The Well-Tempered Ear

Classical music: This weekend guest violinist Rachel Barton Pine solos with the Madison Symphony Orchestra in an all-Russian program

October 17, 2019
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By Jacob Stockinger

This weekend the acclaimed Chicago violinist Rachel Barton Pine (below) makes her debut with the Madison Symphony Orchestra playing Khachaturian’s Violin Concerto in D minor.

The concert by the orchestra (below, in a photo by Peter Rodgers) opens with Prokofiev’s Suite from Lieutenant Kijé and concludes with Shostakovich’s Symphony No. 9.

Performances will be held in Overture Hall, 201 State St., on Friday night, Oct. 18, at 7:30 p.m.; Saturday night, Oct. 19, at 8 p.m.; and Sunday afternoon, Oct. 20, at 2:30 p.m. in Overture Hall. Tickets are $19-$95. See below for details.

“There will be great discoveries in our all-Russian concert, starting with the MSO debut of virtuoso violinist Rachel Barton Pine playing the Khachaturian Violin Concerto, a big, bold and beautiful work in its MSO premiere,” said MSO music director and conductor John DeMain (below, in a photo by Greg Anderson). Lieutenant Kijé is sure to delight you with its wonderful melodies and infectious rhythms. Shostakovich has become a favorite with our audiences, and his ninth symphony is delightfully upbeat.”

Lieutenant Kijé is the fictional protagonist of an anecdote about the reign of Emperor Paul I of Russia. The story was used as the basis of a novella by Yury Tynyanov published in 1928 and filmed in 1934, with music by Sergei Prokofiev (below). The plot is a satire on bureaucracy and is often parodied in fictional works making fun of bureaucracies, most famously in the form of the M*A*S*H television episode “Tuttle,” featuring a fictional captain of similar provenance. (You can hear the popular “Troika” episode in the YouTube video at the bottom.)

Many of the themes in Violin Concerto in D minor are evocative of the native Armenia of Aram Khachaturian (below). Although the folk melodies aren’t played explicitly, one can hear the Armenian roots through the oriental essence of the scales and the rhythmic range of the featured dances. The piece won the Stalin Prize in 1941, becoming one of Khachaturian’s favorites.

Shostakovich’s Symphony No. 9 is entirely unlike his other symphonies. In fact, it completely disregards the expectations for its programmatic elements. Shostakovich’s prior two symphonies are thematically tied to the ongoing war, therefore the public presumed that the ninth symphony would be a grand culmination to Stalin and mark the end of World War II. Instead, the composer (below) produced a short, neo-classical work that generated an abundance of controversy.

ABOUT RACHEL BARTON PINE

In both art and life, violinist Rachel Barton Pine (below) – who has performed in Madison before with the Wisconsin Chamber Orchestra — has an extraordinary ability to connect with people.

Celebrated as a leading interpreter of great classic and contemporary works, her performances combine her innate gift for emotional communication and her scholarly fascination with historical research. She plays with passion and conviction, thrilling audiences worldwide with her dazzling technique, lustrous tone, and infectious joy in music-making.

A prolific recording artist, she has also championed the works of female composers and African-American composers.

Pine was also recently named the recipient of the Cedille Records Musical Partnership Award for her Rachel Barton Pine Foundation. The Foundation was recognized as an organization that has demonstrated an extraordinary commitment to the classical music community in Chicago. Cedille noted the Foundation’s “support of the Chicago musical community’s most valuable asset — its musicians and composers.”

Pine was presented with the award by U.S Supreme Court Justice Ruth Bader Ginsburg whose son, Jim Ginsburg, founded Cedille Records. Pine began her Foundation in 2001 to provide instruments and instruction to children who might not otherwise be able to afford them.

You can read the Artist Story online about how Rachel Barton Pine overcame severe injuries and her own personal adversity to achieve her goals: https://madisonsymphony.org/19-20-artist-story-rachel-barton-pine-overcomes-adversity/

CONCERT, TICKET AND EVENT DETAILS

The lobby opens 90 minutes prior to each concert.

One hour before each performance, retired MSO trombonist and UW-Whitewater professor Michael Allsen (below, in a photo by Katrin Talbot) will lead a 30-minute Prelude Discussion in Overture Hall to enhance concertgoers’ understanding and listening experience. It is free to ticket holders.

The MSO recommends that concert attendees arrive early for each performance to make sure they have time to pass through Overture Center’s security stations, and so they can experience the Prelude Discussion.

Program notes for the concerts are available online: http://bit.ly/msooct19programnotes.

Discounted seats are subject to availability, and discounts may not be combined.


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Classical music: A busy week at the UW-Madison brings FREE concerts in new halls with an emphasis on new music for winds, chamber ensembles, orchestra and band

October 6, 2019
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ALERT: Tonight’s performance by the a cappella vocal group Chanticleer is SOLD OUT.

