The Well-Tempered Ear

Classical music: The Willy Street Chamber Players excel again – this time in music by Franz Schubert, Arnold Schoenberg and UW-Madison composer Laura Schwendinger

July 19, 2016
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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 for 12 years hosted an early music show every other Sunday morning on WORT-FM 89.9 FM. He serves on the Board of Advisors for the Madison Early Music Festival and frequently gives pre-concert lectures in Madison.

John-Barker

By John W. Barker

The Willy Street Chamber Players (below) gave the second concert of their 2016 season on Friday night at Immanuel Lutheran Church, 1021 Spright Street, on Madison’s near east side.

Willy Street Chamber Players group color

The program might have been called the “three Sch-es” in view of the alphabetical incipits of the three composers involved.

The first item was titled The Violinists in My Life, composed in 2011 by Laura Schwendinger (below), the American composer currently on the faculty of the University of Wisconsin-Madison School of Music.

The Belgian violin virtuoso and composer Eugène Ysaÿe set an example with his set of six Sonatas, Op. 27, for solo violin, each one a tribute to a great musician with whom he had worked. So Schwendinger composed five pieces for violin and piano, each one a kind of character piece about violinists with whom she has had fruitful contact.

Laura Schwendinger 2

The style can be sharp and abrupt, but there is a clear individuality to each piece, evoking the different personalities. The first of the five is dedicated to UW-Madison alumna Eleanor Bartsch (below), one of our Willys, and she played the whole set, deeply engaged in it, with pianist Thomas Kasdorf, also a graduate of the UW-Madison.

Eleanor Bartsch

Kasdorf (below) joined another of the group’s violinists, Paran Amirinazari, who also graduated from the UW-Madison, in a rarely heard late work by Franz Schubert, the Fantasie in C Major (D.934).(You can hear it played by violinist Benjamin Beilman, who has performed with the Wisconsin Chamber Orchestra, in the YouTube video at the bottom.)

Schubert’s compositions for violin and piano are rarely heard in concerts these days, but this one has particular interest in that its latter portion is another of the composers set of variations on one of his own songs—in this case, the beautiful Sei mir gegrüsst. The total piece has a lot of lively passage work, which Amarinazari played with a mix of flair and affection.

thomas kasdorf 2:jpg

The crowning work was that extraordinary string sextet by Arnold Schoenberg (below), Verklärte Nacht (Transfigured Night). Composed in 1899 at the beginning of the composer’s career, it catches him still emerging from Late Romantic sensibilities, a good way before his radical move into the 12-tone idiom he created.

Arnold Schoenberg 1936

The score is just a trifle longish for the musical content, but its gorgeous chromatic richness is irresistible. It was inspired by a poem of Richard Dehmel, and both the original German text and an English translation were supplied to the audience, an interesting touch.

Above all, however, the performance was glowing, avoiding too much sentimental lushness, but conveying the emotionally charged writing with beautiful balance.

A clever touch, too, was the sitting pattern chosen, with the two violas facing the two violins and the two cellos in the rear—allowing the recurrent interaction between the first violin and first viola to emerge more clearly.

In sum, this was another wonderful session of first-class music-making by this remarkable assemblage of young talent.

NOTE: A program of music by Ludwig vanBeethoven, Philip Glass and Dmitri Shostakovich will be given next Friday at Immanuel Lutheran, but at NOON; and then that evening (at 8:30 p.m.) the group will participate in a special performance of George Crumb’s “Black Angels” — with an accompanying video — at the Madison Museum of Contemporary Art in the Overture Center.

The final Friday evening concert will be back at Immanuel Lutheran, at 6 p.m. on Friday, July 29, with music by Baroque composer Arcangelo Corelli (Concerto Grosso), Wolfgang Amadeus Mozart (Clarinet Quintet), and George Enescu (Octet).


