The Well-Tempered Ear

Classical music: Madison Bach Musicians summer workshops in early music are open to the public. A faculty concert is on Wednesday night and a FREE all-participants concert is on Friday at 12:30 p.m.

July 21, 2019
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REMINDER: Madison Opera’s annual Opera is the Park was cancelled last night because of weather and takes place TONIGHT in Garner Park at 8 p.m. For more information, go to: https://welltempered.wordpress.com/2019/07/15/classical-music-madison-operas-annual-free-opera-in-the-park-returns-this-saturday-night-july-20-in-garner-park-and-celebrates-18-years-in-madison-plus-a-glimpse-of-the-upcoming-season/

By Jacob Stockinger

The fifth annual Madison Bach Musicians Summer Chamber Music Workshop (below,  a cello class from last year) will be held from Monday, July 23, to Friday, July 26, at the West Middleton Lutheran Church, 3763 Pioneer Road, in Verona, Wisconsin.

The workshop is chaired by MBM assistant artistic director and baroque violinist Kangwon Kim (below), who says: “I’m excited to welcome 32 participants, our largest number ever, working in nine chamber groups this summer to share a week of intense music-making and learning.

” We will explore wonderful repertoire from the baroque and early classical periods, both familiar and rarely performed, while working intensely in an encouraging community that will support musical growth.”

Harpsichordist JungHae Kim (below top) from San Francisco and baroque violist Micah Behr from Madison will join returning faculty members recorder player Lisette Kielson, cellist Martha Vallon (below bottom), dance instructor Karen McShane-Hellenbrand, and MBM founder, artistic director and keyboardist Trevor Stephenson.

Musicians who range in age from 13 to older adulthood will receive personalized ensemble coaching in violin, viola, baroque cello, viola da gamba, piano, fortepiano, harpsichord and recorder. (You can sample the Madison Bach Musicians in the YouTube video at the bottom.)

The public is invited to an evening Faculty Concert and various afternoon classes exploring continuo playing, specific instrument master classes, stage presence for musicians, sight-reading, baroque dance, and more.

The Faculty Concert on Wednesday night, July 23, at 7:30 p.m. will feature works by Carl Heinirch Graun (below top), Francesco Turini, Jean-Henri D’Anglebert (below  bottom), Georg Philipp Telemann, Joseph Bodin de Boismortier and Henry Purcell on period instruments. Admission is $15 at the door.

The all-participants final concert of the music from the workshops is on Friday, July 26, at 12:30 p.m. It is FREE and open to the public.

An Auditor’s Pass for afternoon programming for the entire festival — including the Faculty Concert — is $40.

For more information, go to: https://madisonbachmusicians.org/summer-workshop/


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Classical music: Summer begins today with Make Music Madison. Plus, both American pianists have advanced in the 16th International Tchaikovsky Competition

June 21, 2019
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By Jacob Stockinger

The summer solstice arrives this morning at 10:54 a.m.

That means today is when Make Music Madison takes place. Wisconsin’s capital city will join more than 1,000 other cities across the globe in celebrating live music-making of all kinds that is FREE and mostly outdoors.

Here is a link to the site with a map of various artists and venues – some 400 events in about 100 venues — and well as times around Madison:

http://www.makemusicmadison.org

Here is an earlier post with more details about the worldwide event:

https://welltempered.wordpress.com/2019/06/15/classical-music-the-seventh-annual-make-music-madison-is-on-friday-june-21-and-features-17-different-free-classical-concerts-as-well-as-dozens-of-performances-of-jazz-folk-blues-hip-hop-swing-a/

But that’s not the only news today.

Last night, the 24 piano contestants in the preliminary round of the 16th International Tchaikovsky Competition in Moscow and Saint Petersburg were trimmed down to 14 semi-finalists. (It was supposed to be 12, but the jury couldn’t agree on 12.)

