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Classical music: Meet Mariana Farah, the new choral director at the University of Wisconsin-Madison

August 17, 2020
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By Jacob Stockinger

Following a national search, Mariana Farah (below) has been chosen to succeed Beverly Taylor as the new director of choral activities at the University of Wisconsin-Madison’s Mead Witter School of Music.

Due to prior commitments, Farah cannot start her duties until the fall of 2021. But the delay is understandable given that the coronavirus pandemic continues and group singing remains a particularly hazardous or high-risk activity during the public health crisis. (See her comments about choral singing during Covid-19 in the YouTube video at the bottom.)

(In case you are wondering, Taylor, who retired from the UW-Madison last spring, will continue as director of the Madison Symphony Chorus. One wonders if she will still have a chance to do performances of the requiems by Verdi and Dvorak, both of which were canceled due to Covid-19.)

At a time when more focus is being placed on diversity, the Brazilian-born Farah (below) seems an especially apt choice.

Here is the official UW press release about Farah’s appointment along with much biographical material:

“Mariana Farah is the Associate Director of Choral Activities at the University of Kansas in Lawrence, Kansas, where she teaches courses in graduate choral literature and conducting, directs the university’s Concert Choir and Women’s Chorale (below bottom), and helps oversee all aspects of the choral program.

Born in Brazil, Farah received her Bachelor of Music degree from the Universidade Estadual de Campinas; her Master’s degree from the University of Iowa; and her Doctor of Musical Arts from the University of Missouri-Kansas City.

Her choirs have successfully performed at the Missouri and Kansas Music Educators Association conventions and at the 2008 and 2018 Southwestern ACDA conferences.

Farah’s research focuses on Brazilian choral music, particularly the a cappella choral works of Ernani Aguiar (b. 1950, below). Her edition of Aguiar’s “Três Motetinos No. 2” has been published by Earthsongs, and she expects to introduce more of his music to the United States through performances, recordings, editions and future publications of his unknown choral literature.

In addition to her work at KU, Farah (below) maintains an active schedule as a clinician for festivals in Brazil and in the U.S., where she is often sought out for her expertise in Brazilian choral music.

Farah has presented at several conferences for the National Association for Music Education and the American Choral Directors Association.

Recent engagements include appearances as a conductor at the 2019 Northwest Kansas Music Educators Association High School Honor Choir; the 2018 Southwestern ACDA conference, 2016 and 2014 Kansas Music Educators Association Convention; Universidade de São Paulo-Ribeirão Preto; Universidade Estadual de Campinas; Universidade Estadual de Maringá; Festival de Música de Londrina; Adams State Honor Choir Festival; the 2015 Kantorei Summer Choral Institute, a residency with the Harvard-Radcliffe Collegium Musicum; and the 2014 Idaho All-State Treble Choir.

Farah is the music director at First Presbyterian Church in Lawrence, Kansas, where she directs the Chancel Choir and oversees a thriving music program. She also serves as the interim 2019-20 conductor for the Wichita Chamber Chorale (below) and as a board member of the National Collegiate Choral Organization.

She has served as the president elect (2018-2020) and R&R Chair for Ethnic and Multicultural Perspectives (2014-2018) for the ACDA Southwestern Division.

As a singer, Farah performed with the Kansas City Te Deum Chamber Choir (2015-2018) and participated in their 2016 recording of Brahms’ “A German Requiem” (Centaur Records). The recording was recognized by The American Prize, naming Te Deum a semi-finalist for best Choral Performance (community division) for the 2019-20 contest.

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Posted in Classical music
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Classical music: The Choir of Trinity College Cambridge sings a varied program with organ accompaniment this Wednesday night in Overture Hall

September 9, 2019
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By Jacob Stockinger

The new season of the popular Overture Concert Organ series, sponsored by the Madison Symphony Orchestra and curated by MSO organist Greg Zelek, begins this Wednesday night, Sept. 11, at 7:30 p.m. in Overture Hall.

All single tickets are $20. (A subscription to all four organ concerts is $63.)

The opening program features the world-famous Choir of Trinity College Cambridge (below), on tour from its home in the United Kingdom.

Adds Zelek:

“Our season opens with the amazing Choir of Trinity College Cambridge, named by Gramophone Magazine as one of the best choirs in the world.