Classical music: Next Friday night starts the second season of the acclaimed Willy Street Chamber Players. This afternoon you can hear Norwegian music performed live at the Chazen Museum of Art

July 3, 2016
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ALERT: The Ear reminds you that TODAY is the monthly “Sunday Live From the Chazen” chamber music concert. The program today features UW-Madison soprano Mimmi Fulmer, violinist Tyrone Greive  (retired concertmaster of the Madison Symphony Orchestra) and pianist Michael Keller in music by Edvard Grieg and other Norwegian composers, including songs and sonatas. The live concert starts at 12:30 p.m. in Brittingham Gallery 3. Admission is FREE. You can also stream it live by using this link:

http://www.chazen.wisc.edu/about/news/in-the-news/sunday-afternoon-live-july-3-with-mimmi-fulmer-michael-keller-and-tyrone-gr

By Jacob Stockinger

Probably the premiere musical event of 2015 was the summer debut of the new group the Willy Street Chamber Players (below).

Willy Street Chamber Players 2016 outdoors

The critics and audiences agreed: The programs and performances were simply outstanding. Many of the players perform with the Madison Symphony Orchestra, the Wisconsin Chamber Orchestra, there Middleton Community Orchestra, the Madison Bach Musicians and other acclaimed local groups.

Now the second season of five concerts – including one noontime lunch concert — will begin on this coming Friday night, July 8, at 6 p.m. at Immanuel Lutheran Church, 1021 Spaight Street, on Madison’s near east side.

immanuel lutheran church ext

Immanuel Lutheran interior

The first program features regular members and guest violinist Suzanne Beia (below).

Beia plays second violin in the Pro Arte Quartet at the University of Wisconsin-Madison School of Music, and also serves at concertmaster of the Wisconsin Chamber Orchestra and assistant concertmaster of the Madison Symphony Orchestra. In addition, she performs in the Rhapsodie Quartet of the Madison Symphony Orchestra.

suzanne beia

The program includes the lovely “Souvenir of Florence” (1892) by Peter Tchaikovsky and the haunting Entr’acte for String Quartet (2011) by Pulitzer Prize-winning composer Caroline Shaw (below, in a  photo by Dashon Burton). You can hear the Entr’acte in the YouTube video at the bottom. (The Ear hopes one day the group will do Shaw’s “By and By” with strings and a vocalist.)

Caroline Shaw CR DASHON-BURTON

It’s too bad that the fourth annual Handel Aria Competition is on the same night. You would hope that such conflicts could be avoided in the summer.

Theoretically you can make it to both concerts since the aria competition starts at 7:30 p.m. in Mills Hall. But it will probably be a hectic scurry from one to the other.

Here is a link to more information about the Handel Aria Competition:

https://welltempered.wordpress.com/2016/07/01/classical-music-handel-aria-competition-announces-2016-finalists-to-sing-next-thursday-night/

In any case, here is the schedule of the entire second season of the Willy Street Chamber Players.

It is varied and impressive, especially in how it combines old masterpieces with modern and contemporary works. It features pieces by Philip Glass, Arnold Schoenberg, UW-Madison composer Laura Schwendinger, George Crumb, Dmitri Shostakovich, Franz Schubert, Wolfgang Amadeus Mozart, Ludwig van Beethoven, Arcangelo Corelli and Georges Enescu :

http://www.willystreetchamberplayers.org/events1.html

A season subscription is $50. Individual concerts are $15 except for the Black Angels video art concert, which is $20.


Classical music: The Wisconsin Baroque Ensemble will perform music by Vivaldi, Handel, Telemann, Corelli, Couperin and Rameau this Sunday afternoon.

February 27, 2016
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ALERT: Tomorrow afternoon, Sunday, Feb. 28, at 3:30 pm. in Morphy Recital Hall, the winners of the Woodwind-Piano Competition sponsored by Irving Shain, emeritus chancellor of the UW-Madison and a distinguished chemist, will perform a FREE recital. The program includes music for oboe and bassoon by Francis Poulenc, Robert Schumann, Gabriel Pierne and others. For more information, visit:

http://www.music.wisc.edu/event/irving-shain-woodwind-piano-duo-winners-recital/

By Jacob Stockinger

Friends of The Ear — who wishes that early music groups and others would provide English translations of German, French and Italian titles for the general public — have sent him the following note:

“The Wisconsin Baroque Ensemble invites you to a concert of baroque chamber music on this Sunday, Feb. 28, at 3 p.m. in Saint Andrew’s Episcopal Church (below, exterior and interior), 1833 Regent Street, Madison.

