The Well-Tempered Ear

Classical music: The Oakwood Chamber Players open their new “Vignettes” season with concerts on Saturday night and Sunday afternoon

September 14, 2018
Leave a Comment

A CORRECTION: The Ear wants to apologize for and correct an error he made in yesterday’s blog post. The correct time and address for the all-Schubert concert by the Mosaic Chamber Players is on Saturday night at 7:30 p.m. in the chapel of the First Congregational United Church of Christ, 1609 University Avenue, near Camp Randall Stadium.

By Jacob Stockinger

The Oakwood Chamber Players (below) will begin their 2018-2019 season series “Vignettes” with concerts on Saturday, Sept. 15, at 7 p.m. and Sunday, Sept. 16, at 2 p.m.

The concerts will both be held at the Oakwood Center for Arts and Education, 6209 Mineral Point Road, on Madison’s far west side near West Towne Mall.

Tickets can be purchased with cash or personal checks at the door: $25 for general admission, $20 for seniors 62 and over; and $5 students. Visit www.oakwoodchamberplayers.com or call (608) 230-4316 for more information for individual and season tickets.

Once again, the group will explore largely new or unknown composers and neglected music.

Each program of the 2018-19 series will focus on how composers create specific themes to tell stories, and represent emotions, places or characteristics to enhance the listening experience.

Central to the program is poetry and narration paired with music that will feature Boston-based guest soprano Mary Mackenzie (below). She has been described by The New York Times as “a soprano of extraordinary agility and concentration,” and the Boston Globe as “sensational.”

Mackenzie is a passionate performer of contemporary vocal music, and has appeared with the Chameleon Arts Ensemble of Boston, Collage New Music, the Da Capo Chamber Players, Fulcrum Point New Music Project, and The Knights.

American composer Byron Adams (below) was commissioned by renowned American clarinetist Yehuda Weiner to set Nightingales, a poem by British Victorian poet Robert Bridges, as a memorial to his brother. The composer chose a quartet of soprano, clarinet, cello and piano to evoke the breathtaking beauty of the natural world that is overlaid with a sense of loss and longing.

By contrast, the Pulitzer Prize-winning American composer Jennifer Higdon (below, in a photo by Candace DiCarlo) set four poems that have titles that reference roses by James Whitcomb Riley for the combination of flute, soprano and piano.

Bentley Roses was written as a surprise tribute for the retirement of her former music teacher, Judith Bentley. The settings are sunny and accessible, the music weaves around the words with swirling energy, coy interactions, and graceful interplay.

The yearning Vocalise by conductor, composer and pianist Andre Previn conveys emotion using the voice without words as a chamber instrument. The combination of soprano, cello and piano carries the shifting harmonies and sinuous melodic line through a series of subtle yet powerful transformations. (You can hear Previn’s beautiful “Vocalise,” with soprano Barbara Bonney and the the composer at the piano, in the YouTube video at the bottom.)

A second piece by Previn (below) piece puts the cello and soprano in conversation with his setting of Pulitzer Prize-winning writer Toni Morrison’s poem Stones.

American film composer and bassoonist Charles Fernandez (below) wrote Quatuor Parisienne (Parisian Quartet) for flute, oboe, clarinet and bassoon. It consists of three movements: a tongue-in-cheek march; a gracefully flowing reflection: and a farcical musical conversation with a dash of merriment.

Budapest-based clarinetist and composer Endre Szervanszky (below) wrote his Quintet No. 1 in 1953. Audiences will hear some characteristics similar to the writing of Kodaly and Bartok. It is a pleasing four-movement work that shows his strong understanding of each of the instruments, demanding both melodic expressiveness and technical panache.

The program concludes with poetry by British writer Roald Dahl, known for his darkly humorous children’s stories. Composer Martin Butler (below, in a photo by Katie Vandyck) incorporated The Pig, The Tummy Beast, and The Crocodile into his piece Dirty Beasts for narrator, piano and woodwind quintet. Butler mirrors the acerbic wit of the text with clever effects, closing out the program with some unexpected twists and turns.

Guest performers are soprano Mary Mackenzie, pianist Joseph Ross (below top) and oboist Laura Medisky (below bottom).

They join Oakwood Chamber Players members Marilyn Chohaney, flute; Nancy Mackenzie, clarinet; Amanda Szczys, bassoon; Anne Aley, horn; and Maggie Darby Townsend, cello.