By Jacob Stockinger

It’s going to be a busy week at the University of Wisconsin-Madison Mead Witter School of Music and especially in its new Hamel Music Center (below), 740 University Ave., next to the new wing of the Chazen Museum of Art.

On tap is a variety of FREE concerts, with an emphasis on new music, including compositions for winds, chamber ensembles, orchestra and band.

Earlier mistakes on dates and time have been corrected. To double check dates, times and venues as well programs, go to: https://www.music.wisc.edu/events/

Here is a schedule:

TUESDAY, OCT. 8

At 7:30 p.m. in the Mead Witter Foundation Concert Hall, the UW Wind Ensemble (below), conducted by director Scott Teeple and guest conductor Ross Wolf, will perform a FREE program of contemporary wind music.

The program includes works by Augusta Read Thomas (below top), Jake Runestad, Larry Tuttle, Xi Wang (below bottom) and Carlos Simon.

There will be one world premiere and two Wisconsin premieres.

For more information and the complete program, go to: https://www.music.wisc.edu/event/uw-wind-ensemble-5/

THURSDAY, OCT. 10

At 8 p.m. in Collins Recital Hall of the new Hamel Music Center, the Contemporary Chamber Ensemble will perform a FREE recital of new music, including two works — “Wet Ink” and ” Treetop Studio” — by the critically acclaimed UW-Madison composer Laura Schwendinger (below).

Also on the “Fall Notes” program are “Wing and Prayer” by Melinda Wagner (below top) and “Pentacle” by Irish composer Raymond Deane (below bottom) who will make his UW-Madison debut.

Performers for “Fall Notes” will feature UW-Madison musicians, including clarinetist Alicia Lee, cellist James Waldo, violist Sally Chisholm, pianist Christopher Taylor and student performers.

FRIDAY, OCT. 11

At 8 p.m. in the Mead Witter Foundation Concert Hall, the UW-Madison Symphony Orchestra (below) will open its season with a FREE concert under its new conductor Oriol Sans, a native of Catalonia, Spain, who studied at the Barcelona Conservatory and  who came to Madison from the University of Michigan at Ann Arbor.

The program is: “aequilibria” by contemporary Icelandic composer Anna Thorvaldsdottir (heard in the YouTube video at the bottom); “Death and Transfiguration; by Richard Strauss; and “Symphonic Dances” by Sergei Rachmaninoff.

For more information about conductor Oriol Sans (below), go to: https://www.music.wisc.edu/oriol-sans/

For more information, from Wikipedia, about composer Anna Thorvaldsdottir (below), go to: https://en.wikipedia.org/wiki/Anna_S._Þorvaldsdóttir

SUNDAY, OCT. 13

At 2 p.m., in the Mead Witter Foundation Concert Hall, the University Bands will perform a FREE concert under conductor Darin Olson (below), the assistant director of bands at the UW-Madison.

No program is available.


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Classical music: Here is a year-long list of concerts at the University of Wisconsin Mead Witter School of Music. They start Tuesday night with the 40th annual Karp Family Labor Day Concert

September 1, 2019
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By Jacob Stockinger

Get out your datebooks and calendars.

Here is a complete listing for major concerts and events at the University of Wisconsin Mead Witter School of Music during the new 2019-20 season.

The calendar starts with the FREE season-opening 40th annual Karp Family Labor Day Concert this coming Tuesday night, Sept. 3, at 7:30 p.m. in Mills Hall. The program features chamber music by Mozart, Beethoven, Schumann and Dvorak. For more information about the program and performers, go to: https://www.music.wisc.edu/event/40th-karp-family-concert/

Using the search engine on this blog, you could also consult whenever individual or group you want. You could print it out and have it in hand instead of the usual brochure, which will not be printed this year. See a previous blog post: https://welltempered.wordpress.com/2019/08/19/classical-music-the-uw-madison-school-of-music-will-not-have-a-complete-brochure-for-the-new-season-go-to-the-website-and-sign-up-for-an-email-newsletter-the-30th-karp-family-labor-day-concert-is-s/

Most concerts this season will take place in the new Hamel Music Center (below), which has a three-day opening celebration Oct. 25-27.

Please note that just a few programs are listed. For other programs, and for information about any admission charge, you can go to the School of Music’s home website closer to the event and click on Concerts and Events: https://www.music.wisc.edu/events/