St. Andrew's Episcopal Madison Front

St. Andrew's Church interior

Performers includes: UW-Madison professor Mimmi Fulmer – soprano; Nathan Giglierano – baroque violin; Eric Miller – viola da gamba, baroque cello; Consuelo Sañudo – mezzo-soprano; Monica Steger – traverso, harpsichord; Anton TenWolde – baroque cello; and Max Yount – harpsichord

Wisconsin Baroque Ensemble composite

Tickets at the door are $20, $10 for students.

For more information: call 608 238-5126, or write an email to info@wisconsinbaroque.org, or visit www.wisconsinbaroque.org

The varied program is:

Georg Philipp Telemann – “Ihr Völker, hört” from “Harmonischer Gottes-Dienst” (1725/26)

Jean-Philippe Rameau – “Pièces de Clavecin en Concerts,” “Deuxième Concert”

Georg Friedrich Handel – “Occhi miei, che faceste” HWV 146

Intermission

Arcangelo Corelli – Sonata for Violin and Basso Continuo, Op. 5, No. 11 (heard at bottom in a YouTube video)

Antonio Vivaldi – “Di verde ulivo” from “Tito Manlio” (1719)

Francois Couperin – “Les Nations,” Quatrième Ordre

There will be a reception at our studio at 2422 Kendall Ave (second floor) immediately following the concert.

 


Classical music: What kinds of classical music and classical composers do the presidential candidates like?

February 6, 2016
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ALERT: This Sunday night’s concert of new music for woodwinds and piano composed by UW-Madison professor of saxophone Les Thimmig, with UW-Madison pianist Jessica Johnson, has been CANCELLED.

By Jacob Stockinger

Tonight is the last debate for the Republicans before the New Hampshire primary on Tuesday. It takes place at 7 p.m. CST in Manchester, and will be broadcast on ABC-TV.

This past week also saw both a town hall meeting and a debate between the Democrats – their last before the primary election (below, in a photo by Getty Images).

Hillary Clinton and Bernie Sanders CR GettyImages

Here’s a question no one has asked them during the debates: What kind of classical music do you like?

I know, I know. The question has little relevance and little popularity.

But still.

The Ear is happy that the famed New York City radio station WQXR listed such preferences in its blog.

The Ear notes a couple of trends.

No specific pieces were named.

No sonatas or concertos, no symphonies or operas.

All the names of composers were extremely mainstream except for Arcangelo Corelli by Dr. Ben Carson (below), who also named Johann Sebastian Bach and Antonio Vivaldi. Others mentioned Wolfgang Amadeus Mozart and Ludwig van Beethoven.

Dr. Benjamin Carson, director of Pediatric Neurosurgery at Johns Hopkins School of Medicine, speaks to the Conservative Political Action Conference (CPAC) in National Harbor, Maryland, March 16, 2013. REUTERS/Jonathan Ernst (UNITED STATES - Tags: POLITICS HEALTH) - RTR3F2WE

Dr. Benjamin Carson, director of Pediatric Neurosurgery at Johns Hopkins School of Medicine, speaks to the Conservative Political Action Conference (CPAC) in National Harbor, Maryland, March 16, 2013. REUTERS/Jonathan Ernst (UNITED STATES – Tags: POLITICS HEALTH)

Bernie Sanders’ preferred composer echoes his own populist and defiantly anti-establishment, even rabble-rousing, sentiments. Can you guess which composer he favors?

Why is The Ear not surprised that Hillary Clinton remains vague about composers and pieces, but says YES of course she likes classical music and even has it on her iPod.

And former businesswoman Carly Fiorina (below, in a  photo by Politifact) surprises one with her youthful plan to be a professional musician, a concert pianist. Does she still play? The Ear wants to ask.

Carly Fiorina CR Politifact

The Ear also wonders:

Does Evangelical Ted Cruz consider classical music frivolous or even sinful?

Does the Cuban background of Marco Rubio feel ethnically distant from European classical music?

And what about Jeb Bush, Chris Christie, John Kasich and especially Donald Trump?

The Ear bets that country music, rock and pop music draw many more voters and gets many more votes.

But doesn’t anyone else think that the irresistible opening thee of Beethoven’s Fifth Symphony would be a great dramatic call to arms for a candidate?

But who knows for sure?

Anyway, here is a link tot he WQXR story:

http://www.wqxr.org/#!/story/classical-music-presidential-campaign-trail/

Now, The Ear doesn’t expect that this survey will change anyone’s vote.