And the good news is that both Americans — Sara Daneshpour (below top) and Kenneth Broberg (below bottom, in a photo by Jeremy Enlow), who performed a recital last season in Madison at the Salon Piano Series held at Farley’s House of Pianos — made the cut. The next round starts very early today, given the 8 hours ahead time difference between here and Moscow, and runs into the afternoon.

Here is the complete list of the piano semi-finalists:

https://tch16.medici.tv/en/news/piano-first-round-results/

Of course, pianists aren’t the only ones who might be interested in the competition that became well known in the West when Van Cliburn won the inaugural competition in 1958.

These days, competitions are also going on in violin, cello, voice, brass and woodwinds as well as piano.

What’s more, the entire competition is being live-streamed on Medici TV, and all the performances, from the preliminaries through the finals, are being streamed in real time and also archived. Plus, it’s all FREE. Thank you, Medici!

Here is a link. You’ll find archived performances, which go up pretty fast, under replays. The Ear has found that the sound is excellent and the website pretty self-explanatory and easy to navigate. Check out the preliminary recitals with music by Bach, Haydn. Mozart, Beethoven, Chopin, Liszt, Rachmaninoff and of course Tchaikovsky.  Here is a link:

https://tch16.medici.tv/en/

Today being the first day of summer, you’ll probably get to hear “Summer” from “The Four Seasons” by Antonio Vivaldi.

But given other news, something by Tchaikovsky seems especially appropriate. So here is the “June” Barcarolle, or boat song, from the solo piano suite “The Four Seasons,” which features one piece for each of the 12 months in the year. You can hear “June” in the YouTube video at the bottom.


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Classical music: Personal experience, artistic excellence and historical importance drew pianist Wu Han and cellist David Finckel into planning next year’s centennial season at the Wisconsin Union Theater

March 30, 2019
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By Jacob Stockinger

Now that Spring Break is over and subscription tickets are available for the Wisconsin Union Theater’s special centennial celebration next season – which includes superstar soprano Renée Fleming and pianist Emanuel Ax — here is an email interview that pianist Wu Han and cellist David Finckel (below, in a photo by Lisa-Marie Mazzucco), the wife-and-husband consultants and planners of that season, granted to The Ear.

For more about the season and tickets, go to two websites:

https://welltempered.wordpress.com/2019/03/04/classical-music-superstar-soprano-renee-fleming-and-pianist-emanuel-ax-headline-the-100th-anniversary-of-the-wisconsin-union-theaters-concert-series-next-season/

https://union.wisc.edu/visit/wisconsin-union-theater/seasonevents/concert-series/

Could you briefly introduce yourselves to readers and tell them both your past and current activities?

We have been performing on the world’s many concert stages for almost our entire lives. In addition to our careers as concert performers, we serve as the founding Artistic Directors of Music@Menlo, the premier chamber music festival in Silicon Valley, as well as the Artistic Directors of the Chamber Music Society of Lincoln Center (CMS) in New York City.

Our main responsibility as concert performers is to give the best concerts we possibly can, and we are constantly striving to achieve the highest possible level of artistry in our performances.

In our roles as artistic directors, our responsibilities lie in the programming, casting and designing of concert series and chamber music projects for our organizations. At CMS, this includes designing the programming for our seven different satellite series around the country, plus international partnerships in Taiwan, Korea and Europe.

We are also involved in chamber music programming endeavors beyond Music@Menlo and CMS, having just completed a first-ever chamber music residency at the Society of the Four Arts in Palm Beach, Florida. Furthermore, Wu Han is serving as Artistic Advisor to Wolf Trap Chamber Music at the Barns, which entails thematically programming eight concerts per season for the 2018–19 and 2019–20 seasons.

As artistic directors, we spend much of our time putting ourselves in the shoes of our listeners, measuring their experience and receptivity to chamber music of all periods and styles, and putting together the best programs and artists who will move our audiences forward into ever-increasing engagement with and love of the art.