Tuesday, Sep 3, 2019

Karp Family Concert

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7:30 PM

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Mills Hall

Sunday, September 29, 2019,

Jessica Martin & John O’Brien – Nordic song recital

4:00 PM

Morphy Hall

Monday, Sept. 30, 2019

Beth Wiese, Tuba, Guest Artist Recital

7:30 PM

Morphy Hall

Friday, October 4, 2019

Pro Arte Quartet

8:00 PM

Mills Hall

Sunday, Oct. 6, 2019

Chanticleer

7:30 PM

Mead Witter Hall

Tuesday, Oct. 8, 2019

Wind Ensemble

7:30 PM

Mead Witter Hall

Friday, October 11, 2019

UW-Madison Symphony Orchestra

8:00 PM

Mead Witter Hall

Sunday, October 13, 2019

University Bands

2:00 PM

Mead Witter Hall

Tuesday, October 15, 2019

Contemporary Jazz & Blue Note Ensemble

7:30 PM

Collins Hall

Wednesday, October 16, 2019

Wisconsin Brass Quintet – Faculty Concert Series

7:30 PM

Mead Witter Hall

Thursday, October 17

Jazz Faculty Quintet with special guest Michael Dudley, trumpet

7:30 PM

Collins Hall

Monday, October 21, 2019

Afro-Cuban Jazz Ensemble and UW Jazz Orchestra

7:30 PM

Play Circle

Tuesday, October 22, 2019

Concert Band

7:30 PM

Mead Witter Hall

Wed, October 23, 2019

Jazz Composers Group & Jazz Standards

7:30 PM

Collins Hall

Thu, October 24, 2019

Parry Karp with Eli Kalman, piano

7:30 PM

Collins Hall

Friday, October 25, 2019

Opening Celebration Weekend: Hamel Music Center. Please check our website for details.

All Day

740 University Avenue

Saturday, October 26, 2019

Opening Celebration Weekend: Hamel Music Center. Please check our website for details.

All Day

740 University Avenue

Sunday, October 27, 2019

Opening Celebration Weekend: Hamel Music Center. Featured Event: Collins Fellows Concert

1:00 PM

Collins Recital Hall, Hamel Music Center

Wed, October 30, 2019

Master Class with Violist Nobuko Imai

6:30 PM

Collins Hall

Thu, October 31, 2019

Violist Nobuko Imai with Pro Arte Quartet

12:00 PM

Collins Hall

Fri, November 1, 2019

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Madrigal Singers

8:00 PM

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Mead Witter Hall

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Sat, November 2, 2019

Alicia Lee, faculty clarinet

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8:00 PM

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Collins Hall

Sun, November 3, 2019

Wind Ensemble

2:00 PM

Mead Witter Hall

Fri, November 8, 2019

Wingra Wind Quintet

8:00 PM

Collins Hall

Sat, November 9, 2019

UW Chorale

8:00 PM

Mead Witter Hall

Thu, November 14, 2019

UW-Madison Symphony Orchestra

7:30 PM

Mead Witter Hall

Fri, November 15, 2019

University Opera: Benjamin Britten’s A Midsummer Night’s Dream

7:30 PM

Music Hall

Sun, November 17, 2019

University Opera: Benjamin Britten’s A Midsummer Night’s Dream

2:00 PM

Music Hall

Tue, November 19, 2019

University Opera: Benjamin Britten’s A Midsummer Night’s Dream

7:30 PM

Music Hall

Sat, November 16, 2019

Low Brass Ensemble

4:00 PM

Collins Hall

Sat, November 16, 2019

Combined Choirs

8:00 PM

Mead Witter Hall

Sat, November 16, 2019

Timothy Hagen, faculty flute

8:00 PM

Collins Hall

Fri, November 22, 2019

UW Concert Choir

8:00 PM

Mead Witter Hall

Fri, November 22, 2019

Pro Arte Quartet

8:00 PM

Collins Hall

Fri, November 22, 2019

UW Jazz Orchestra

5:00-7:00 PM

Rathskeller

Saturday, Nov 23, 2019

Undergrad Audition Day

All day

Sat, November 23, 2019

World Percussion Ensemble

12:00 PM

Music Hall

Sat, November 23, 2019

Brass Ensembles

1:00 PM

??

Sun, November 24, 2019

UW Concert Band with Winds of Wisconsin

5:00 PM

Mead Witter Hall

Mon, November 25, 2019

Chamber Percussion Ensemble

7:30 PM

Mills Hall

Tue, November 26, 2019

Opera Scenes

7:30 PM

Music Hall

Mon, December 2, 2019

Piano Studio Recital

6:30 PM

Collins Hall

Tue, December 3, 2019

Jazz Composers & Contemporary Jazz Ensembles

7:30 PM

Collins Hall

Wed, December 4, 2019

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Jazz Standards Ensemble & Afro-Cuban Jazz

7:30 PM

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Collins Hall

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Thu, December 5, 2019

UW-Madison Symphony Orchestra & UW Wind Ensemble

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7:30 PM

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Mead Witter Hall

Fri, December 6, 2019

Saxophonist Greg Ward with the Blue Note Ensemble and UW jazz faculty

8:00 PM

Collins Hall

Sat, December 7, 2019

UW & Madison Metropolitan Jazz Festival

Final Concert, 3:00 PM

Mead Witter Hall

Sat, December 7, 2019

Choral Union: Ralph Vaughan Williams’s “A Sea Symphony”