Still, it is interesting as a sidelight to the much bigger and much more important issues confronting the candidates and the electorate.

And perhaps more specifics about their taste in music will emerge during the rest of the primary campaign and the then the general election.

Their individual culture quotients must matter for something.

What are your reactions?

What do you think?

Let us know.

The Ear wants to hear.


Classical music: Republican presidential candidate Dr. Ben Carson talks about the classical music he likes. It includes Schubert and Rossini, and Baroque composers Bach, Vivaldi and Corelli

January 3, 2016
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By Jacob Stockinger

Republican presidential candidate Dr. Ben Carson has been in the news this week as his campaign flounders with the loss of its manager, deputy manager and communications director, who all resigned.

A while back, The Ear complained about too little attention being paid to the arts by the candidates and questioners during the Republican and Democratic presidential debates.

Here is a link to the posting:

https://welltempered.wordpress.com/2015/10/27/classical-music-why-dont-the-presidential-debates-include-questions-about-funding-and-supporting-the-arts-and-humanities/

But now Dr. Ben Carson (below) – whose politics seem downright bizarre to The Ear – has indeed talked about classical music, including the music he listened to, and made others listen to, in the operating room.

Dr. Benjamin Carson, director of Pediatric Neurosurgery at Johns Hopkins School of Medicine, speaks to the Conservative Political Action Conference (CPAC) in National Harbor, Maryland, March 16, 2013. REUTERS/Jonathan Ernst (UNITED STATES - Tags: POLITICS HEALTH) - RTR3F2WE

Dr. Benjamin Carson, director of Pediatric Neurosurgery at Johns Hopkins School of Medicine, speaks to the Conservative Political Action Conference (CPAC) in National Harbor, Maryland, March 16, 2013. REUTERS/Jonathan Ernst

True, in this interview he doesn’t talk about funding the arts. And one must assume that his conservative, small government policies would probably undermine any support for the National Endowment for the Arts, the National Endowment for the Humanities, National Public Radio (NPR) and the Public Broadcasting System (PBS).

The Ear guesses, perhaps wrongly, that Dr. Ben Carson is or will be a defender of defunding.

But at least it is a start. And given his earlier comments and complaints, The Ear feels obliged to be honest and pass it along:

http://www.greenvilleonline.com/story/entertainment/arts/paul-hyde/2015/12/23/ben-carson-talks-love-classical-music/77836114/

And in honor of Carson — who especially loves the Baroque composers Johann Sebastian Bach, Antonio Vivaldi and Arcangelo Corelli — here is a YouTube recording of one of his favorites: the Symphony No. 8 “Unfinished” by Franz Schubert as performed by the Chicago Symphony Orchestra under the baton of the late music director and conductor George Solti:


Classical music: Merry Christmas from The Ear and Johann Sebastian Bach, who gave us the gift of his “Christmas Oratorio.” What is your favorite Christmas music?

December 25, 2015
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By Jacob Stockinger

Today is Christmas Day 2015.

ChristmasTreeBranch.j

The Ear has only a few words, but a lot of music, to offer.

First, he wants to thank all his readers for the ongoing gift of their eyes, ears and attention as well as their comments.

In return, The Ear is offering his readers his favorite Christmas music.

He loves it more than more popular works such as “Messiah” by George Frideric Handel or the “Christmas” Concerto by Arcangelo Corelli, more than so much other holiday music.

It is Johann Sebastian Bach‘s Christmas Oratorio, BWV 248, which is not really an oratorio but rather a series of six interconnected Christmas cantatas that do not get performed live very often.

It is performed superbly below in a YouTube video by Sir John Eliot Gardiner with the Monteverdi Choir and the English Baroque Soloists in a superb performance that comes from their worldwide Bach Cantata Pilgrimage.

Listen to it for the energetic and brassy opening movement.

Listen to it for various other wonderful moments, including the lovely Sinfonia.

Listen to it for the gorgeous solo and choral singing.

Listen to it in its entirety or in parts.

Stream it on or around Christmas Day.

But listen to it, now or later, especially if you don’t already know it.

And be sure to let us know in the COMMENT section what your favorite piece of Christmas music is.

MERRY CHRISTMAS TO ALL!

 


Classical music: Trevor Stephenson explains why Baroque music sounds so good at holiday time. His Madison Bach Musicians will perform their annual Baroque Holiday Concert of Bach, Corelli and Telemann this coming Saturday night. Plus, the Wingra Woodwind Quintet performs a FTREE concert Thursday night at 7:0 p.m. and at noon on Friday you can hear a FREE performance of two sonatas for violin and piano by Beethoven.

December 9, 2015
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ALERT: On Thursday night at 7:30 p.m. in Morphy Hall, the UW -Madison’s Wingra Wind Quintet will perform a FREE concert of 20th-century music by Henry Cowell, Irving Fine, Robert Muczynski, Alan Hovhaness and Elliott Carter. For more information, here is a link:

http://www.music.wisc.edu/event/wingra-woodwind-quintet/

This week’s FREE Friday Noon Musicale, held from 12:15 to 1 p.m. at the meeting house of the First Unitarian Society of Madison, 900 University Bay Drive, features violinist Wendy Adams and pianist Ann Aschbacher in two sonatas by Ludwig van Beethoven: Op. 30, No. 1, and Op. 96.

By Jacob Stockinger

This coming Saturday night, the Madison Bach Musicians and guest soloists will perform their annual Baroque Holiday concert. (Below is a photo by Kent Sweitzer of the 2014 concert in the same venue.)

MBM Baroque Holiday Concert 2014 CR Kent Sweitzer

The concert is at 8 p.m. at the First Congregational United Church of Christ, 1609 University Ave., near Camp Randall.

Tickets are $23-$28 and can be purchased at the door, with discounts in advance at certain outlets or online.

For more information, visit the MBM website at:

http://madisonbachmusicians.org/december-12-2015/

Trevor Stephenson, who is a master explainer and who will give a pre-concert lecture at 7:15 p.m., recently spoke via email to The Ear:

Prairie Rhapsody 2011 Trevor Stephenson

This is the fifth annual Baroque Holiday Concert by the Madison Bach Musicians. Generally speaking, what is your goal when you program for it?

The idea of the Baroque Holiday Concert is to present an interesting and varied program of Baroque and Renaissance music, some of which pertains to the holiday season and to winter itself.

More importantly we try to program outstanding pieces that Madison audiences may not have had a chance to hear very often in live performance, particularly, played on period instruments and with historically informed performance practices.

MBM Baroque Holiday Concert 2012

Why is Baroque music so popular at the holidays? What is it about the music itself that makes it feel so appropriate to the occasion?

Baroque music, whether it is written specifically for the holidays or not, does indeed sound terrific this time of year. I think the baroque style really strikes the right balance between energy and form — a perfect marriage of theater and church.

The Bach cantatas, two of which we’ll be playing on this upcoming concert, are perhaps the strongest examples of this fusion. The bearing of these pieces is always devotional, while the compositional technique—the process of invention in them—is always searching, exploratory, even avant-garde.

Look at the opening of Cantata 61, Nun komm der Heiden Heiland (Now Come Savior of the Heavens) where Bach (below) begins by firing up a martial-sounding dotted-rhythm French overture and then layers in the voices, one at a time, in long moaning tonally-veering chant lines. And yet, this all seems to operate within a framework that can accommodate it.

Bach1

Briefly and in non-specialist terms, what would you like the public to know about each of the works?

In addition to Johann Sebastian Bach’s Cantata 61, the more grand-scale Advent Cantata discussed above, we’ll also be presenting the more intimate Cantata 151, Süßer trost, mein Jesus kömmt (Sweet Comfort, My Jesus Comes) composed for the third day of Christmas), which opens with an elegant and extended aria for soprano and obbligato baroque flute. We’re thrilled that this will be performed by outstanding soprano Chelsea Morris and baroque flutist extraordinaire Linda Pereksta.

We’ll also perform the rightly beloved “Christmas” Concerto in G minor, Op. 6, No. 8, by Arcangelo Corelli. The melodic material, the sequential dance-movement structure and the unsurpassed beauty of the string writing in this concerto grosso are perfect in the extreme. MBM concertmaster Kangwon Kim will lead this from the first violin.

By the way, if you’re familiar with Peter Weir’s 2003 movie Master and Commander you’ll notice that the Corelli “Christmas” Concerto pops up a couple of times in the movie score. (You can hear the “Christmas” Concerto, conducted by Trevor Pinnock, in the Youtube video at the bottom.)

Also on the program is Telemann’s E minor quartet from Tafelmusik. Tafelmusik, literally “table music” refers to the domestic and unassuming everyday quality of the writing. Chelsea Morris (below) will also perform three movements from George Frideric Handel’s Gloria.

Chelsea Morris soprano

Other musicians featured on the program are alto Margaret Fox, tenor William Ottow, bass Luke MacMillan, violinists Brandi Berry, Nathan Giglierano, and Olivia Cottrell, violists Marika Fischer Hoyt and Micah Behr, cellists Martha Vallon and Andrew Briggs, and (yours truly) harpsichordist Trevor Stephenson.

I’ll also give a pre-concert lecture at 7:15 p.m. about the music, the composers and the period instruments.

Is there something else you would like to say about the works or the performers?

I’d also like to mention that the concert will be given in the wonderful sanctuary of Madison’s First Congregational United Church of Christ. The acoustics there are absolutely terrific. Wisconsin Public Radio will be recording the concert and will broadcast it later in the holiday season, date to be announced.


Classical music: An outstanding concert by two harpsichordists explores the rich Baroque repertoire of arrangements and transcriptions. Let’s hear more!

November 25, 2015
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ALERT: The will be NO free Friday Noon Musicale this week at the First Unitarian Society of Madison, 900 University Bay Drive. The musicales will resume on Dec. 4.

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 for 12 years hosted an early music show every other Sunday morning on WORT-FM 89.9 FM. He serves on the Board of Advisors for the Madison Early Music Festival and frequently gives pre-concert lectures in Madison.

John-Barker

By John W. Barker

Trevor Stephenson (below left), the versatile founder, director and keyboard player of the Madison Bach Musicians, ventured another early music novelty last Saturday evening at the Madison Christian Community Hall on Old Sauk Road. (All performance photos are by John W. Barker.)

He and a colleague, Stephen Alltop (below right) from Northwestern University, braved our football traffic and our first snowstorm to bring their respective harpsichords for a joint program.

It was called “Music for Two Harpsichords,” but a better title would have been “Music for Two Harpsichordists.”

Stephenson and Alltop two harpsichords

The fact is, only one item on the program was actually written for two harpsichords playing together. This was the Concerto for Two Harpsichords  in C Major (BWV 1061), for which the string-ensemble parts are purely optional — and which were dispensed with in this case. (For the harpsichord-only version, see the YouTube video at the bottom.)

The two artists did play otherwise together, but in transcriptions.

They took several selections from Pièces de clavecin en concert by Jean-Philippe Rameau, which Rameau (below) himself adapted from purely harpsichord pieces into trios for harpsichord and two other instruments. But these were played in adaptations that turned the other instrument parts into a second harpsichord.

Jean-Philippe Rameau

And there was a transcription for two harpsichords of the Fandango finale from the Quintet No. 4 in D Major by Luigi Boccherini (below) for guitar and string quartet.

Boccherini with cello 1

In between these works there were solo keyboard segments.   Alltop played three of the Preludes and Fugues from Book I of Johann Sebastian Bach’s “Well-Tempered Clavier” and Stephenson played three of Domenico Scarlatti’s 555 harpsichord sonatas.

For some extra spice, Tania Tandias (below), of local Flamenco dance activities, contributed some tambourine rhythms to a pair of the Rameau pieces, and she worked up a lot of castanet excitement in the Boccherini.

Tania Tandias

The two keyboard artists are each wonderful musicians, and obviously are compatible partners as well as gifted individual soloists. Alltop (below) matches Stephenson’s witty commentaries with wonderfully articulate and informed discussion.

Stephen Alltop speaks

Their two harpsichords are, inevitably, quite distinct in tone, so that it is possible to discern each player’s role. Fortunately, too, the Christian Community’s hall is moderate in size and intimate, a perfect acoustical setting for such keyboard playing.

The Stephenson-Alltop partnership deserves to continue. There is a lot of actual two-harpsichord literature out there. Francois Couperin wrote a good deal of music for the combination, as did a number of Elizabethan composers. It would be wonderful if such material could be explored in further ventures like this one, and by these two splendid artists.

Do remember the Madison Bach Musicians’ annual Baroque Holiday Concert, which features cantatas by Johann Sebastian Bach and music by Georg Philipp Telemann and Arcangelo Corelli. It will take place at 8 p.n. on Saturday, Dec. 12, at the First Congregational United Church of Christ, near Camp Randall. For more information, visit:

http://madisonbachmusicians.org/december-12-2015/


Classical music: If a perfect debut concert exists, new UW-Madison faculty violinist Soh-Hyun Park Altino gave it last Friday night. Plus, a concert of music for two harpsichords takes place Saturday night.

November 19, 2015
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ALERT: On this Saturday night at 7 p.m. in the Madison Christian Community Church, 7118 Old Sauk Road, on Madison’s far west side, Northwestern University music Professor Stephen Alltop and Madison Bach Musicians’ artistic director Trevor Stephenson will present a program of masterworks for two harpsichords including: Johann Sebastian Bach’s Concerto in C major (BWV 1061); selections from Jean-Philippe Rameau’s elegant “Pièces de clavecin en concerts“; and a very zingy transcription of Luigi Boccherini’s famous “Fandango.” Plus, Stephen Alltop will perform selections from Bach’s “Well-Tempered Clavier” and Trevor Stephenson will play three sonatas by Domenico Scarlatti. Tickets are $20 and are available at the door.

By Jacob Stockinger

Last Friday night saw the bloody terrorist attacks and murders in Paris, France. And we were all understandably preoccupied then with those events.

That would not have seemed an auspicious time for a new music faculty member to make a debut.

Yet that is exactly what the new UW-Madison violin professor Soh-Hyun Park Altino (below, in a photo by Caroline Bittencourt) did. And it turned out to be a remarkable event: a pitch-perfect concert for the occasion.

Soh-Hyun Park Altino CR caroline bittencourt

Let’s start by saying that Park Altino is a complete violinist and has everything: pitch, tone, speed, depth and stage presence. But hers is the quiet and self-effacing kind of virtuosity. There were no show-off works by Paganini or Sarrasate on the program.

The concert opened in dimmed lighting, as she played (below) the Solo Sonata No. 3 in C Major by Johann Sebastian Bach. She dedicated the opening movement –- which you can hear played by Arthur Grumiaux in a YouTube video at the bottom –- to the people of Paris and said that the slow movement reminded her of a mysterious prayer or meditation.

She was right.

Simultaneously alone and together: Is there a better summing up of how we were feeling that night? And her mastery in voicing the difficult fugue was impressive as well as moving.

Let others play and hear once again Samuel Barber’s “Adagio for Strings” or “La Marseillaise.” The Ear will long remember that Bach played in that context. Thank you, Professor Park Altino.

Soh-Hyun Park Altino playing solo Bach

Then she turned effortlessly from grave seriousness and talked about the Sonata No. 2 by Charles Ives (below) and how it borrows from hymn tunes and songs from popular culture. And with laughs she then related all that background to herself when she was growing up in Korea and forming her image of America from popular culture and TV shows such “The Little House on the Prairie,” “Anne of Green Gables” and from cartoons such as “Popeye.”

She was both informative and charming as she Ives-ified Korea and Koreanized Ives. And she totally connected with the audience. If you were there, you could tell. You felt it.

Charles Ives BIG

After intermission came a charming and relatively unknown miniature: the Romance in A Major, Op. 23, by the American composer Amy Beach (below). How refreshing it was to hear an immigrant musician enlighten us natives about our own musical history. It is all about new perspectives. Are you listening, Donald Trump, Ben Carson, Ted Cruz and other isolationists, anti-immigrationists and xenophobes?

Amy Beach BW 1

And then came a masterpiece by Johannes Brahms.

She chose the Sonata No. 2 in A major, Op. 100. It is not as dramatic as the other two violin sonatas, but relies instead on slow tempi to convey the geniality of its beautiful melodies and harmonies.

It proved the perfect ending to the perfect recital on that dreadful night of massacres and loss, fear and terror. It proved what so much music can do and should be doing, especially these days: offering a balm for the heart and soul.

Her program and playing brought to mind the inspiring words of Leonard Bernstein, who had to conduct a program right after the assassination of President John F. Kennedy, which happened 52 years ago this Sunday:

“We musicians, like everyone else, are numb with sorrow at this murder, and with rage at the senselessness of the crime. But this sorrow and rage will not inflame us to seek retribution; rather they will inflame our art. Our music will never again be quite the same. This will be our reply to violence: to make music more intensely, more beautifully, more devotedly than ever before.”

It must be also be said that Park Altino had the perfect partner in Martha Fischer, who heads the collaborative piano program at the University of Wisconsin-Madison School of Music.

Even during the most difficult and thorny piano parts, such as in the Ives sonata, Fischer never upset the balance, never departed from the right dynamics, never lost a sense of transparency and always saw eye-to-eye with the violinist in interpretation. She possessed complete technical and interpretive mastery.

The two musicians really proved to be co-equal partners. They make a great pairing or partnership, and it was clear from their stage presence that they like performing with each other and are on the same wavelength.  With their seamless playing, they showed exactly the difference between accompanying and collaborating.

Soh-Hyun Park Altino and Martha Fischer

That makes The Ear very happy. He loves the combination of violin and piano, and now he hopes he has a lot more of it to look forward to from these same two performers -– works he once hoped to hear from the outstanding partnership of Pro Arte Quartet first violinist David Perry and UW-Madison virtuoso pianist Christopher Taylor, which started but never fully materialized.

So many works come to mind. The violin and keyboard sonatas by Johann Sebastian Bach, Vivaldi, Corelli and Tartini. (The Ear admits it: He prefers the piano to the harpsichord in Baroque works.) The violin sonatas, perhaps even in complete cycles, of Mozart and Beethoven. The various violin works by Schubert, perhaps in the annual Schubertiades. Sonatas by Schumann and Brahms. Sonatas by Faure, Debussy, Ravel and Poulenc. Sonatas and rhapsodies by Bartok. Sonatas by Prokofiev and Shostakovich.

And then there are the possibilities of her performing violin concertos with the Madison Symphony Orchestra and the Wisconsin Chamber Orchestra (apparently its music director, Andrew Sewell, is a close friend of hers) and the UW Symphony Orchestra.

The possibilities make The Ear swoon with anticipation.

So when you see that Soh-Hyun Park Altino will play again, be sure to mark your calendars and datebooks. You do not want to miss her.

Ever.

 


Classical music: The Madison Bach Musicians announces its new season, which includes “Messiah”

September 15, 2015
2 Comments

By Jacob Stockinger

Trevor Stephenson, the founder, artistic director and keyboardist of the Madison Bach Musicians, writes:

Dear Friends,

Summer has wound down and Madison Bach Musicians (below) is gearing up for a wonderful concert season: 2015-16 will be our 12th year. Thanks for all your support and encouragement!

Kangwon KIm with Madison Bach Musicians

We’ll open on Oct. 3 and 4 with Baroque Concertos: Johann Sebastian Bach, Heinrich Biber, Leonardo Leo and Antonio Vivaldi.

Our Dec. 12, our Baroque Holiday Concert will feature two outstanding seasonal Cantatas by J.S. Bach (BWV 61 and 151), Arcangelo Corelli‘s Christmas Concerto (at bottom in a YouTube video), and Georg Philipp Telemann‘s Tafelmusik Quartet for baroque flute and strings.

The grand finale for the season on April 8 and 10 will be two performances of George Frideric Handel’s “Messiah” featuring an all-baroque orchestra, eight outstanding vocal soloists, and singers from the Madison Boy Choir (part of Madison Youth Choirs).

Season subscriptions are available until Sept. 21 — online or mail order only. Subscribers receive: Significant savings on ticket prices; priority seating in the first several rows; and invitations to special subscriber lecture events.

You can find out more information and order tickets online at our website www.madisonbachmusicians.org or mail in your season subscription order form and check. Go to “Concerts – Season Overview” on our website to print out our season brochure for the order form.

Tickets for individual concerts are also now available online and at all of our ticket outlet locations: Orange Tree Imports, Willy Street Co-op (east and west), Farley’s House of Pianos, Room of One’s Own bookstore.

We look forward to seeing you at the concerts!

For more information, visit www.madisonbachmusicians.org and www.trevorstephenson.com.

You can also call (608) 238-6092.


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