The Well-Tempered Ear

Classical music: The UW Choral Union and UW Symphony Orchestra deliver outstanding performances of great music by Mozart and Brahms

December 12, 2017
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By Jacob Stockinger

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

By John W. Barker

The program for the first concert this season by the UW Choral Union (below), mercifully, had nothing whatsoever to do with Christmas, and just offered great music.

There were only two works, one by Brahms and the other by Mozart. Surefire!

Johannes Brahms composed three relatively short works for chorus, without soloists, and orchestra. Of these, I wish conductors would get busy with two of them in particular. The Gesang der Parzen (Song of the Fates) and Nänie are simply superb works by one of the greatest of all choral composers.

The third, the Schicksalslied (Song of Destiny), Op. 54, I would rate just a bit lower for musical content, but that is the one of the three that is more frequently performed, and that was the one we heard.

That said, there is much quite beautiful music in the piece, which sets a poem of Friedrich Hölderlin that moves from anxiety to desperation. Brahms (below) preceded the choral setting with a serene introduction that—to satisfy his aesthetics if not the poet’s—he repeats at the end to restore order.

Conductor Beverley Taylor (below) employed rather broad tempos, but this enabled her to bring out some of the melodic material with great beauty.

And, with a chorus of some 124 singers, she was able to give the music tremendous sonority, if a bit at the price of German diction. With the very good UW Symphony Orchestra in fine fettle, too, this was an excellent performance that should alert listeners to neglected treasures.

The main work was the unfinished “Great” Mass in C minor, K. 427, by Mozart (below). This is music inspired by the composer’s marriage and by the new (for him) artistic climate of Vienna. Even incomplete – it has a fragmentary “Credo” and is missing an “Agnus Dei”) — it still stands, with his also uncompleted Requiem, as a towering masterpiece of his sacred choral output.

Taylor displayed a fine feeling for both the overall and individual qualities of the work, projecting them with vigor and discipline.

There were four student soloists (below), with promising young voices.

But eventually the standout proved to be soprano Sarah Richardson (below). The operatic-style aria, “Et incarnatus est” from the “Credo” was apparently sung by Mozart’s wife in its preliminary performance, and is often heard as a separate solo number today. This was sung by Richardson (below) with skill and eloquence. (You can hear the aria in the YouTube video at the bottom.)

This chorus was really a bit oversized for a work like this, but Taylor made it the real star of the performance, in singing with both power and precision.

A truly rewarding concert!

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Classical music: Madison Choral Project gives a concert of new music focusing on the social and political theme of “Privilege” this Friday night and Sunday afternoon

April 20, 2017
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ALERT: This week’s FREE Friday Noon Musicale, held at the First Unitarian Society of Madison, 900 University Bay Drive, features David Miller, trumpet; Amy Harr, cello; and Jane Peckham, piano. They will play music by Bach, Schmidt, Piazzolla, Honegger and Cooman. The concert runs from 12:15 to 1 p.m.

By Jacob Stockinger

Call it activist beauty or beautiful activism.

It sure seems that political and social relevance is making a comeback in the arts during an era in which inequality in race, gender, ethnicity, wealth, education, health, employment, immigration status and other issues loom larger and larger.

For the Madison Choral Project (below), for example, singing is about more than making music. It can also be about social justice.

Writes the Project:

“The Madison Choral Project believes that too often the classical music concert is simply a museum of the beautiful. Yet the worlds of theater, art and literature can so brilliantly combine beauty with material that provokes contemplation and understanding.

“Our world is increasingly complicated, and we seek to provide voices exploring important emotional and social concerns of today.”

That means that, in its two concerts this weekend, the Madison Choral Project will explore the concept of privilege in two performances this weekend.

The repertoire is all new music or contemporary music by living composers.

The Madison Choral Project, under the direction of Albert Pinsonneault (below), who formerly taught at Edgewood College and is now at Northwestern University, presents their 10th Project – Privilege – on this Friday night, April 21, at  8:30 p.m. (NOT 7:30, as originally announced, because of noise from a nearby football game); and on Sunday afternoon, April 23, at 3 p.m.

Both performances are at the First Congregational United Church of Christ, 1609 University Avenue, near Camp Randall Stadium.

General admission is $24 in advance and online; $28 at the door; and $10 for students either in advance or at the door. A limited number of preferred seats are offered for $40.

The Privilege concerts feature the work Privilege by Ted Hearne (b. 1982), which Hearne (below) writes “are settings of little texts questioning a contemporary privileged life (mine).”

With texts that range from the inequality of educational experiences, to the unfair playing field brought through race, the work sets thought-provoking texts in a beautiful and musically accessible way. (NOTE: You can hear it in the YouTube video at the bottom.)

The program also includes the world premiere of a new piece of music from Wisconsin composer and UW-Madison graduate D. Jasper Sussman (b. 1989, below), whose piece Work: “What choice?” is a contemplation of society’s confusing and hypocritical demands on women, their bodies and their appearance.

Sussman writes “I have never identified as a feminist. It’d be impossible, however, for me to remain ignorant of the clumsily uneven climate of our world, and certainly of this country. Work: “What Choice?” is an attempt at telling a common story shared by many.”

Included on the concert are two works of Pulitzer Prize-winning composer David Lang (b. 1957, below), whose new minimalism includes sonorities influenced by rock and popular music, but with layered repetition that gives the pieces a meditative and contemplative quality.

Also featured is When David Heard by Eric Whitacre (b. 1970, below), a gorgeous and devastating monologue contemplating the death of one’s child.

For more information and tickets, go to www.themcp.org

You can also go to a fine story in The Capital Times:

http://host.madison.com/ct/entertainment/arts-and-theatre/with-privilege-madison-choral-project-sings-on-social-justice/article_1d4ecf46-3347-5950-a655-eb270449fb96.html

The Madison Choral Project is Wisconsin’s only fully professional choir. All the singers on stage are paid, professional musicians.


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