8:00 PM

Mead Witter Hall

Sun, December 8, 2019

University Bands

2:00 PM

Mead Witter Hall

Sun, December 8, 2019

Choral Concerts at Luther Memorial Church

2:00 PM

Luther Memorial Church

Sun, December 8, 2019

Choral Concerts at Luther Memorial Church

4:00 PM

Luther Memorial Church

Sun, December 8, 2019

All-University Strings

4:30 PM

Mead Witter Hall

BEGIN 2020

Sun, January 26, 2020

Annual Schubertiade

3:00 PM

Mead Witter Hall

Sat, February 1, 2020

Christopher Taylor and Friends — Beethoven Symphony Extravaganza

8:00 PM

Mead Witter Hall

Wed, February 5, 2020

Daniel Grabois, horn

7:30 PM

Collins Hall

Thu, February 6, 2020

UW Symphony Orchestra

7:30 PM

Mead Witter Hall

Sat, February 8, 2020

The Knights

8:00 PM

Mead Witter Hall

Sun, February 16, 2020

UW Wind Ensemble

2:00 PM

Mead Witter Hall

Monday, February 17, 2020

Chamber Percussion Ensemble

7:30 PM

Mills Hall

Tue, February 18, 2020

Concert Band

7:30 PM

Mead Witter Hall

Thu, February 20, 2020

Parry Karp, faculty recital

7:30 PM

Collins Hall

Fri, February 21, 2020

Marc Vallon & Friends

8:00 PM

Collins Hall

Sunday, Feb 23, 2020

Les Thimmig, faculty recital

2:00 PM

Collins Hall

Sat, April 18, 2020

Low Brass Ensemble

4:00 PM

Mead Witter Hall

Fri, February 28, 2020

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Pro Arte Quartet

8:00 PM

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Collins Hall

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Sat, February 29, 2020

Wingra Wind Quintet

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8:00 PM

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Collins Hall

Fri, February 28, 2020,

University Opera – Mozart’s Così fan tutte

7:30 PM

Music Hall

Sun, March 1, 2020

University Opera – Mozart’s Così fan tutte

2:00 PM

Music Hall

Tue, March 3, 2020

University Opera – Mozart’s Così fan tutte

7:30 PM

Music Hall

Sun, March 1, 2020

Winds of Wisconsin

5:30 PM

Mead Witter Hall

Wed, March 4, 2020

Afro-Cuban Jazz Ensemble & Jazz Composers Group

7:30

Collins Hall

Thu, March 5, 2020

Blue Note Ensemble & Jazz Standards Ensemble

7:30 PM

Collins Hall

Sat, March 7, 2020

UW-Madison Symphony Orchestra with guest pianist Wu Han

8:00 PM

Mead Witter Hall

Sun, March 8, 2020

University Bands

2:00 PM

Mead Witter Hall

Tue, March 10, 2020

Percussion Department Recital

7:30 PM

Collins Hall

Weds March 11, 2020

UW Jazz Orchestra

7:30 PM

Play Circle

Wednesday, March 11, 2020

Wisconsin Brass Quintet – Faculty Concert Series

8:00 PM

Mead Witter Hall

Thu, March 12, 2020

UW Wind Ensemble

7:30 PM

Mead Witter Hall

Fri, March 27, 2020

Le Domaine Musicale with Marc Vallon and Friends

8:00 PM

Collins Hall

Sun, March 29, 2020

Concert Band

2:00 PM

Mead Witter Hall

Sun, April 5, 2020

Beethoven Competition Winners’ Recital

3:30 PM

Collins Hall

Sun, April 5, 2020

“Symphony Showcase” Concerto Winners’ Solo Concert

7:00 PM

Mead Witter Hall

Sat, April 11, 2020

Chorale

8:00 PM

Mead Witter Hall

Fri, April 12, 2019

Perlman Trio Chamber Concert

3:00 PM

Collins Hall

Tue, April 14, 2020

Opera Scenes

7:30 PM

Music Hall

Wed, April 15, 2020

Contested Homes: Migrant Liberation Movement Suite

7:30 PM

Mead Witter Hall

Thu, April 16, 2020

Pro Arte Quartet

7:30 PM

Collins Hall

Fri, April 17, 2020

Combined Choirs

8:00 PM

Mead Witter Hall

Sat, April 18, 2020

Low Brass Ensemble

4:00 PM

Mead Witter Hall

Sat, April 18, 2020

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UW-Madison Choral Reunion concert featuring Concert Choir, Madrigals and alumni

8:00 PM

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Mead Witter Hall

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Mon, April 20, 2020

Afro-Cuban Jazz Ensemble & Blue Note Ensemble

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7:30 PM

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Collins Hall

Tue, April 21, 2020

Jazz Standards Ensemble & Jazz Composers Group

7:30 PM

Collins Hall

Wed, April 22, 2020

Chamber Percussion Ensemble

7:30 PM

Mills Hall

Thu, April 23, 2020

UW Jazz Orchestra with the UW Honors Jazz Band

7:30 PM

Music Hall

Fri, April 24, 2020

Concert Band and Wind Ensemble

7:30 PM

Mead Witter Hall

Sat, April 25, 2020

All-University Strings

2:00 PM

Mead Witter Hall

Sat, April 25, 2020

Choral Union: Giuseppe Verdi’s “Requiem”