“Conducted by the choir’s music director Stephen Layton (below top) and accompanied on the mighty Klais concert organ (below bottom), this 25-voice choir will present a program of music spanning many centuries that will display its beauty of tone and depth of feeling. These rich voices will make this varied program soar through Overture Hall and leave everyone in the audience breathless.”

Here are some sample reviews:

Virtuoso is the right word. I, for one, can’t immediately think of any more appropriate way of describing singing of such staggering accomplishment. – BBC Music Magazine

Sitting front and center at a recent Trinity Choir of Cambridge concert at Grace Cathedral was, sonically speaking, a heavenly experience. -The New York Times

Here is Wednesday night’s eclectic program:

William Byrd | Sing joyfully
William Byrd | O Lord, make thy servant, Elizabeth
Thomas Tallis | Salvator mundi
Henry Purcell | Thou knowest, Lord
Arvo Part | Bogoroditse Djévo
John Tavener | Mother of God, here I stand
Vasily Kalinnikov | Bogoroditse Djevo
Robert Parsons | Ave Maria
Eriks Esenvalds | The Heavens’ Flock (You can hear a different Esenvalds work, “Only in Sleep,” sung by the Trinity College Choir, in the YouTube video at the bottom.)
Morten Lauridsen | O magnum mysterium
Jaakko Mantyjarvi | Stuttgarter Psalmen
Herbert Howells | Take him, earth, for cherishing
Herbert Howells | Trinity St. Paul’s

For more information about the Overture Organ Series, detailed background about the Trinity College Choir and how to purchase tickets, call (608) 258-4141 or go to: https://madisonsymphony.org/concerts-events/overture-concert-organ-performances/ or https://madisonsymphony.org/event/organ-trinity-choir/

Posted in Classical music
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Classical music: The Wisconsin Chamber Choir celebrates 20 years with a retrospective concert and alumni singers this Saturday night

April 11, 2019
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By Jacob Stockinger

This Saturday night, the Wisconsin Chamber Choir (below) will celebrate its 20th anniversary with a retrospective concert that includes alumni.

The performance is at 7:30 p.m. in the Atrium Auditorium (below, in a photo by Zane Williams) of the First Unitarian Society of Madison, 900 University Bay Drive.

The program features favorite works from the choir’s history.

Founding conductor Gary McKercher (below top) will join current artistic director Robert Gehrenbeck (below bottom) – who directs choral activities at the University of Wisconsin-Whitewater — to lead the choir in this special performance.

Familiar composers such as Felix Mendelssohn, Sergei Rachmaninoff and Franz Joseph Haydn share billing with Jean Belmont Ford (below), whose Sand County, a setting of Aldo Leopold’s words, will be performed.

Also on the program are a set of pieces by Howard Helvey (below top) that the WCC commissioned in 2002, and the U.S. premiere of Utyos by longtime WCC member Albrecht Gaub (below bottom).

Alumni of the choir will participate as guest singers in the final two works on the program: Haydn’s humorous Eloquence; and Gregg Smith’s serene Now I Walk in Beauty, which is based on a Navajo prayer and can be heard in the YouTube video at the bottom.

Immediately following the performance, audience members are invited to join the singers for cake and refreshments to celebrate this milestone in the history of one of Madison’s premiere music ensembles.

Founded in 1998, the Wisconsin Chamber Choir has established a reputation for excellence in the performance of oratorios by Johann Sebastian Bach, George Frideric Handel, Wolfgang Amadeus Mozart and Johannes Brahms; a cappella works from various centuries; and world premieres of commissioned works.

Artistic director Gehrenbeck has been hailed by critics for his vibrant and emotionally compelling interpretations of a wide variety of choral masterworks.

Advance tickets for the April 13 performance at are available for $15 ($10 for students) from www.wisconsinchamberchoir.org, via Brown Paper Tickets.

Tickets are also available in Madison from Orange Tree Imports, all three Willy Street Co-op locations, and from members of the choir. Tickets at the door will be available for $20 for adults and $10 for students.

Posted in Classical music
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Classical music: Here are the Grammy Award nominations for 2019 in classical music. They can serve as a great holiday gift guide and many have local ties

December 8, 2018
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By Jacob Stockinger

Is there a classical recording you wish to give or get?