David was the cellist of the Emerson String Quartet for 34 seasons, and we have been performing together as a duo for about 35 years, and continue to do so as one of our main performance activities.

What are your personal relationships to the Wisconsin Union Theater, and what do you think of it as a concert venue?

Our engagement with the Wisconsin Union Theater goes back quite a few years, but certainly not even close to the beginning of the Theater’s distinguished history. For any performer setting foot on its stage, there’s a sense of slipping into an ongoing tradition of artistic excellence that makes us feel both privileged and obligated to do our best.

The Wisconsin Union Theater and its story in American cultural life is larger than any of us; only the music we play rises above and beyond it all, and as performers, our lucky moment is to represent that incredible literature in a venue as significant and storied as the Wisconsin Union Theater. (Below is the theater’s main venue, the renovated and restored Shannon Hall.)

Why did you agree to be artistic advisors and artists-in-residence for the centennial season? Did your personal experiences in Madison play a role in that decision?

As seasoned artists, we deeply admire and respect the very special place in the classical music tradition and history that the Wisconsin Union Theater (below) inhabits, and the invitation to participate in the Theater’s 100th anniversary was an honor for us to receive. Our experiences playing on this distinguished stage and forming a relationship with the local audience have made our pursuit of the common goal of artistic excellence in the centennial season incredibly fulfilling.

Of course, having performed there in the past gave us a hint of confidence through our familiarity with the place, but we must say we have learned perhaps double what we knew originally through this planning process. Without interfering, but at the same time sharing our uncompromised commitment to artistic excellence, we hope that our presence during the process has been useful, and we know that we look so much forward to seeing the careful thought and hard work of all involved come to fruition.

Is there a unifying or guiding principle to the season you have put together?

The guiding principle behind our work on this historic season is artistic excellence, which in our opinion is what most inspires audiences and best serves the art form of classical music.

Our area of expertise is chamber music, and, as we wanted to share the best of what we can do with the Theater, our focus has been on ensuring that the chamber music offerings during this historic season, and hopefully beyond, reflect the best of the world of chamber music.

In our suggestions, we looked for variety of instrumentations, of composers and periods—in other words, giving as much of an overview of the art as we could within a season.

What would you like the public to know about the Wisconsin Union Theater and the upcoming centennial season?

In the Theater’s centennial season, the audience will have the opportunity to savor a variety of different genres of chamber music, from solo piano to vocal music, as well as a sampling of the very best works of the chamber music canon. Between these various genres, the great composers left a wealth of chamber music that could sustain the art form on its own, but that’s still only the tip of the iceberg.

Our chamber music offerings will include the Kalichstein-Laredo-Robinson Trio, which has a long history of performing for the Madison audience. Their December program will include celebrated cornerstones of the piano trio repertoire, including Mendelssohn’s D minor Trio and Beethoven’s “Archduke” Trio. (You can hear the opening of the Archduke Trio in the YouTube video at the bottom.) Both pieces have achieved monumental historical significance through their influence in propelling the art form forward from the Classical period to the Romantic period.

The Escher String Quartet performance in January represents the best of the next generation of young string quartets. Their program includes a quartet by Franz Joseph Haydn—the father of the string quartet genre—and the sole quartet of none other than revered violin virtuoso Fritz Kreisler, who performed in the Wisconsin Union Theater nearly a century ago. Kreisler set foot on the Theater’s stage numerous times, and his rarely heard string quartet nods to the Theater’s long, distinguished history. David will join the Escher Quartet for the beloved Schubert Cello Quintet, which is the “desert island” must-have piece for many music lovers.

Furthermore, in March, we will bring two of the most fantastic musicians in the world to join us for a program of Antonin Dvorak, Josef Suk and Johannes Brahms. This multigenerational cast of musicians includes the incredible young French violinist Arnaud Sussmann (below top, in a photo by Matt Dine) as well as the most important violist of our generation, Paul Neubauer (below bottom). This program is all about the passing down of the baton and the continuous investment in the next generations of artists: Brahms was the one who discovered Dvorak, and Dvorak in turn discovered Suk.