8:00 PM

Mead Witter Hall

Sun, April 26, 2020

Choral Union: Giuseppe Verdi’s “Requiem”

7:30 PM

Mead Witter Hall

Sun, April 26, 2020

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University Bands 2 PM Mead Witter Hall

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Classical music: The eclectic fusion group Mr. Chair plays music by Stravinsky, Satie and others on Monday night in Spring Green

August 17, 2019
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By Jacob Stockinger

The Ear has received the following announcement from the Rural Musicians Forum:

Mr. Chair looks like a jazz quartet, sounds sometimes like a rock band, but in actuality is a contemporary classical music group in the guise of a modern band.

Classically trained musicians who are well versed in jazz, the players in Mr. Chair create a new sound using both acoustic and electric instruments.(You can hear Mr. Chair perform the original composition “Freed” in the the YouTube video at the bottom.)

The Rural Musicians Forum audience will have the chance to enjoy the soundscapes of this fascinating eclectic fusion group on this coming Monday night, Aug. 19, at 7:30 p.m. at Taliesin’s Hillside Theater (below) in Spring Green.

Members of Mr. Chair (below) are Professor Mark Hetzler, trombone and electronics; Jason Kutz, piano and keyboards; Ben Ferris, acoustic and electric bass; and Mike Koszewski, drums and percussion. All have close ties to the University of Wisconsin-Madison’s Mead Witter School of Music, where they also perform as an ensemble.

Mr. Chair’s compositions are long-form journeys, telling stories through sound by using and exploring the three pillars of music: melody, harmony and rhythm. Think cinematic, orchestral, surreal, romantic, emotional and gripping, and always equal parts dissonant and consonant. Their influences are far-reaching from classical, blues and rock to soul, funk, jazz and beyond.

For this concert, Mr. Chair will perform re-imagined excerpts from Igor Stravinsky’s Neo-Classical ballet masterpiece Pulcinella as well as music by Erik Satie and selections from their debut album, NEBULEBULA, which will be released on Thursday, Sept. 5, on vinyl, CD and digital streaming platforms.

The genre-bending quartet will perform in the beautiful Hillside Theater designed by Frank Lloyd Wright as part of his Taliesin compound. It is located at 6604 State Highway 23, about five miles south of Spring Green.

Admission is by free will offering, with a suggested donation of $15.


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Classical music: The fourth annual Madison New Music Festival takes place this Friday, Saturday and Sunday. It features Wisconsin composers and several world premieres

August 7, 2019
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By Jacob Stockinger

The fourth season of the Madison New Music Festival (below, in a photo from 2017 by Max Schmidt) will take place this coming Friday, Aug. 9, through Sunday, Aug. 11.

The Madison New Music Festival is an annual, weekend-long celebration for the Madison community of classical works written by contemporary composers.

In four concerts – three with admission and one free — the festival will showcase Wisconsin-based composers and performers of new music, as well as world premiere performances by guest artists.

Tickets for each concert are $15 for adults and $5 for students. Subscriptions to all three concerts are available for $35. For more information, go to http://madisonnewmusic.org or to Facebook (@Madison New Music Festival) or Instagram (@madisonnewmusic).

Here is the line-up:

Concert 1: Music from Wisconsin – Friday, Aug. 9, at 7:30 p.m.

Where: Madison Museum of Contemporary Art (227 State St.)

What: In anticipation of this fall’s Wisconsin Triennial and the Madison Museum of Contemporary Art, this concert spotlights all Wisconsin-born, -based, or -educated composers, curated by pianist Robert Fleitz (below, with a toy piano he often performs on), whom The New York Times called “mesmerizing.” Joined by young local musicians, Fleitz explores music created right here in their own backyard.

Concert 2: World Premieres – Saturday, Aug. 10, at 7:30 p.m.

Where: First Unitarian Society of Madison’s Atrium Auditorium (900 University Bay Drive)

What: Internationally acclaimed violist Anne Leilehua Lanzilotti and Wisconsin-born pianist Karl Larson (below top) will give the world premieres of new viola sonatas from three of the world’s leading composers: Andrew Norman, Anna Thorvaldsdottir and Scott Wollschleger. In addition, local cellist James Waldo will kick off the evening with a premiere of a work for solo cello by University of Wisconsin-Madison professor Les Thimmig (below bottom).

Concert 3: SistaStrings – Sunday, Aug. 11, at 2:30 p.m.