Perhaps the list of classical Grammy nominations for 2019, which was just released yesterday, can help you.

It is worth mentioning that many of the musicians nominated have past, present or future ties to Madison.

Flutist Stephanie Jutt, singer Timothy Jones and pianist Jeffrey Sykes perform regularly with the Bach Dancing and Dynamite Society and Jutt and Sykes also have ties to the University of Wisconsin-Madison; producer Judith Sherman recorded the centennial commissions for the Pro Arte Quartet at the UW-Madison; and Canadian violinist James Ehnes has performed several times with the Madison Symphony Orchestra and will do so again this season, while pianist Marc-André Hamelin will make his MSO debut this season.

And there are other local tie-ins including pianist Jonathan Biss and the Pulitzer Prize-winning composer John Harbison, who also co-directs the Token Creek Chamber Music Festival. Plus, the group Apollo’s Fire makes its local debut playing Bach and Vivaldi in March at the Wisconsin Union Theater.

Here are — without record labels, curiously — the nominees for the 61st annual Grammy Awards. The winners will be announced during a live TV broadcast on CBS on Sunday, Feb. 10, 2019, from the Staples Center in Los Angeles. For more information, go to: https://www.grammy.com

Best Engineered Album, Classical
An Engineer’s Award. (Artist names appear in parentheses.)

BATES: THE (R)EVOLUTION OF STEVE JOBS
Mark Donahue & Dirk Sobotka, engineers; Mark Donahue, mastering engineer (Michael Christie, Garrett Sorenson, Wei Wu, Sasha Cooke, Edwards Parks, Jessica E. Jones & Santa Fe Opera Orchestra)

BEETHOVEN: SYMPHONY NO. 3; STRAUSS: HORN CONCERTO NO. 1
Mark Donahue, engineer; Mark Donahue, mastering engineer (Manfred Honeck & Pittsburgh Symphony Orchestra)

JOHN WILLIAMS AT THE MOVIES
Keith O. Johnson & Sean Royce Martin, engineers; Keith O. Johnson, mastering engineer (Jerry Junkin & Dallas Winds)

LIQUID MELANCHOLY – CLARINET MUSIC OF JAMES M. STEPHENSON
Bill Maylone & Mary Mazurek, engineers; Bill Maylone, mastering engineer (John Bruce Yeh)

SHOSTAKOVICH: SYMPHONIES NOS. 4 & 11 (below)
Shawn Murphy & Nick Squire, engineers; Tim Martyn, mastering engineer (Andris Nelsons & Boston Symphony Orchestra)

VISIONS AND VARIATIONS
Tom Caulfield, engineer; Jesse Lewis, mastering engineer (A Far Cry)

Producer Of The Year, Classical A Producer’s Award. (Artist names appear in parentheses.)

BLANTON ALSPAUGH

Arnesen: Infinity – Choral Works (Joel Rinsema & Kantorei
Aspects Of America (Carlos Kalmar & Oregon Symphony)
Chesnokov: Teach Me Thy Statutes (Vladimir Gorbik & PaTRAM Institute Male Choir)
Gordon, R.: The House Without A Christmas Tree (Bradley Moore, Elisabeth Leone, Maximillian Macias, Megan Mikailovna Samarin, Patricia Schuman, Lauren Snouffer, Heidi Stober, Daniel Belcher, Houston Grand Opera Juvenile Chorus & Houston Grand Opera Orchestra)
Haydn: The Creation (Andrés Orozco-Estrada, Betsy Cook Weber, Houston Symphony & Houston Symphony Chorus)
Heggie: Great Scott (Patrick Summers, Manuel Palazzo, Mark Hancock, Michael Mayes, Rodell Rosel, Kevin Burdette, Anthony Roth Costanzo, Nathan Gunn, Frederica von Stade, Ailyn Pérez, Joyce DiDonato, Dallas Opera Chorus & Orchestra)
Music Of Fauré, Buide & Zemlinsky (Trio Séléné)
Paterson: Three Way – A Trio Of One-Act Operas (Dean Williamson, Daniele Pastin, Courtney Ruckman, Eliza Bonet, Melisa Bonetti, Jordan Rutter, Samuel Levine, Wes Mason, Matthew Treviño & Nashville Opera Orchestra)
Vaughan Williams: Piano Concerto; Oboe Concerto; Serenade To Music; Flos Campi (Peter Oundjian & Toronto Symphony Orchestra)

DAVID FROST

Beethoven: Piano Sonatas, Volume 7 (Jonathan Biss)
Mirror In Mirror (Anne Akiko Meyers, Kristjan Järvi & Philharmonia Orchestra)
Mozart: Idomeneo (James Levine, Alan Opie, Matthew Polenzani, Alice Coote, Nadine Sierra, Elza van den Heever, The Metropolitan Opera Orchestra & Chorus)
Presentiment (Orion Weiss)
Strauss, R.: Der Rosenkavalier (Sebastian Weigle, Renée Fleming, Elīna Garanča, Erin Morley, Günther Groissböck, Metropolitan Opera Orchestra & Chorus)

ELIZABETH OSTROW

Bates: The (R)evolution Of Steve Jobs (Michael Christie, Garrett Sorenson, Wei Wu, Sasha Cooke, Edwards Parks, Jessica E. Jones & Santa Fe Opera Orchestra)
The Road Home (Joshua Habermann & Santa Fe Desert Chorale)

JUDITH SHERMAN (below top)

Beethoven Unbound (Llŷr Williams)
Black Manhattan Volume 3 (Rick Benjamin & Paragon Ragtime Orchestra)
Bolcom: Piano Music (Various Artists)
Del Tredici: March To Tonality (Mark Peskanov & Various Artists)
Love Comes In At The Eye (Timothy Jones, below bottom, Stephanie Sant’Ambrogio, Jeffrey Sykes, Anthony Ross, Carol Cook, Beth Rapier & Stephanie Jutt). An excerpt is in the YouTube video at the bottom.
Meltzer: Variations On A Summer Day & Piano Quartet (Abigail Fischer, Jayce Ogren & Sequitur)
Mendelssohn: Complete Works For Cello And Piano (Marcy Rosen & Lydia Artymiw)
New Music For Violin And Piano (Julie Rosenfeld & Peter Miyamoto)
Reich: Pulse/Quartet (Colin Currie Group & International Contemporary Ensemble)

DIRK SOBOTKA

Beethoven: Symphony No. 3; Strauss: Horn Concerto No. 1 (Manfred Honeck & Pittsburgh Symphony Orchestra)
Lippencott: Frontier Symphony (Jeff Lippencott & Ligonier Festival Orchestra)
Mahler: Symphony No. 8 (Thierry Fischer, Mormon Tabernacle Choir & Utah Symphony)
Music Of The Americas (Andrés Orozco-Estrada & Houston Symphony)

Best Orchestral Performance

Award to the Conductor and to the Orchestra

BEETHOVEN: SYMPHONY NO. 3; STRAUSS: HORN CONCERTO NO. 1. Manfred Honeck, conductor (Pittsburgh Symphony Orchestra)

NIELSEN: SYMPHONY NO. 3 & SYMPHONY NO. 4. Thomas Dausgaard, conductor (Seattle Symphony)

• RUGGLES, STUCKY & HARBISON: ORCHESTRAL WORKS. David Alan Miller, conductor (National Orchestral Institute Philharmonic)

SCHUMANN: SYMPHONIES NOS. 1-4. Michael Tilson Thomas (below), conductor (San Francisco Symphony)

• SHOSTAKOVICH: SYMPHONIES NOS. 4 & 11. Andris Nelsons, conductor (Boston Symphony Orchestra)

Best Opera Recording – Award to the Conductor, Album Producer(s) and Principal Soloists.

ADAMS: DOCTOR ATOMIC. John Adams, conductor; Aubrey Allicock, Julia Bullock, Gerald Finley & Brindley Sherratt; Friedemann Engelbrecht, producer (BBC Symphony Orchestra; BBC Singers)

• BATES: THE (R)EVOLUTION OF STEVE JOBS. Michael Christie, conductor; Sasha Cooke, Jessica E. Jones, Edwards Parks, Garrett Sorenson & Wei Wu; Elizabeth Ostrow, producer (The Santa Fe Opera Orchestra)

LULLY: ALCESTE. Christophe Rousset, conductor; Edwin Crossley-Mercer, Emiliano Gonzalez Toro & Judith Van Wanroij; Maximilien Ciup, producer (Les Talens Lyriques; Choeur De Chambre De Namur)

STRAUSS, R.: DER ROSENKAVALIER. Sebastian Weigle, conductor; Renée Fleming, Elīna Garanča, Günther Groissböck & Erin Morley; David Frost, producer (Metropolitan Opera Orchestra; Metropolitan Opera Chorus)

VERDI: RIGOLETTO. Constantine Orbelian, conductor; Francesco Demuro, the late Dmitri Hvorostovsky (below) & Nadine Sierra; Vilius Keras & Aleksandra Keriene, producers (Kaunas City Symphony Orchestra; Men Of The Kaunas State Choir)

Best Choral Performance

Award to the Conductor, and to the Choral Director and/or Chorus Master where applicable and to the Choral Organization/Ensemble.

CHESNOKOV: TEACH ME THY STATUTES. Vladimir Gorbik, conductor (Mikhail Davydov & Vladimir Krasov; PaTRAM Institute Male Choir)

KASTALSKY: MEMORY ETERNAL. Steven Fox, conductor (The Clarion Choir)

MCLOSKEY: ZEALOT CANTICLES. Donald Nally, conductor (Doris Hall-Gulati, Rebecca Harris, Arlen Hlusko, Lorenzo Raval & Mandy Wolman; The Crossing)

• RACHMANINOV: THE BELLS. Mariss Jansons (below), conductor; Peter Dijkstra, chorus master (Oleg Dolgov, Alexey Markov & Tatiana Pavlovskaya; Symphonieorchester Des Bayerischen Rundfunks; Chor Des Bayerischen Rundfunks)

SEVEN WORDS FROM THE CROSS. Matthew Guard, conductor (Skylark)
Best Chamber Music/Small Ensemble Performance

For new recordings of works with chamber or small ensemble (twenty-four or fewer members, not including the conductor). One Award to the ensemble and one Award to the conductor, if applicable.

ANDERSON, LAURIE: LANDFALL. Laurie Anderson & Kronos Quartet
BEETHOVEN, SHOSTAKOVICH & BACH. The Danish String Quartet
BLUEPRINTING. Azure Quartet
STRAVINSKY: THE RITE OF SPRING CONCERTO FOR TWO PIANOS Leif Ove Andsnes & Marc-André Hamelin (below)
VISIONS AND VARIATIONS. A Far Cry

Best Classical Instrumental Solo

Award to the Instrumental Soloist(s) and to the Conductor when applicable.

BARTÓK: PIANO CONCERTO NO. 2. Yuja Wang (below); Simon Rattle, conductor (Berliner Philharmoniker)

BIBER: THE MYSTERY SONATAS. Christina Day Martinson; Martin Pearlman, conductor (Boston Baroque).

BRUCH: SCOTTISH FANTASY, OP. 46; VIOLIN CONCERTO NO. 1 IN G MINOR, OP. 26. Joshua Bell (The Academy Of St. Martin In The Fields)

GLASS: THREE PIECES IN THE SHAPE OF A SQUARE. Craig Morris

KERNIS: VIOLIN CONCERTO. James Ehnes; Ludovic Morlot, conductor (Seattle Symphony)

Best Classical Solo Vocal Album

Award to: Vocalist(s), Collaborative Artist(s) (Ex: pianists, conductors, chamber groups) Producer(s), Recording Engineers/Mixers with 51% or more playing time of new material.

ARC. Anthony Roth Costanzo; Jonathan Cohen, conductor (Les Violons Du Roy)

THE HANDEL ALBUM. Philippe Jaroussky; Artaserse, ensemble

MIRAGES. Sabine Devieilhe; François-Xavier Roth, conductor (Alexandre Tharaud; Marianne Crebassa & Jodie Devos; Les Siècles)

• SCHUBERT: WINTERREISE. Randall Scarlata; Gilbert Kalish, accompanist

• SONGS OF ORPHEUS – MONTEVERDI, CACCINI, D’INDIA & LANDI. Karim Sulayman; Jeannette Sorrell, conductor; Apollo’s Fire, ensembles

Best Classical Compendium

Award to the Artist(s) and to the Album Producer(s) and Engineer(s) of over 51% playing time of the album, if other than the artist.

