced the creepiness of the tale.

As for the singing, the cast tackled the complex vocal lines with aplomb, and there were several exceptional performances.

Particular praise goes to Anna Polum for her outstanding portrayal of the ghostly Miss Jessell. She sang beautifully and acted convincingly. (Below, from left, are Katie Anderson as the Governess and Anna Polum as Miss Jessell.)

Dress Rehearsal for "Turn of the Screw"

Dress Rehearsal for “Turn of the Screw”

Likewise Emily Vandenberg as Flora was realistic in the role of a young girl. I have seen performances of this opera that were brought down by unconvincing portrayals of this difficult child role, but Vandenberg acted naturally and sang beautifully.

The other child role, Miles, was capably performed by Simon Johnson, a middle school student. Cayla Rosché adeptly performed Mrs. Grose, the enigmatic housekeeper. (Below are Amitabha Shatdal  as Miles, Cayla Rosché  as Mrs. Grose and Elisheva Pront as Flora.)

Dress Rehearsal for "Turn of the Screw"

Dress Rehearsal for “Turn of the Screw”

The two major roles are The Governess and the spectral Peter Quint. Erin Bryan was convincing as the increasingly confused and hysteric governess, and she played off Rosché’s Mrs. Grose to great effect. At one point I was thinking that these were two extremely flighty women. (Below, from left, are Cayla Rosché  as Mrs. Grose; Elisheva Pront as Flora; Katie Anderson as the Governess; and Amitabha Shatdal as Miles.)

Dress Rehearsal for "Turn of the Screw"

Dress Rehearsal for “Turn of the Screw”

Alec Brown (below) as Quint had the unenviable task of following in the footsteps of singers like Peter Pears who made Quint an evil, threatening, nasty fellow. Brown’s Quint came off as slightly laid back, and his perfectly fine tenor voice was just not a Britten voice in the style of Pears, Philip Langridge or Ian Bostridge.

Dress Rehearsal for "Turn of the Screw"

Dress Rehearsal for “Turn of the Screw”

I had a couple of minor problems with the evening. First, I did not understand why the doors to Music Hall didn’t open until 7:20 for a 7:30 performance, which then actually started at 7:45. And, I was disappointed that the piano, which is a major contributor to the music’s sonority, was swapped for an electronic keyboard.

Yet I left feeling once again that Britten was a true musical genius of the 20th century and that I was eager to go to the 3 p.m. performance this afternoon to experience it all over again.

“The Turn of the Screw” will also be performed one last time on Tuesday at 7:30 p.m.

For more information about the opera, including how to buy tickets — admission is $25 with $20 for seniors and $10 for students, go to:

http://www.music.wisc.edu/2017/01/31/university-opera-presents-benjamin-brittens-the-turn-of-the-screw/


Classical music: Madison Area Concert Handbells (MACH) turns 20 and will give three performances of “Bells of Christmas” this coming weekend. Plus, there is a FREE concert of women composers on Friday at noon and a FREE community string quartet concert on Thursday night

December 7, 2016
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ALERT 1: This week’s FREE Friday Noon Musicale at the meeting house of the First Unitarian Society of Madison, 900 University Bay Drive, features Sarah Gillespie, French horn, and Susan Gaeddert, piano, in music by women composers: Fanny Hansel, Clara Schumann, Kay Gardner and Andrea Clearfield. The concert runs from 12:15 to 1 p.m.

ALERT 2: The Hunt Quartet, made up of UW-Madison graduate students, will perform a FREE concert at the Beth Israel Center, 1406 Mound Street, on Thursday night at 7:30 p.m.

The program includes the String Quartet No. 2 by Sergei Prokofiev,  the String Quartet in G Major Op. 77, No. 1, by Franz Joseph Haydn, the “Langsamer Satz” (Slow Movement) by Anton Webern.

The string quartet is a joint community outreach project of the University of Wisconsin-Madison School of Music and the Madison Symphony Orchestra, and is funded by Kato Perlman. It plays at many local schools. For more information, visit: http://www.music.wisc.edu/event/hunt-quartet/

By Jacob Stockinger

The Ear has been asked to post the following information:

It’s the 20th anniversary of Madison Area Concert Handbells (MACH) and we’re celebrating!

Our Bells of Christmas concerts will feature some best-loved pieces from the past along with exciting new ones that will showcase our ringers’ and soloists’ talents. MACH’s founder and Director Emerita, Susan Udell (below, front center with baton), will be conducting the December concerts to bring an air of fun-filled nostalgia and continuing excellence to our programs.

madison-area-concert-handbells-susan-udell-in-front-center

Performances are on Friday, Dec. 9 at 7:30 p.m. and Saturday, Dec. 10, at 7:30 p.m. in the Middleton Performing Arts Center (bel0w), 2100 Bristol Street, Middleton. The center adjoins Middleton High School.

Middleton PAC1

There is another performance on Sunday, Dec. 11, at 3 p.m. at St. Stephen’s Lutheran Church, 5700 Pheasant Hill Road, in Monona.

Tickets in advance are $12 for adults and $9 for students 16 and under; and $9 for seniors; at the door, tickets are $15 and $12 respectively.

Advance tickets are available at Cool Beans Coffee Café, Ward-Brodt Music, Metcalfe’s Market at Hilldale, and Orange Tree Imports.

Advance tickets can also be ordered. Go to http://www.madisonhandbells.org

To pay with check or money order, you can order by mail — please print an order form and mail with payment to MACH. Advance ticket prices apply.

Group tickets (10 or more) can be ordered in advance for $10 per person, whether adult, student or senior. These are not available at the door; to order, please print an order form and mail with payment (check or money order)

PROGRAM NOTES

Here are program notes written by Susan Udell:

“The Bells of Christmas” opens with the timely reminder that Christmas is Coming before an array of pieces that unfold the events of Christ’s birth. “Wake, Awake,” a stirring arrangement of Philipp Nicolai’s “Wachet Auf,” is replete with giant chords, flowing passages, and the resonance of bass chimes as the city of Jerusalem is made aware of the Savior’s importance.

Next, an arrangement of the 17th century French tune “Picardy,” “Let All Mortal Flesh Keep Silence,” features mysterious random ringing of bells and hand chimes while the melody is intoned. This evolves into a burst of fiery 16th-note passages and a maestoso statement of the tune before subsiding into the sound of silence punctuated by random chimes once more.

A lively Caribbean tune, “The Virgin Mary Had a Baby Boy,” arranged by one of the handbell world’s top composers and arrangers, Hart Morris, gives a change of pace with its syncopation and moments of percussive instruments.

madison-area-concert-handbells-big-bells

The noted English composer John Rutter’s “Angels’ Carol” follows, sung by our favorite guest vocalist from the past, Carrie Ingebritsen, and our own Rachel Bain; their voices blend beautifully with a liquid handbell accompaniment to give the angels’ message from that long-ago night.

Another favorite soloist, Barbara Roberts, takes the leading part in an excerpt from Benedetto Marcello’s sonata for flute that has been combined in a Gigue with “Forest Green”, an alternate tune for “O Little Town of Bethlehem.” A bell tree duet of “Bring a Torch, Jeanette, Isabella” follows, played by MACH members Caitlin Ristow and Karen Paschke.

Then it’s time for an audience sing-along in Christmas Carol Fest III. “How Great Our Joy” closes the first half of the concert with variations on the carol “While By My Sheep” and then another opportunity for the audience to sing as “Joy to the World” affirms the events that occurred in Bethlehem so long ago.

After a brief intermission, renowned handbell composer Cynthia Dobrinski‘s arrangement of “I Heard the Bells on Christmas Day” brings sobering and dramatic music that climaxes in a joyful affirmation that, despite all, God will prevail. Carrie Ingebritsen will help illuminate what the music portrays as she sings the verses accompanied by the bells. (You can hear a sample of Cynthia Dobrinski’s music for handbells in the YouTube video at the bottom.)

madison-area-concert-handbells-playing

An energetic “Comfort, Comfort Ye My People” follows, based on tunes by Louis Bourgeois and George Frideric Handel, also arranged by Cynthia Dobrinski. Next, her arrangement of “On Christmas Night All Children Sing” (Sussex Carol) brings us to a light-hearted celebration of the holiday as seen through the eyes of children.

Peter Ilych Tchaikovsky’s famed “Nutcracker Suite” is then represented as our MACH ringers present a challenging, full-bodied arrangement of its March as transcribed by noted handbell composer William Griffin.

Former MACH member, Janet Rutkowski, returns as handbell soloist for “The Tin Soldier,” an amusing rendition of that well-known tune. Then the ever-popular “Up on the Housetop” details the gifts children anticipate at Christmas and depicts Santa’s arrival, descent of the chimney, and filling of stockings before he departs in a flash of sound.

Our concert concludes with a joyful, foot-stomping “Caroler’s Hoedown,” created and arranged by Valerie Stephenson, who received her graduate degree in composition from the University of Wisconsin-Madison many years ago.

We hope you will join our 20th year’s celebration by attending one of our concerts. We will recognize past ringers and Board of Directors members in our programs as a special tribute of thanks for their support over the years.


Classical music: This week offers FREE concerts by the Pro Arte String Quartet on Wednesday night and the Trio Unprepared for piano and percussion on Thursday night

September 26, 2016
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By Jacob Stockinger

Two FREE and appealing but very different concerts are on tap this week at the University of Wisconsin-Madison School of Music:

PRO ARTE QUARTET

On Wednesday night at 7:30 p.m. in Mills Hall, the acclaimed Pro Arte Quartet (below in a photo by Rick Langer) will perform a program that features standard works as well as new music.

Pro Arte Quartet new 2 Rick Langer

The quartet will play the String Quartet in B-flat Major (1790), Op. 64, No. 3, by Franz Joseph Haydn; and the String Quartet No, 10 (1809), Op. 74, called the “Harp” Quartet, by Ludwig van Beethoven.

You can hear the first movement of Beethoven’s “Harp” Quartet, performed by the Alban Berg Quartet, in a YouTube video at the bottom.

Less well is the contemporary work “Fantasies on the Name of Sacher” (2012) by French composer Philippe Hersant.

Here are program notes from Pro Arte cellist Parry Karp (below):

“The Haydn and Hersant are new pieces for the Pro Arte and it has been a great pleasure to learn them.

“The Haydn was written at the time that Haydn’s job as the court composer of the court of Esterhazy had come to an end. It is one of the “Tost” Quartets, named for the Hungarian violinist Johann Tost. Haydn dedicated the quartets to him to thank him for his performances and for helping Haydn get a publisher for the quartets.

Parry Karp

“The next piece on the program is the “Fantasies for String Quartet” by the French composer Philippe Versant (b. 1948, below). Here are the composer’s notes on this piece:

“This piece has been in the works for years. First performed in 2008, the first version for string trio included six fantasies. I added two the following year, then an additional instrument (second violin). This version for string quartet was commissioned for the Cully Classique Festival, where it was premiered in 2012. Finally, for the Grand Prix Lycéen for Composers, I imagined a version for string orchestra, commissioned by Musique Nouvelle en Liberté (2013).

“The initial challenge was to write a series of pieces that were as different as possible, from a basic material that was very narrow. That common material is a short motif of 6 notes, which correspond (in Germanic notation) to the letters of Sacher’s name (with a few twists): S (E-flat) A C H(B) E R(D).

“This motif has already been used by a number of composers (Henri Dutilleux, Pierre Boulez and Benjamin Britten) in their homages to Paul Sacher, the great patron and conductor.

“Joined together by the omnipresence of these six notes, the eight fantasies offer strong contrasts in character and style:the first has a high-pitched, rarefied atmosphere a la Shostakovich; the second has a taunting and obsessional tone; there is a dramatic, tense ambience in the fourth …. Two others showcase the voices of the soloists: viola (lyrical) in the third and the cello (stormy) in the seventh.

“Some quotations pepper the discourse: In the third fantasy an altered version of a passage from Beethoven’s String Quartet No. 13, Op. 130, and the sixth combines motifs borrowed from Gustav Mahler’s Symphony No. 4, Igor Stravinsky’s “Symphony of Psalms” and Dmitri Shostakovich. A falsely naive, short children’s song closes the set.

“-P. H.”

The last piece on the program, the String Quartet in E-flat Major, Op. 74, by Beethoven, was named the “Harp” Quartet by the first publisher of the work. It was so named because of the the unique use of pizzicato in the first movement of the piece.

This string quartet is one of the great masterpieces of the quartet repertoire with a brilliant first movement, a profound slow movement which foreshadows Beethoven’s late period, a brilliant scherzo, and a classical style variation movement as the finale.

philippe-hersant

TRIO UNPREPARED

On Thursday night at 7:30 p.m. in Mills Hall, the Trio Unprepared will perform a FREE concert of improvised music.

Here is the blurb from the UW-Madison School of Music’s website:

Drawing from the vast resources of contemporary, jazz, classical and global music, the Trio Unprepared presents an evening of IMPROVISED music for piano and percussion. Ensemble members are Andre Gribou, piano, and Roger Braun and Anthony DiSanza on percussion. (DiSanza teaches at the UW-Madison and is a member of the Madison Symphony Orchestra.)

trio-unprepared-poster

Trio Unprepared has performed globally in extraordinarily diverse musical settings and worked together in various configurations for many years.

This concert — and the subsequent tour of Wisconsin — brings the trio back together for the first time since performing in Switzerland in July 2015.

A master class will follow this concert, from 9 to 10:30 p.m.


Classical music: The Madison Savoyards’ production — with paid singers — of Gilbert and Sullivan’s “The Gondoliers” opens this coming Friday night and runs through Aug. 7

July 26, 2016
2 Comments

By Jacob Stockinger

The Ear has received the following press release to share:

The Madison Savoyards presents The Gondoliers (or The King of Barataria) by Gilbert and Sullivan (below), starting this Friday night, July 29, at 7:30 p.m. and running through Sunday, Aug. 7, at Music Hall, at the base of Bascom Hill on the campus of the University of Wisconsin-Madison.

There will be six performances: Friday, July 29, at 7:30 p.m.; Saturday, July 30, at 7:30 p.m.; Sunday, July 31, at 3 p.m.; Friday, August 5, at 7:30 p.m.; Saturday, Aug. 6, at 7:30 pm; Sunday, Aug. 7, at 3 p.m. UW-Madison conducting student Kyle Knox will make his Madison Savoyards debut as Music Director for The Gondoliers. 

Gilbert and Sullivan (left)

Gilbert and Sullivan fans will not want to miss this tale of romantic complication, silliness and wonderful music, set in beautiful 18th-century Italy.

The story opens with a conundrum. Casilda, the young daughter of the Duke of Plaza-Toro, has arrived in Venice to meet her future husband, the prince of Barataria.

Upon arrival, however, she finds that his identity is in question. As an infant, the young prince was entrusted to a drunken gondolier, who promptly mixed up the baby with his own son.

Thus, in the wake of the king’s recent death, both gondolier brothers must jointly rule the kingdom until the prince’s nurse can be brought in to correctly identify him.

To further complicate the matter, both gondoliers have recently married their loves, and Casilda is, in fact, in love with another man. The story plays out and eventually resolves in typical Gilbert and Sullivan fashion, with hilarious circumstances intertwined with poignant, relatable moments.

Stage Director Audrey Lauren Wax has her artistic eye on the set design to help bring this story to life. “I am truly excited to work with a functional Gondola in this production,” says Wax, who most recently directed Princess Ida with the Savoyards in 2014.

“Our design and stage management team have gone above and beyond discussing and collaborating on the logistics of it.” Wax says. “I do think the audience will be quite pleased and excited the moment it hits the stage. And in the fashion of my directing approach, it has been designed with the idea of a puzzle in mind. You’ll just have to see the show in order to see this fabulous creation.”

Puzzle-like stage pieces aside, no Gilbert and Sullivan show would be complete without the trademark hummable tunes and patter songs, and The Gondoliers does not disappoint in either realm. You can hear a sample in the YouTube video at the bottom.

In a historic move for the Savoyards, all roles and some chorus positions will be paid. This has drawn a larger mix of current students and recent grads from University of Wisconsin-Madison and Edgewood College, as well as local youth and adult performers.

One such local favorite is Bill Rosholt, playing the Duke of Plaza-Toro in his 11th principal role with the Savoyards. Anmol Gupta appears with Rosholt as Luiz, the Duke’s assistant, and UW-Madison graduate student Becky Buechel (below) portrays the Duchess of Plaza-Toro, along with Deanna Martinez as her daughter, Casilda.

Savoyards Gondoliers Becky Buechel

Christopher Smith (below) and Brian Schneider play the handsome gondoliers Marco and Giuseppe, flanked by Gavin Waid (Antonio), Nicholas Kaplewski (Francesco), Coltan Bratland (Giorgio), and Sara Wojtak (Annibale) as the brothers’ Venetian gondolier friends.

Savoyards Gondoliers Christopher Smith

Contadine (peasant farmers) Gianetta and Tessa are portrayed by Lauren Welch (below) and Alaina Carlson, and Julia Ludwiczack plays all three contadine Fiametta, Giulia and Vittoria.

Savoyards Gondoliers Lauren Welch

Natalie Falconer portrays Inez, the King’s Foster-mother, and the cast is rounded out by a chorus of Gondoliers, Men-at-Arms, Heralds, Pages, and Contadine from the greater Madison area.

Tickets for The Gondoliers are $30 and $40, and can be purchased through the Campus Arts Ticketing Box Office, by phone at (608) 265-ARTS, or online at www.arts.wisc.edu

The Children’s Pre-Show is Sunday, August 7 from 1 to 2 p.m., and is free for any ticket holder age six to 12. Limited spots are available, so please contact Krystal Lonsdale at krys.lonsdale@gmail.com to reserve a space for your child.

For more information about the opera and the production, visit: www.madisonsavoyards.org

The Madison Savoyards, Ltd. has been presenting Gilbert and Sullivan’s comic operas for 53 years and strives to make each presentation come alive by knowing and respecting the special gifts of the authors and gathering a gifted and enthusiastic cast and crew.

The Savoyards first presented “The Gondoliers” in 1974, and most recently in 2003.


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