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Classical music: This Friday night, the Wisconsin Union Theater presents a world-class Spanish string quartet and will also announce the special concerts to mark its centennial anniversary next season

February 28, 2019
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By Jacob Stockinger

Think of it as a two-fer, and then some, at the Wisconsin Union Theater this Friday night, March 1.

The main event is the Madison debut of a world-class string quartet from Spain.

The other event is the announcement of the schedule for the Concert Series’ 2019-2020 season — the series’ 100th season.

The first event is the concert by Cuarteto Casals (below) at 7:30 p.m. in Shannon Hall.

Prices for the event are: the general public, $25-40; for Union members, $25-36; for UW faculty and staff members, $25-38; for young people, $20; and for UW-Madison students, $10. Tickets can be bought online, by phone at 608-265-ARTS (2787) or in person. See locations and hours here.

The program includes the String Quartet in C Major “The Bird,” Op. 33, No. 3, by Franz Joseph Haydn; the String Quartet No. 3 by Bela Bartok; selections from the Fantasies for String Quartet by Henry Purcell; and the String Quartet in G Minor, Op. 10, by Claude Debussy. (You can hear the Cuarteto Casals play a movement of a different Haydn string quartet in the YouTube video at the bottom.)

Cuarteto Casals was founded in 1997 at the Escuela Reina Sofia in Madrid. They are named after great 20th-century Catalan cellist Pau (Pablo) Casals (below). Members of the quartet are Vera Martinez Mehner and Abel Tomas, violins; Jonathan Brown, viola; and Arnau Tomas, cello.

The group achieved international recognition after winning First Prizes at the London and Brahms-Hamburg competitions. After receiving the prestigious Burletti-Buitoni Trust award designed to assist young musicians, the quartet acquired a matching set of Baroque and Classical period bows, used to distinguish between musical styles.

The year 2017 marked the 20th anniversary of the quartet, and also the start of a commemorative project: a six-concert series of the complete Beethoven quartets, accompanied by six commissioned works from great composers since the 17th century.

The quartet was selected as ambassadors of Catalan culture by the Generalitat of Catalunya, and accompanies the King of Spain on diplomatic visits.

It is the quartet-in-residence at the Spanish Royal Palace through 2020 and the quartet-in-residence at the Escola Superior de Musica de Catalunya in Barcelona.

Carol Carlson (below) will offer a free pre-concert lecture at 6 p.m. Carol holds both Doctor of Musical Arts and Master of Music degrees in violin performance from the UW-Madison.

Carlson dedicates herself to music education as co-founder, co-director and teacher of Music con Brio, a non-profit organization that provides affordable violin lessons and equipment for students at Emerson Elementary School in Madison. Music con Brio (below, in a photo by Scott Maurer) will perform on the stage of Shannon Hall from 7 to 7:20 p.m.

This program was supported in part by a grant from the Wisconsin Arts Board with funds from the State of Wisconsin and the National Endowment for the Arts. The media sponsor is WORT 89.9 FM.


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Classical music: The Wisconsin Youth Symphony Orchestras (WYSO) perform their annual Winterfest concerts this Saturday afternoon — with guest clarinetist Amitai Vardi — and on Saturday, March 2

February 15, 2019
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By Jacob Stockinger

The Wisconsin Youth Symphony Orchestras (WYSO, below is the Youth Orchestra) will present the Diane Ballweg Winterfest Concerts this Saturday, Feb. 16, and Saturday, March 2, in Mills Concert Hall in the Mosse Humanities Building, 455 North Park Street in Madison, at the University of Wisconsin-Madison’s Mead Witter School of Music.