Where: Robinia Courtyard (829 East Washington Avenue)

What: The concert features the Milwaukee-based sister duo SistaStrings (below, in a photo by Adam Ryan Morris). Violinist Chauntee Ross and cellist Monique LaDora Ross blend their training as accomplished classical instrumentalists with “R&B and a touch of gospel influence that culminates in a vibey, lush sound.” The sisters will play tracks from their new and acclaimed Extended Play recording in the cozy courtyard. (You can hear them in the YouTube video at the bottom.)

Partner concert: Madison New Music Ensemble (FREE concert) – Sunday, Aug. 11, at 5 p.m.

Where: Memorial Union Terrace (800 Langdon Street, below)

What: Join the newly formed Madison New Music Ensemble (below top), led by UW-Madison composer Joseph Koykkar (below bottom), at the Memorial Union Terrace as part of their Summer Serenade series. The group will perform works by Koykkar, Ian Clarke, Gabriela Lena Frank, Gareth Farr and Kirsten Volness.


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Classical music: The Madison-based string quartet Quartessence will perform this Sunday afternoon at the Little Brown Church in Richland County

August 2, 2019
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By Jacob Stockinger

On this Sunday, Aug. 4, at 2 p.m. the Madison-based Quartessence string quartet (below, in a photo by Ralph Russo) will perform a rare public concert of classical music at the Little Brown Church in Richland County. (The group usually performs at private events.)

Performers (below, from left) are: violinist Suzanne Beia; cellist Sarah Schaffer; violinist Laura Burns; and violist Jennifer Clare Paulson. Beia, Burns and Paulson are members of the Madison Symphony Orchestra, the Wisconsin Chamber Orchestra and the Pro Arte String Quartet. Schaffer has a career in arts management and organizes the annual summertime Token Creek Chamber Music Festival.

The location is 29864 Brown Church Road at the intersection of Highway 130 and Highway B, approximately five miles north of Highway 14.

Tickets cost $10 for adults and $5 for students, and will be available at the door.

The program includes: music by baroque composer Antonio Vivaldi; the “Brook Green” Suite by Gustav Holst; the String Quartet in G Major, K. 156, by Wolfgang Amadeus Mozart; “Household Music: Three Preludes on Welsh Hymn Tunes” by British composer Ralph Vaughan Williams (originally written for organ, one of the preludes can be heard in an orchestral arrangement in the YouTube video at the bottom); and “Painting the Floors Blue” and “Thanks, Victor” by the contemporary American composer John Harbison.

The concert is sponsored by a family, and proceeds will be used by the Friends of the Little Brown Church for maintenance of the building. The donors are happy to be able to provide this opportunity to music lovers in the community.

The refurbished building is air-conditioned, so you can take a break from the hot weather while you enjoy the music.

Here is some background from Harriet Statz (below, far right), who organizes the event because the Little Brown Church is special to her:

“Last year we started what is turning out to be an annual event (maybe) at the Brown Church (below) in Richland County. That’s up the road (Highway 131) from where I lived in the late 1970s.

“Since then Julie Jazicek and I have been in contact about fencing for this historic place, as she is sort of the manager and deserves much credit for keeping both the building and grounds beautiful. Over the years some concerts have been held in the church, but until 2018 nothing classical. So we fixed that!

“Last year’s concert by the Quartessence Quartet was a resounding success. An audience of about 60 people encouraged us to keep going, so we did, and hope for even a larger turnout to fill up the place. As it turns out the acoustics are outstanding!

“The location is west of Spring Green and north of Lone Rock. It’s a lovely drive. So I invite you to mark this Sunday Aug. 4, on your calendar and come out to the country for a lovely afternoon of music. Bring friends! Share rides!”

For information, call 608-356-8421 or send an email to: FriendsOfLittleBrownChurch@gmail.com


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Classical music: The Madison Area Youth Chamber Orchestra (MAYCO) will give two FREE afternoon performances this Saturday and Sunday with the world premiere of a socially relevant piece by local composer Lawren Brianna Ware

August 1, 2019
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By Jacob Stockinger

The Madison Area Youth Chamber Orchestra (MAYCO, below) will present its ninth season this weekend, performing two free afternoon concerts.

Co-directed by the husband-and-wife team of conductor Mikko Rankin Utevsky (below left) and concertmaster Thalia Coombs (below back), the orchestra will perform music of Haydn, Wagner and Grieg, plus a commissioned work from local composer Lawren Brianna Ware.

Performances are Saturday, Aug. 3, at noon on the “Grace Presents” concert series at Grace Episcopal Church, located downtown at 116 West Washington Avenue on the Capitol Square; and on Sunday, Aug. 4, at 12:30 p.m. in the Mead Witter Lobby of the University of Wisconsin-Madison’s Chazen Museum of Art, as part of “Sunday Afternoon Live at the Chazen.”

(Please note that Sunday’s concert is NOT in the Brittingham Gallery III due to space constraints.) Sunday’s performance will be live-streamed on the Chazen website. Here is a link to the portal for streaming: https://www.chazen.wisc.edu/index.php?/events-calendar-demo/event/sunday-afternoon-live-at-the-chazen7/

ABOUT THE PROGRAM

Utevsky and Coombs offer the following comments about the program:

We’re excited to be working with Lawren Brianna Ware (below) on a new work she composed for us, Un sueño aplazado (A Dream Deferred – a quote from the African-American poet Langston Hughes), which chronicles the emotional trajectory of a migrant’s journey from Central America to the United States.

Our two high school Conducting Apprentices, Luke Whittingham (below top) and Quinn Wilson (below bottom) will each conduct one performance of a movement from Edvard Grieg’s Holberg Suite. Whittingham conducts on Saturday and Wilson does so on Sunday.

Richard Wagner’s Siegfried Idyll is a luxurious tone poem for small orchestra that he composed as a love letter to his wife Cosima, first performed on the staircase of their villa in Switzerland on her birthday. Often chamber orchestras don’t get the chance to dig into the great German Romantic repertoire, but this gem is a notable — and unforgettably beautiful — exception. (You can hear it in the YouTube video at the bottom.)

We conclude our program with Franz Joseph Haydn’s final symphony, No. 104. Nicknamed the “London,” it is one of 12 symphonies he wrote for performances there late in his career, and it remains one of his finest essays in symphonic form.

MAYCO is made possible by a grant from the Madison Arts Commission, with additional funds from the Wisconsin Arts Board.

For more information about the Madison Area Youth Chamber Orchestra, go to www.mayco.org or call (608) 514-5537.


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Classical music: A veteran reviewer bids farewell with a rave review of this summer’s last concert by the Willy Street Chamber Players and UW-Madison pianist Christopher Taylor

July 29, 2019
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By Jacob Stockinger

Here is a very special posting, the final review that will be written by frequent guest critic and writer for this blog, John W. Barker.

Barker (below), who is dealing with medical issues, is an emeritus professor of Medieval history at the University of Wisconsin-Madison. He also is a well-known classical music critic who wrote for The Capital Times, Isthmus and the American Record Guide, and who, until two weeks ago, hosted an early music show once a month on a Sunday morning on WORT-FM 89.9. For years, he served on the Board of Advisors for the Madison Early Music Festival and frequently gave pre-concert lectures in Madison.

Please use the comment section to join The Ear in thanking Barker for his many years of public service and wishing him well.

By John W. Barker

I had to miss the first concert this summer by the Willy Street Chamber Players (below) on July 12; and the next one, on July 19, was cancelled because of power failures. But the final one, last Friday night, was well worth waiting for — one of the really memorable events of the year, I think.

The program, performed at the usual near East Side venue of the Immanuel Lutheran Church, 1021 Spaight Street, began with some short items.

First, there was a set of Three Nocturnes (1924) for piano trio — violin, cello and piano — by Ernest Bloch. They contain elements of the Hebraic sound that Bloch cultivated but also had their own individualities, the first two contemplative and the third marked “tempestuoso.” Interesting was Bloch’s alternating uses of muting the strings.

After this came an example of the short pieces for string quartet by the contemporary composer Jessie Montgomery, her “Voodoo Dolls” (2008). Much is packed into this five-minute piece. A few lyrical touches aside, it sounded like a hoedown gone crazy, full of quite novel sounds, including rhythmic thumping on the wood of the instruments.

All that was a curtain-raiser to the big event of the program: the Piano Quintet No. 2 in A major, Op. 81, by Antonin Dvorak. This 40-minute work is one of the composer’s best-known chamber music compositions, and one of the standouts in the whole chamber music literature.

The very opening notes of the first movement bring a flood of warm well-being.  (After hearing just that, I commented, “I haven’t felt such happiness in months.”)

The fecundity and richness of invention pervaded the entire work. For me, its high point is the second movement, in which Dvorak (below) used the Czech formula of the dumka, a kind of folk music lament that is paced slow-fast-slow-fast. (You can hear the Dumka movement, played by the Jerusalem Quartet and pianist Stefan Vladar, in the YouTube video below.)

Dvorak liked to play viola in chamber music, and so he always wrote some good things for himself. The sublime passages for viola in this movement were played with such transcendent beauty by Rachael Hauser (below) – who is leaving Madison for New York City — that I felt I was hearing the composer’s voice directly. Put simply, this was one of the greatest examples of chamber-music performance that I have ever heard.

All of the players, many of whom play in the Madison Symphony Orchestra,  of course matched remarkable skill with humane vitality and vibrancy.

And a measure of the Willys’ standards was the fact that they were able to draw as a partner no less than that magnificent UW-Madison music school pianist, Christopher Taylor (below), who also performed the same Dvorak Piano Quintet in the 1993 Van Cliburn International Piano Competition, where he won a bronze medal. Much of his excellence here was demonstrated by the fact that he did not play the star, but joined with the Willys in perfect collegial integration.

This ends the Willy Street group’s fifth summer season. As a symbol of vibrancy and fresh spirit, they are among the most important of Madison’s classical music world today. They have drawn steadily growing audiences, and the house was truly packed for this concert.  We can only hope that they will continue to brighten that world in the years ahead.

I am now ending my time as a music critic. I can think of no more satisfying a final review to write than of the Willy Street Chamber Players.


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Classical music: Meet UW-Madison bassoonist Marc Vallon who performs with the Willy Street Chamber Players on Friday night

July 17, 2019
2 Comments

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By Jacob Stockinger

Who is Marc Vallon (below, in a photo by James Gill)?

This week, he is the bassoonist who will perform Franz Danzi’s Quartet for Bassoon and Strings in D minor, Op. 40, No. 2 (ca. 1820), this coming Friday night, July 19, with the acclaimed Willy Street Chamber Players (below), who will also be joined by pianist Jason Kutz and violist Sharon Tenhundfeld..

(The concert is at 6 p.m. in Immanuel Lutheran Church, 1021 Spaight Street. The program includes: the Allegretto for Piano Trio by Ludwig van Beethoven (1812); “Dark Wood” by American composer Jennifer Higdon (2001); and the rarely heard String Quartet No. 1  (1948) by Argentinean composer Alberto Ginastera. Admission is $15.)

A native of France, Vallon is one of the busiest musicians in Madison. He teaches at the University of Wisconsin-Madison’s Mead Witter School of Music, where he also performs individually, with faculty and student colleagues, and as a member of the Wingra Wind Quintet. He also frequently performs and conducts Baroque music with the Madison Bach Musicians.

Vallon attended the Paris Conservatory, where he won first prizes in bassoon and chamber music, and also earned a philosopher degree at the Sorbonne or University of Paris.

A versatile musician, Vallon played with famed avant-garde French composer Pierre Boulez and for more than 20 years was the principal bassoon of the well-known Amsterdam Baroque Orchestra. He has also performed with major modern orchestras and conductors as well as with many period-instrument groups.

He gives master classes worldwide and also composes.

For a more extended and detailed biography, go to: https://www.music.wisc.edu/faculty/marc-vallon/

Vallon recently did an email Q&A interview with The Ear:

What drew you to the bassoon (below) over, say, the piano or singing, over strings, brass or other woodwinds?

I played the piano as young kid but was not very interested in the mechanics of it, even if I had a strong passion for music. It was the day that my piano teacher brought to my lesson a friend of his to do a bassoon demo that I found the right medium for my passion.

I started practicing like a maniac and knew by the age of 14 that I was going to be a professional bassoonist.

What would you like the public to know about the bassoon, perhaps about the challenges of playing it and about the repertoire for it?

The bassoon does not offer more challenges than other wind instruments, but it is safe to say that an absolute perfectionist person should probably not play it.

It is an instrument capable of true beauties, yet it has its own character. You don’t conquer it, you work with it like you would work with a wonderful but temperamental colleague.

Bassoonists sometimes complain that our solo repertoire is not as rich in masterpieces as the clarinet’s or the flute’s. True, but in its 350 years of existence, the bassoon has amassed enough wonderful music to keep us busy for several lifetimes.

What would you like to tell the public about the specific Bassoon Quartet by Franz Danzi that you will perform, and about Danzi and his music in general?

The bassoon and strings quartet became popular in the last decades of the 18th century, a trend that lasted well into the Romantic era.

Sadly, many of these quartets are basically show-off pieces for the bassoonist while the strings players have to suffer through some often very dull accompaniment parts.

I like this one by Danzi (below) because it features the strings on the same musical level as the bassoon, creating an enjoyable musical conversation rather than a cocky bassoon monologue. (You can hear that musical conversation in the opening movement of the Bassoon Quartet by Danzi in the YouTube video at the bottom.)

As a performer and conductor, you are well–known for championing baroque music as well as modern and contemporary music. Do you have a preference? Do they feed each other in your experience?

What I always have enjoyed about playing contemporary music is the possibility to work with living composers because I often realized how flexible they are with their own music and how much they like the performer’s input. They’re often ready to compromise and veer away from the strict notation.

The approach when playing composers from the past is actually very similar in the sense that we have to remember how approximate music notation is. Baroque composers are not here anymore obviously, but the 17th and 18th centuries sources tell us clearly how much flexibility we, modern performers, have in our approach to their music.

When it comes to music pre-1800, we basically have a sketch on our music stands. I always want to remember this. (Below is a manuscript page of a cantata by Johann Sebastian Bach.)

Do you have big projects coming up next season?

Always! I am putting together a contemporary program on March 27 in our new concert hall on campus. It is called ”Opening Statements” and will feature early works from major 20th-century composers.

On period instruments, I have Bach’s “Christmas Oratorio,” Mendelssohn’s “Elijah” and more Bach on my calendar.

Is there something else you would like to say?

A big Thank You to you, Jake, for being such a relentless and informed advocate of the Madison musical scene!


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