This is the first of five concerts in the Oakwood Chamber Players’ 2018-19 season series entitled Vignettes. Remaining concerts will take place on Nov. 24 and 25; Jan. 12 and 13; March 2 and 3; and May 18 and 19. For more information about the Oakwood Chamber Players and their new season, go to: https://www.oakwoodchamberplayers.com

The Oakwood Chamber Players are a group of Madison-area professional musicians who play with the Madison Symphony Orchestra and the Wisconsin Chamber Orchestra and have rehearsed and performed at Oakwood Village for over 30 years.

The Oakwood Chamber Players are a professional music ensemble proudly supported by Oakwood Lutheran Senior Ministries and the Oakwood Foundation.


Posted in Classical music
Tags: , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

Classical music education: The all-student Madison Area Youth Chamber Orchestra (MAYCO) performs music by Mozart and Aaron Copland this coming Saturday night and Sunday afternoon

August 1, 2018
1 Comment

By Jacob Stockinger

This coming weekend, the Madison Area Youth Chamber Orchestra (MAYCO, below in a photo by Steve Rankin) performs “Interplay,” featuring music by Mozart, Copland and Grieg.

There will be two performances.

The first is on Saturday, Aug. 4, at 7:30 p.m. at the First United Methodist Church (below), 203 Wisconsin Avenue, off the Capitol Square.

Then on Sunday, Aug. 5, MAYCO will perform at 12:30 p.m. in Brittingham Gallery 3 at the UW-Madison’s Chazen Museum of Art as part of the monthly “Sunday Afternoon Live at the Chazen” series, which can be STREAMED LIVE by going to: https://www.chazen.wisc.edu/index.php?/events-calendar-demo/event/sunday-afternoon-live-at-the-chazen-8-5-18/

Admission for the Saturday performance is $10 at the door; students by donation. The Sunday performance is FREE, and reservations can be made by going to the above link.

For more information, visit www.mayco.org or www.facebook.com/madisonchamberorchestra.

ABOUT THE ORCHESTRA

MAYCO is a free summer festival ensemble dedicated to providing an intensive small orchestra experience for advanced high school and college musicians.

Founded in 2010 by music director Mikko Rankin Utevsky, the orchestra prepares a full program over the course of each one-week summer session, culminating in a public concert (below is a photo by Dennis Gotowksi of the concert this past June).

For The Ear, Utevsky (below top) and his general manager and concertmaster-wife Thalia Coombs (below bottom) answered some questions about the concerts:

WHAT CAN YOU TELL US ABOUT THE PROGRAM?

The orchestra will be joined by guest soloist Trevor Stephenson (below), who is the artistic director and keyboard player of the Madison Bach Musicians. On fortepiano, he will solo in Mozart’s Piano Concerto No. 9 in E-flat Major, K. 271, sometimes nicknamed the “Jeunehomme” Concerto. (You can hear the lively, tuneful and infectious last movement of the Mozart concerto in the YouTube video at the bottom.)

Stephenson has led workshops on historical performance practices with the orchestra in past seasons, and we’re delighted to work with him to bring one of Mozart’s weirdest and wildest youthful masterpieces to life.

The ballet suite from “Appalachian Spring” by Aaron Copland (below) is one of the defining works of his classic American sound, juxtaposing the pastoral beauty of the countryside with his trademark rhythmic vitality. We are performing the original chamber version, in which the clarity of texture illuminates the intricate internal structure of the piece.

Two high school students from our Conducting Apprenticeship Program will lead Grieg’s affecting miniature, “Last Spring,” for string orchestra. Cellist Elizabeth Strauss and violinist Monona Suzuki (below, in 2013) are this year’s Apprentices.

WHY IS THE CONCERT CALLED “INTERPLAY”?

We wanted to highlight the sense of conversation and interaction present in the two major works on this program.

The Mozart concerto is remarkable for the degree of interplay between soloist and orchestra. From the opening bars they are constantly interrupting each other, finishing each other’s sentences. It’s what gives the piece its unique sense of drama.

There’s a truism that Mozart made everything he wrote into an opera, and it’s certainly evident here: the melodies could have been lifted straight out of “The Marriage of Figaro.”

In the Copland work, it’s more about the intricacy of texture and the sense of playfulness in the way the various parts interact.

This project is funded in part by a grant from the Madison Arts Commission, with additional funds from the Wisconsin Arts Board; and by Dane Arts, with additional funds from the Endres Mfg. Company Foundation, The Evjue Foundation, Inc., charitable arm of The Capital Times, the W. Jerome Frautschi Foundation, and the Pleasant T. Rowland Foundation.


Posted in Classical music
Tags: , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

Classical music: Irish pianist John O’Conor charms and excels in solo works by Haydn, Schubert, Beethoven and John Field. Ancora String Quartet plays Nielsen and Debussy Friday night. 