WYSO orchestras will perform pieces by Carl Maria von Weber, Antonin Dvorak, Georges Bizet, Sergei Prokofiev, Richard Wagner, Peter Ilyich Tchaikovsky, Manuel DeFalla, Johann Strauss, Modest Mussorgsky  and others.  For a complete program listing, go to: https://www.wysomusic.org/diane-ballweg-winterfest-2019-repertoire/

“These are wonderful works and the orchestras are progressing beautifully in rehearsal,” said WYSO music director Kyle Knox (below). “It looks to be a memorable concert series.”

Guest clarinetist Amitai Vardi (below) will perform Weber’s Concertino for Clarinet and Orchestra, Op. 26,  with the Youth Orchestra during their Feb. 16 concert. (You can hear Weber’s Concertino in the YouTube video at the bottom.)

Amitai Vardi — his father Uri Vardi teaches cello at the UW-Madison — is a WYSO alumnus who grew up in Madison. He performs regularly with the Cleveland Orchestra and is currently a professor at Kent State University in Ohio.

“WYSO was the first orchestra I ever played in,” Vardi said. “The experience developed my listening skills, knowledge about ensemble playing, love for orchestral music, and taught me how to be a well-rounded musician.”

Concert tickets are available 45 minutes prior to each concert, and are $10 for adults and $5 for youth 18 and under.

Visit www.wysomusic.org to learn more about the various orchestras and about the WYSO program.

WYSO students travel from communities throughout southern Wisconsin and northern Illinois each weekend throughout the concert season to rehearse on the UW-Madison campus.

Each orchestra performs three concerts per season, with additional performance opportunities available to students, including ensembles and chamber groups.

Diane Ballweg Winterfest Concerts

Saturday, Feb. 16 in Mills Hall
4 p.m. Youth Orchestra
With guest artist Amitai Vardi, clarinet

Saturday, March 2, 2019, Mills Hall
11:30 a.m. Opus One and Sinfonietta
1:30 p.m. Concert Orchestra
4 p.m. Philharmonia Orchestra and Harp Ensemble


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Classical music: The Bach Dancing and Dynamite Society, with guest singer Emily Birsan, closes its 27th annual summer chamber music season on the highest note

June 28, 2018
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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. Performance photos are by Dick Ainsworth for the Bach Dancing and Dynamite Society.

By John W. Barker

Last Saturday night, I was able to attend the second program on the Bach Dancing and Dynamite Society’s third and final weekend this season.

The opening work was American Haiku, a duo for viola and cello, by the American Paul Wiancko. Obviously inspired by Japanese musical traditions, it is a longish piece, notably lacking in the brevity of its poetic model. It was diligently played by two of the budding young musicians the society has been fostering, violist Jeremy Kienbaum (below left) and cellist Trace Johnson (below right).

Further on in the first half came the Flute Concerto in D minor (H. 484:1), by Carl Philipp Emanuel Bach, dated to 1747, three years before papa Johann Sebastian died. It presents the composer as a transitional figure, anchored in the Late Baroque but tugging toward the Empfindsamkeit (sensitivity of feeling or expression) of the Early Classical period.

As the reduced orchestra, we had local violinists Leanne Kelso League and Suzanne Beia, with Kienbaum and Johnson, and, on the harpsichord continuo there was the deferential pianist Satoko Hayami.

The flute soloist (below) was, of course, BDDS co-founder and co-artistic director Stephanie Jutt, who played her role with obvious relish but with splendid precision, and (notably in the lively finale) real panache. The other players joined in with fine spirit.

For me, one of the two prime features of this program, however, was the participation of soprano Emily Birsan (below), a past product of the UW-Madison’s Mead Witter School of Music and now an international star. Every time she returns to Madison is welcome, and provides us with a progress report on herself and her career. Her voice has continued to fill out with strength and beauty.

Accompanied by pianist Jeffrey Sykes (below), she sang in the first half of the program a set of four songs, Op. 27 (once again, the number of the BDDS’s anniversary) by Richard Strauss. This set includes some particular gems by the composer, ending with the sublime Morgen! (In the Morning!). Birsan magically made each song a contrasting vignette of character and mood.

Birsan was back after the intermission, again with Sykes.

They performed Samuel Barber’s set of 10 Hermit Songs, using marginal manuscript scribblings by Medieval monks as texts. With the strong support of Sykes, Birsan was superlative in conveying the simple irony and naivety of these affectionately lyrical miniatures. This performance leaves a surely enduring memory.

The other high point, for me, was the Quintet in E-flat, Op. 44 for piano and strings by Robert Schumann. This is a fundamental work in the chamber music literature, a piece to wonder at.

I had forgotten how much rich prominence is given to the viola, within ensemble context, in the greatly varied second movement. Kienbaum projected it with eloquent strength, and the other players heard in the C.P.E. Bach work were utterly involved. (You can hear and see the prominent role of the viola in the opening movement of the quintet in the YouTube video at the bottom.)

This is the kind of first-class chamber playing that we have come to expect from the BDDS, and why we cherish it so.


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Classical music: This coming weekend, pianist John O’Conor returns to play a Beethoven concerto with the Wisconsin Chamber Orchestra on Friday night and then a solo recital at Farley’s on Saturday night

May 7, 2018
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By Jacob Stockinger

The acclaimed Irish pianist and teacher John O’Conor (below) returns to Madison this weekend for two concerts that will close out the season for the Wisconsin Chamber Orchestra on Friday night and the Salon Piano Series at Farley’s House of Piano on Saturday night.

For more about John O’Conor‘s impressive background as a performer, a recording artist, a pedagogue and a juror for international piano competitions, go to: https://en.wikipedia.org/wiki/John_O%27Conor

WISCONSIN CHAMBER ORCHESTRA

The first event with O’Conor is an all-Beethoven concert by the Wisconsin Chamber Orchestra (below) under the baton of music director Andrew Sewell.

The WCO concert is on Friday night, May 11, at 7:30 p.m. in the Capitol Theater of the Overture Center, 201 State St.

The program features the Overture to “King Stephen”; the Piano Concerto No. 3 in C minor, Op. 37, with O’Conor as soloist; and the popular, dramatic and iconoclastic or even revolutionary Symphony No. 5 in C minor.

Such repertoire from the Classical period is one of O’Conor’s strong suits as well as one of the WCO’s. When the two last performed together in 2016 O’Conor and the WCO played works by Wolfgang Amadeus Mozart and the Irish early Romantic John Field.

Plus, O’Conor studied Beethoven with the legendary Beethoven interpreter Wilhelm Kempff.

So this concert promises to be a dynamic experience with perfectly paired players.

Tickets are $15-$80 with student tickets available for $10.

For more information about O’Conor and about how to obtain tickets, go to:

https://wisconsinchamberorchestra.org/performances/masterworks-v-3/

SALON PIANO SERIES

Then on Saturday night, May 12, at 7:30 p.m. at Farley’s House of Pianos, located at 6522 Seybold Road, on Madison’s far west side near the West Towne Mall, pianist O’Conor will give a solo recital to close out the Salon Piano Series.

The program includes the Sonata in B minor by Franz Joseph Haydn; Four Impromptus, Op. 90 or D. 899, by Franz Schubert; Nocturnes Nos. 5, 6, and 18 by the Irish composer John Field (below), whose neglected works are a specialty of O’Conor; and the iconic “Moonlight” Sonata in C-sharp minor by Ludwig van Beethoven. (You can hear O’Conor perform the exciting and virtuosic last moment of the “Moonlight” in the YouTube video at the bottom.)

A reception follows the concert.

Tickets are $45 in advance and $50 at the door, with student tickets available for $10.

For more information and to purchase tickets, call (608) 271-2626 or go to these two web sites:

http://salonpianoseries.org/concerts.html

https://www.brownpapertickets.com/event/2995003


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