FUCHS: PIANO CONCERTO ‘SPIRITUALIST’; POEMS OF LIFE; GLACIER; RUSH. JoAnn Falletta, conductor; Tim Handley, producer

GOLD. The King’s Singers; Nigel Short, producer

THE JOHN ADAMS (below) EDITION. Simon Rattle, conductor; Christoph Franke, producer

JOHN WILLIAMS AT THE MOVIES. Jerry Junkin, conductor; Donald J. McKinney, producer

VAUGHAN WILLIAMS: PIANO CONCERTO; OBOE CONCERTO; SERENADE TO MUSIC; FLOS CAMPI. Peter Oundjian, conductor; Blanton Alspaugh, producer

Best Contemporary Classical Composition

A Composer’s Award. (For a contemporary classical composition composed within the last 25 years, and released for the first time during the Eligibility Year.) Award to the librettist, if applicable.

BATES: THE (R)EVOLUTION OF STEVE JOBS. Mason Bates, composer; Mark Campbell, librettist (Michael Christie, Garrett Sorenson, Wei Wu, Sasha Cooke, Edwards Parks, Jessica E. Jones & Santa Fe Opera Orchestra)

DU YUN: AIR GLOW. Du Yun, composer (International Contemporary Ensemble)

HEGGIE: GREAT SCOTT. Jake Heggie, composer; Terrence McNally, librettist (Patrick Summers, Manuel Palazzo, Mark Hancock, Michael Mayes, Rodell Rosel, Kevin Burdette, Anthony Roth Costanzo, Nathan Gunn, Frederica von Stade, Ailyn Pérez, Joyce DiDonato, Dallas Opera Chorus & Orchestra)

KERNIS: VIOLIN CONCERTO. Aaron Jay Kernis, composer (James Ehnes (below), Ludovic Morlot & Seattle Symphony)

MAZZOLI: VESPERS FOR VIOLIN. Missy Mazzoli, composer (Olivia De Prato)