May 14, 2018
2 Comments

ALERT: The Ancora String Quartet will close out its 17th season with a performance this Friday night at 7:30 p.m. in St. Andrew’s Episcopal Church, 1833 Regent Street. The program features the String Quartet No. 4 in F Major, Op. 44, by Danish composer Carl Nielsen and the String Quartet in G Minor, Op. 10, by Claude Debussy. Tickets are available at the door and are $15, $12 for seniors, $5 for children. A reception follows the concert. For more information, go to: https://www.ancoraquartet.com

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 Isthmusand 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.

By John W. Barker

Lovers of piano music were given a special treat this past weekend — a double-header, allowing access to two different dimensions of one of the important pianists of our time.

John O’Conor (below), the Irish pianist, appeared on Friday evening with the Wisconsin Chamber Orchestra (WCO), presenting a stimulating performance of the Piano Concerto No. 3 by Ludwig van Beethoven.

Then, the following evening, at the Salon Piano Series at Farley’s House of Pianos, O’Conor gave a solo recital that showed the more personalized aspects of his art.

O’Conor concentrates particularly on the early Romantics in both his performing and recording activities, and from such concentrations was the recital program derived.

He began it with a reach back to an early favorite, Franz Joseph Haydn, in the Sonata No. 32 in B minor. In this work from 1776 O’Conor could find hints of the Romantic spirit to come — in a composer usually more identified with High Classicism.

The pianist was more fully in his own comfort zone, however, with the four Impromptus that make up the Op. 90 (D. 899) by Franz Schubert.

Dating from 1827, the composer’s last year, these are simply marvelous gems, and they made me realize that part of their delightfulness is what differentiates them from Schubert’s larger-scale piano works (sonatas,a fantasy, etc.).

The latter correspond to his efforts at music of grand scope and structure, as in the string quartets and symphonies, whereas the shorter piano pieces correspond to Schubert’s Lieder, or art songs, in their greater directness and intimacy. O’Conor played them with conviction and affection.

After the intermission came music by two composers with whom O’Conor has his most-established affinity. He has been the outstanding and crucial champion in the revival of interest in the piano music — both concertos and the pace-setting nocturnes — by John Field (1782-1837, below), the Irish pianist and composer who is recognized now as an important forerunner to Chopin.

Three of Field’s nocturnes (Nos. 5, 6, and 18) were presented, the last a kind of picture of party life in old Russia — where Field spent his later years — ending at the tolling of midday chimes. (You can hear John O’Conor play the lyrical and lullaby-like Nocturne No. 6 in the YouTube video at the bottom.)

Beethoven’s music is O’Conor’s other speciality. He has recorded all of the sonatas and the concertos, among other things. For this program, he performed the Sonata No. 14 in C-sharp minor (1801), a work nowadays cursed by the nickname given its first movement, “Moonlight.” He reminded us that the other two movements are the more fascinating and important ones.

As an encore, he suggested the John Field connection with one of Chopin’s own nocturnes.

Before each half of the program, the pianist gave his own comments, on both personal and analytical matters, and laced with his delightful Irish charm.

O’Conor performed on the amazing 1906 Chickering concert grand piano that Tim Farley has so lovingly restored. The post-recital conversation I had with O’Conor suggested that he had had too little time to adjust to the very remarkable individualities of the instrument. We may hope that he will return to Madison to fill out that acquaintance.

And we hope for more examples of the fruitful cooperation between the WCO and Farley’s in jointly bringing so fine a performer as this to the Madison scene.


Posted in Classical music
Tags: , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

Classical music: Violinist and concertmaster David Kim will discuss becoming a professional musician and will give two public master classes plus a student performance of string music by Vivaldi, Massenet and Brahms

October 16, 2017
Leave a Comment

By Jacob Stockinger

The Ear has received the following announcement from the Mead Witter School of Music at the University of Wisconsin-Madison about upcoming events:

“From oboist to organist, whether one performs pop or Prokofiev, every musician has a story of an intricate and sometimes unsettling pathway to a professional career.

“Violinist David Kim, (below) who will visit the School of Music TODAY and Tuesday, Oct. 16 and 17, is no different. Since 1999, Kim has been the concertmaster of the Philadelphia Orchestra.

“On Tuesday at 7: 30 p.m. in Mills Hall, Kim will offer a talk, “From Prodigy to Professionalism – A Life in Music.” (Editor’s note: You can sample Kim’s terrific conversational style and accessible analysis in the interview with him about his violin in the YouTube video at the bottom.)

“He’ll describe his experiences and struggles to reach the pinnacle of his career, interspersed with performances of some of Mr. Kim’s favorite works. It will be a humorous, sometimes jarring, and often poignant story not to be missed.

“Kim’s talk will be followed by a concert with UW-Madison strings and pianist Thomas Kasdorf. The program will include “Sonatensatz” (Sonata Movement) by Johannes Brahms (1833-1897); “Banjo and Fiddle” by William Kroll (1901-1980); “Meditation” from the opera “Thais” by Jules Massenet (1842-1912); and “The Four Seasons” by Antonio Vivaldi (1678-1741).

“I’ve always shared anecdotes about my crazy upbringing,” Kim wrote in an email. “From the beginning, my story seemed to resonate, especially with parents. After all, who doesn’t have a story of an overzealous parent from some stage of life!

“Now I share my story numerous times each season and have been urged by many to write a book – a la the widely read book, ‘Battle Hymn of the Tiger Mom.’

“But that will probably never happen as I prefer speaking during my concerts and love seeing the audience react in person.”

“Join us for our “Conversation & Concert” with David Kim, our strings players and pianist Thomas Kasdorf (below), a UW-Madison alumnus and graduate student. Tickets are $15 for adults, $5 for students, except Mead Witter music majors, who receive free admission. Buy tickets here. They will also be sold at the door, starting at 6:30 p.m.

“Additional Events: 
Violin Master Class is TODAY, Monday, Oct. 16, at 7 p.m. in Morphy Hall;
 Strings Orchestral Excerpts Master Class is on Tuesday, Oct. 17, at 11 a.m. in Morphy Hall. Both classes are free and open to the public.

“Learn more here: http://www.music.wisc.edu/event/david-kim-vivaldis-four-seasons/


Classical music: The Oakwood Chamber Players open their new season with three concerts this weekend that feature music by Chick Corea, Bruce Broughton, Alexander Arutiunian and others

September 5, 2017
Leave a Comment

By Jacob Stockinger

The Oakwood Chamber Players (below) officially begin their 2017-2018 season series with the theme “Journey” this coming weekend with a concert titled Departure on Saturday, Sept. 9, at 7 p.m. and Sunday, Sept. 10, at 2 p.m.

However, the Oakwood Chamber Players will also present a special performance at Bos Meadery (below), 849 E. Washington Ave., on this Friday night, Sept. 8, from 7 to 8:30 p.m. in a range of music choices that will include excerpts from the Departure concert along with a breadth of other styles of music. Donations will be accepted.

The two full-length concerts will both be held at the Oakwood Center for Arts and Education, 6209 Mineral Point Road, on the far west side of Madison near the West Towne Mall.

Guest artists pianist Joseph Ross, violist Sharon Tenhundfeld (below top) and violinist Maureen McCarty (below bottom) will join members of the Oakwood Chamber Players to launch their season.

Tickets can be purchased with cash or personal checks (no credit cards) at the door: $25 general admission, $20 seniors and $5 students.

For tickets and more information, go to www.oakwoodchamberplayers.com or call (608) 230-4316.

According to a press release, “Departure will explore composers’ musical journeys as influenced by shifts in their artistic lives.

“Just two years after the start of his huge success in the expanding world of jazz-fusion, with renowned hits such as “Spain,” American composer and pianist Chick Corea (below) wrote his Trio for flute, bassoon and piano in 1973.

“He created a fascinating blend — a classical style that both reflects his personal jazz-like fluidity at the keyboard but also transfers the sense of conversational-like interactions that occurs between players. (You can hear Chick Corea’s Trio in the YouTube video at the bottom.)

“This succinct piece is infused with the composer’s essential and recognizable artistic voice. Corea bridges the boundary between genres in an artful and engaging way, creating a brief snapshot of two artistic worlds joined through the piece’s synergy.

“Academy Award-winning and Emmy award-winning film composer Bruce Broughton (below) has consistently contributed to the world of chamber music literature. Broughton’s successes in the film industry include Young Sherlock Holmes, Silverado and The Rescuers Down Under.

“His Primer for Malachi, for flute, clarinet, cello and piano, was written in anticipation of the birth of a grandchild in 1997. Through its five short movements the piece creates a programmatic feel. It begins with quiet introspection, progressing through each movement with increasing rhythmic and melodic intensity, peaking with an action-packed instrumental musical tag, and concluding by musically catching its breath, slowing in the final movement to calm and flowing lines, mirroring the opening effect.

“Known for his emotive melodies Armenian-Soviet pianist and composer Alexander Arutiunian wrote prolifically for orchestra, chamber music and film.