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Tags: #AaronJayKernis, #AlexanderZemlinsky, #AndrisNelsons, #AnneAkikoMeyers, #AntonioVivaldi, #Apollo'sFire, #BachDancingandDynamiteSociety, #BaroqueMusic, #BassBaritone, #BBCOrchestra, #BelaBartok, #BerlinGermany, #BerlinPhilharmonic, #BlogPost, #BlogPosting, #BostonSymphony, #BrassMusic, #BridgeRecords, #CarlNielsen, #CelloMusic, #ChamberMusic, #ChoralDirector, #ChoralMusic, #ChorusMaster, #ChristmasMusic, #ClarinetMusic, #DallasTexas, #DanishStringQuartet, #DavidDelTedici, #DavidFrost, #DerRosenkavalier, #DeutscheGrammopon, #DmitriHvorostovsky, #DmitriShostakovich, #DoctorAtomic, #DuYun, #ECMRecords, #FacebookPost, #FacebookPosting, #FelixMendelssohn, #FilmMusic, #FilmScore, #FranzJosephHaydn, #FranzSchubert, #FredericavonStade, #GabrielFaure, #GeorgeFridericHandel, #GiuseppeVerdi, #GrammyAward, #GrammyNominations, #GustavMahler, #HeinrichBiber, #HornConcerto, #HornMusic, #HoustonGrandOpera, #IgorStravinsky, #JakeHeggie, #JamesEhnes, #JamesEhnis, #JamesM.Stephenson, #Jean-BaptisteLully, #JeffreySykes, #JesusChrist, #JoAnnFalletta, #JohannSebastianBach, #JohnAdams, #JohnHarbison, #JohnWilliams, #JoshuaBell, #JoyceDiDonato, #JudithSherman, #KaunasLithuania, #KronosQuartet, #LaurieAnderson, #LeifOveAndsnes, #LosAngeles, #LudwigVanBeethoven, #MadisonSymphonyOrchestra, #ManfredHoneck, #Marc-AndréHamelin, #MasonBates, #MaxBruch, #MeadWitterSchoolofMusic, #MetropolitanOpera, #MichaelTiisonThomas, #MissyMazzoli, #MormonTabernacleChoir, #MovieMusic, #MovieSoundtrack, #MusicCommission, #MysterySonatas, #NashvilleTennessee, #NathanGunn, #NewMusic, #OboeConcerto, #OboeMusic, #OperaAria, #PhilipGlass, #PianoConcerto, #PianoSonata, #PianoTrio, #PittsburghSymphony, #ProArteQuartet, #PulitzerPrize, #RalphVaughanWilliams, #RecordLabel, #RenéeFleming, #RichardStrauss, #RobertSchumann, #SanFrancisco, #SanFranciscoSymphony, #SantaFeOpera, #SeattleSymphony, #SergeiRachmaninoff, #SergeiRachmaninov, #SonyClassical, #StaplesCenter, #StephanieJutt, #SteveJobs, #SteveReich, #SteveStucky, #StringQuartet, #TheAmericas, #TheCreation, #TheCross, #TimothyJones, #TokenCreekChamberMusicFestival, #TokenCreekFestival, #TorontoCanada, #TorontoSymphonyOrchestra, #UniversityofWisconsin-Madison, #UtahSymphony, #ViolinConcerto, #ViolinMusic, #VocalMusic, #WilliamBolcom, #WindMusic, #WisconsinUnionTheater, #WolfgangAmadeusMozart, #YouTubevideo, #YujaWang, Aaron Jay Kernis, America, Andris Nelsons, Anne Akiko Meyers, annual, Apollo's Fire, Apple, Arts, award, Bach, Bach Dancing and Dynamite Society, baritone, Baroque, bass, Béla Bartók, BBC, BBC Orchestra, Beethoven, Berlin, Berlin Philharmonic, blog, Boston Symphony Orchestra, brass, Bridge Records, Broadcast, California, Canada, Canadian, Carl Nielsen, CBS, CBS-TV, Cello, centennial, Chamber music, choral director, choral music, chorus master, Christmas, clarinet, Classical music, commission, Compact Disc, composer, concerto, conductor, Dallas, Dallas Symphony Orchetsra, Danish String Quartet, David Del Tredici, David Frost, debut, Der Rosenkavalier, Deutsche Grammophon, DG, Dmitri Hvorostovsky, Dmitri Shostakovich, Doctor Atomic, Du Yun, Early music, ECM Records, engineer, evolution, Facebook, fantasy, February, Felix Mendelssohn, film, flute, flutist, Franz Joseph Haydn, Franz Schubert, Frederica von Stade, Gabriel Fauré, George Frideric Handel, Germany, Giuseppe Verdi, Grammy, Gustav Mahler, Heinrich Biber, Horn, Houston Grand Opera, Idomeneo, Igor Stravinsky, Jacob Stockinger, Jake Heggie, James Ehnes, James Ehnis, James M. 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Classical music: The Wisconsin Chamber Orchestra and piano soloist Ilya Yakushev excel in a varied program. But audience members should do better at observing concert etiquette. Plus, retired UW-Madison bass-baritone Sam Jones dies at 87.

January 26, 2015
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ALERT: Sad news has reached The Ear. Samuel M. Jones, a bass-baritone who was an exceptional performer and teacher at the UW-Madison School of Music for 37 years and who also served as the cantor at Temple Beth El and the Choral Director at Grace Episcopal Church, has died at 87. Here is a link to the obituary in the Wisconsin State Journal:

http://m.host.madison.com/news/local/obituaries/jones-dr-samuel-m-jr/article_8a445e98-0cf3-5112-bd72-8840b58a0399.html?mobile_touch=true

By Jacob Stockinger

On Friday night, The Ear couldn’t be in two places at once.

Being in the mood for some solo piano playing – because The Ear himself is an avid amateur pianist – he attended the solo recital of works by Ludwig van Beethoven, Franz Liszt, William Bolcom and Johannes Brahms performed by UW-Madison School of Music professor Christopher Taylor. But more about that will come in another post this week.

However, Larry Wells — a college classmate and good friend who is a longtime and very knowledgeable classical music follower and who has worked, lived and attended concerts in Rochester, San Francisco, Moscow, Tokyo and Seoul — went to the concert Friday night by the Wisconsin Chamber Orchestra (below) in the Capitol Theater of the Overture Center.

He filed this review:

By Larry Wells

The program opened with a short introduction by Maestro Andrew Sewell, the longtime music director and conductor of the Wisconsin Chamber Orchestra, to the “English Suite” for string orchestra by the contemporary British composer Paul Lewis. (Sewell himself is a New Zealand native who also trained in England.)

Although the work was termed by Sewell as an obligatory form for British composers in the manner of Ralph Vaughan Williams, Edward Elgar and the like, I found the rhapsodic opening and closing of the second section, “Meditation,” reminiscent of VW’s “Fantasia on a Theme of Thomas Tallis.” But the remainder of the piece seemed trite and forgettable.

Following was the Concerto No. 1 in D Minor for keyboard by Johann Sebastian Bach. In this case, a concert grand piano was used featuring soloist Ilya Yakushev, a Russian native who now lives in the U.S., who was making his second appearance with the WCO.

This familiar piece was played bouncily in the first movement, sweetly in the second, and really fast in the third. I enjoyed Yakushev’s playing, although from my seat the piano seemed slightly muffled and occasionally unheard over the orchestra.

The second half of the evening opened with the Chamber Symphony No. 2 by Arnold Schoenberg, which Maestro Sewell claimed to be in the manner of Richard Strauss. If so, Strauss was much more expressive and engaging.

The evening ended with the Piano Concerto No. 1 in G minor by Felix Mendelssohn, again featuring Yakushev. I was unfamiliar with the piece, and found it immediately engaging and enjoyable throughout. (You can hear Ilya Yakushev perform the Mendelssohn piano concerto in a YouTube video at the bottom.)

Altogether, it was a good evening of music.

But it was unfortunately marred early in the aforementioned “Meditation” movement when a woman two seats down from me decided to answer a text. The bright light from her cell phone was distracting, so I pointedly stared at her until her seat mate nudged her, and she put away the phone. The seat mate clearly felt that I was in the wrong and glared at me.

I noticed that there is no caution in the program about turning off cell phones, so I believe it would be a good idea for a brief announcement to be made at the beginning of the concert and at the end of the intermission for people to turn off their phones. That simple courtesy has still not become a part of all concertgoers’ routines.

And what is with the Madison tradition of giving everything a standing ovation? (Below is a standing ovation at a concert on the Playhouse by the Bach Dancing and Dynamite Society.)

There have been perhaps a dozen times in my long concert-going life when I have been so moved by the moment that I’ve leapt to my feet. I think of a standing ovation as recognition of something extraordinary — not as a routine gesture that cheapens to the point of meaninglessness.

For purposes of comparison, here is a link to the review of the same concert by the Wisconsin Chamber Orchestra and pianist Ilya Yakushev that veteran local music critic and retired UW-Madison medieval history professor John W. Barker wrote for Isthmus:

http://www.isthmus.com/daily/article.php?article=44422&sid=6243d3d1e78139b69884d31c5c1126e2

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Tags: Andrew Sewell, Arts, Bach, baritone, Baroque, bass, Beethoven, cantor, cell phone, chamber orchestra, Chamber Symphony, choral director, church, Classical music, concerto, Edward Elgar, English, Episcopalian, Felix Mendelssohn, Grace Episcopal Church, Great Britain, Ilya Yakushev, Isthmus, Jacob Stockinger, Japan, Jewish, Johann Sebastian Bach, John W. Barker, Korea, Liszt, Ludwig van Beethoven, Mendelssohn, Moscow, Music, New Zealand, ovation, Overture Center, Paul Lewis, Piano, Piano concerto, Ralph Vaughan Williams, Richard Strauss, Rochester, Russia, San Francisco, Schoenberg, Seoul, smart phone, standing ovation, Suite, temple, Temple Beth El, Tokyo, U.S., United Kingdom, University of Wisconsin-Madison School of Music, University of Wisconsin–Madison, WILLIAM BOLCOM, Wisconsin, Wisconsin Chamber Orchestra, Wisconsin State Journal, YouTube

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The Well-Tempered Ear

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Classical music: The Wisconsin Chamber Orchestra and piano soloist Ilya Yakushev excel in a varied program. But audience members should do better at observing concert etiquette. Plus, retired UW-Madison bass-baritone Sam Jones dies at 87.

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