“Written in Armenia after spending several years in Moscow, the Concert Waltz for winds and piano is taken from his 1958 film score for the movie “About My Friend.” It is a wry waltz set in a minor key, and the composer infuses the familiar waltz dance form with a tongue-in-cheek sense of being on a slightly careening carousel. The piece sparkles with Armenian folk flavor and the energy is captivating.

“The Kaiserwaltz by Viennese composer Johann Strauss musically conjures up the grandeur of the ballroom. The piece was intended to symbolize ‘a toast of friendship’ between Germany and Austria. The waltz is full of upbeat musical declarations and graceful melodies.

“The Oakwood Chamber Players were pleased to discover that the piece had been reimagined from its full orchestral orchestration, written in 1889, to this delightful version, arranged in 1925 for chamber ensemble by Arnold Schoenberg (below). The grace of this music is refined and enduring.

“German composer and organist Max Reger’s perspective on compositional artistry was informed by the masters who came before him.

“However, perpetually fascinated by fugues, Reger (below) often wrote pieces that were very abstract. He worried about the lasting reputation of penning these kinds of ultra-academic compositions. He was an ardent admirer of Bach, Brahms and Beethoven and was very capable of writing a range of styles that were both accessible and rooted in the historic perspectives.

“In his Serenade for flute, violin, and viola, written just a year before his death, he sought to show the range of his compositional capabilities and to silence critics by leaving more approachable music for posterity. At this pivotal time he reached his goal ably, giving the performers an outstanding piece with nimble rhythms, memorable melodies, and the bright voicing of an upbeat sound palette.”

This is the first of five concerts in the Oakwood Chamber Players’ 2017-2018 season series entitled Journey. Remaining concerts will take place on Nov. 26; Jan. 13 and 14; March 10 and 11; and May 19 and 20.

The Oakwood Chamber Players are a professional music ensemble proudly supported by Oakwood Lutheran Senior Ministries and the Oakwood Foundation.


Classical music: The Willy Street Chamber Players kick off their new FREE Community Connect concert series this coming Sunday afternoon at Warner Park. Plus, FREE oboe and piano concerts are this Friday at noon and Saturday night

February 16, 2017
Leave a Comment

ALERT: This week’s FREE Friday Noon Musicale at the First Unitarian Society of Madison, 900 University Bay Drive, features oboist Laura Medisky and pianist Vincent Fuh in sonatas by Paul Hindemith, Henri Dutilleux and Malcolm Arnold. The concert runs from 12:125 to 1 p.m. On Saturday night at 7 p.m., the same performers will repeat the same program in a FREE concert at Oakwood Village West auditorium, 6201 Mineral Point Road, on Madison’s far west side near West Towne.

By Jacob Stockinger

The Ear’s friends at the Willy Street Chamber Players (below), which The Ear named as Musicians of the Year for 2016, write:

Willy Street Chamber Players 2016 outdoors

We wanted to let you know about the upcoming kickoff of the Willy Street Chamber Players’ “Community Connect” series. We are committed to our mission of making classical music accessible to all.

The Willy Street Chamber Players’ Northside Community Connect Concert is on this coming Sunday, Feb. 19, at noon at the Warner Park Community Recreation Center.

Warner Park shelter

Enjoy hot coffee, exciting classical music and great conversation with the Willy Street Chamber Players. 

This program is FREE, family-friendly and will last about 60 minutes. All are welcome.

The program is: String Quartet in C Major, K. 157, by Wolfgang Amadeus Mozart; String Quartet No. 5, “Rosa Parks” by Daniel Bernard Roumain; “Entr’acte” for String Quartet by Pulitzer Prize-winner Caroline Shaw (you can hear the piece, which The Ear loves for its pulsing and hypnotic rhythm plus unusual and interesting string textures, in the YouTube video at the bottom); and “Four, for Tango” by Astor Piazzolla.

There was an announcement about this series in the January string quartet program at A Place to Be (below, in a photo by John W. Barker), and it included a couple more concerts. But we have decided to make Community Connect a self-produced series.

willy-street-chamber-players-at-a-place-to-be-jan-2017-cr-jwb

We are planning a second Community Connect concert in July during our regular summer series, and have listed our other free appearances on our regular calendar.

The concert is made possible in part by Willy Street Co-Op and the North/Eastside Senior Coalition (NESCO).

For more information go to: www.willystreetchamberplayers.org

Willy Street Chamber Players logo


    Enter your email address to subscribe to this blog and receive notifications of new posts by email.

    Join 1,190 other followers

    Blog Stats

    • 2,043,877 hits
    June 2019
    M T W T F S S
    « May    
     12
    3456789
    10111213141516
    17181920212223
    24252627282930
%d bloggers like this: