The Well-Tempered Ear
Here are the coronation playlists for the very musical King Charles III
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By Jacob Stockinger
Will you watch and follow the coronation of King Charles III (the official royal logo is below)? It takes place this Saturday, May 6, 2023. Live coverage will begin airing at 5 a.m. EDT for most media outlets.
Here is some other information you might want to know to get the most out of the rarely held historic event and even to act as your own music and culture critic.
As Prince of Wales, Charles was an avid listener and a talented amateur musician who played the piano, guitar and cello (below in a photo by Getty Images).
Given that background, it is little wonder that the king has lined up many royal commissions for the coronation by composers and performers of new classical music:
https://www.royal.uk/coronation-music-commissions
And if you want to celebrate the coronation in a more pop music or rock music way — yes to The Beatles and Harry Styles but no to The Rolling Stones and Elton John — here is another playlist on Spotify by “DJ” King Charles (below):
Her is the official coronation website, with photos, bunting designs and even recipes to download:
Toolkit
Finally here is a half-hour preparatory YouTube video, an introduction from NBC:
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This Saturday afternoon, the Wisconsin Chamber Choir presents a free online parking lot concert of “Car Carols” with an emphasis on African-American composers
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By Jacob Stockinger
The Ear has received the following announcement to post:
Join the Wisconsin Chamber Choir (below) this Saturday afternoon, Dec. 12, at 2 p.m. for Car Carols, a unique holiday concert featuring live, socially-distanced performances of music by African-American composers and seasonal favorites.
Choir members will sing from their individual cars using wireless microphones (below), listening to the sound of the whole choir via their car radios. The audience is invited to join our Facebook event or listen in live on YouTube.
There is no charge to view the live-stream, but donations would be welcome.
You can find the concert on this Saturday, Dec. 12, a 2 p.m. via the following links: live on YouTube at https://youtu.be/ZonVn1cvgb8, or on Facebook at: https://www.facebook.com/events/1561155960751974/
This unusual concert format was necessitated by the Covid-19 pandemic, but the WCC is grateful for the opportunity to continue singing together in safe ways.
Since September, the choir has been rehearsing as a Parking Lot Choir, generating local media coverage from WKOW-TV at https://wkow.com/2020/10/13/wisconsin-chamber-choir-making-adjustments-to-prepare-for-performance/ and Madison Magazine, whose story was headlined “Forget tailgates, parking lots are for choir practice: https://www.channel3000.com/forget-tailgates-parking-lots-are-for-choir-practice/
This past September and October, smaller groups from the WCC assembled on Saturday mornings at the Warner Park Pavilion to rehearse in widely spaced formations.
They wore specially designed singers masks, and occasionally harmonized with nearby sandhill cranes that seemed unsure what to make of the a cappella music floating through their habitat.
Recordings by five distinct small ensembles — minus the cranes — will be aired during the Dec. 12 Car Carols broadcast, in addition to live singing by the Parking Lot choristers.
The Car Carols repertoire highlights music by African-American composers spanning nearly a century. Idiomatic pieces in the style of spirituals and contemporary gospel alternate with “non-idiomatic” motets and anthems by Nathaniel Dett (below top), William Dawson, Undine Smith Moore (below middle) and Carlos Simon (below bottom, with an oral self-portrait in the YouTube video at the bottom).
The remainder of the Parking Lot Choir selections consists of carol arrangements by WCC favorites — the late Stephen Paulus (below) and Peter Blotch — and feature virtual harp and violin accompaniment.
Live and virtual performers will also unite to sing Craig Hella Johnson’s moving arrangement of the songs I Love You and What a Wonderful World.
Interspersed between the live Car Carols will be a wide variety of pre-recorded selections, including the world premiere of WCC member Linda Palmer’s arrangement of Sussex Carol, plus music by Johannes Brahms, John Rutter, 17th-century female composer Chiara Cozzolani (below), and Tleycantimo choquilia, a carol from colonial-era Mexico, sung in Spanish and Nahuatl.
Founded in 1998, the Wisconsin Chamber Choir has established a reputation for excellence in the performance of oratorios by Bach, Handel, Mozart and Brahms; a cappella works from various centuries; and world-premieres.
Artistic director Robert Gehrenbeck (below), who heads the choral program at the University of Wisconsin-Whitewater, has been hailed by critics for his vibrant and emotionally compelling interpretations of a wide variety of choral masterworks. WCC members have acknowledged Gehrenbeck for his intrepid conducting in freezing temperatures during Parking Lot Choir rehearsals.
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Classical music: The Madison Early Music Festival will present a Grand Tour of musical styles to mark its success after 20 years. The “tour” starts this Saturday, July 6, and runs through Saturday, July 13. Part 1 of 2
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By Jacob Stockinger
A big anniversary deserves a big celebration – and that is exactly what the organizers of this year’s Madison Early Music Festival (below, the All-Festival Concert in 2018) have come up with.
Co-artistic director Cheryl Bensman-Rowe recently wrote about the festival in a Q&A interview for this blog. Here is Part 1 of 2:
This summer marks the 20th anniversary of the Madison Early Music Festival. Can you briefly summarize the progress of the festival over all those years and how you – through audience size, participants, media coverage – measure the success it has achieved?
How successful is this year’s festival compared to the beginning festival and to others in terms of enrollment, budgets and performers? How does this of MEMF’s reach nationally or even internationally compare to previous years?
What can you say about where the festival will go in the coming years?
As the 20th Madison Early Music Festival approaches, we have looked back at how far we have come from 1999 when we were a little festival of 60 participants and faculty. We have grown to our current size of 140 faculty members and participants — fellow lovers of early music.
Last year, we had the largest group of participants when 120 students enrolled. MEMF now attracts students of all ages, from 18 to 91, amateurs and professionals, from all over North America and Europe.
Our success is due to the help and support of many individuals and outside organizations. We could not manage MEMF without the amazing staff at the Division of the Arts at UW-Madison. They help with everything from printed materials, website design and management, social media, grant writing, fundraising, proofreading and on-site assistance at all of our events and more.
Paul and I (below) work with Sarah Marty, the Program Director of MEMF, who keeps things organized and running smoothly throughout the year.
Also, we are grateful to our dedicated MEMF Board, donations from many individuals, grants, and the generosity of William Wartmann, who created an endowment for the festival, and after his death left an additional $400,000 for our endowment. It takes a village!
Not only have we become an important part of the summer music scene in Madison, but we have contributed to the national and international early music community. The 2019 concert series will be featuring artists from California to New York, Indiana to Massachusetts, and from Leipzig, Germany.
We hope to have many old and new audience members join us for this exciting celebration of our 20th year. For future seasons our motto is “To infinity and beyond!” as we continue to build on our past successes.
What is new and what is the same in terms of format, students, faculty members and performers?
This year we have a new program, the Advanced Voice Intensive, which provides an opportunity for auditioned advanced singers who are interested in a capella vocal music from the Renaissance – singing sacred polyphony and madrigals to improve their skills as ensemble singers.
Twenty singers from all over the country will be joining the inaugural program to rehearse and perform music from Italy, England and Germany.
At the end of the week they will sing in a masterclass with the vocal ensemble Calmus (below) on Thursday, July 11, at 11:30 a.m. in Morphy Recital Hall. On Saturday, July 13, they will perform in a FREE concert with the popular Advanced Loud Band ensemble in Morphy Recital Hall.
Here’s the link for all the information about MEMF: https://memf.wisc.edu/
All concerts include a pre-concert lecture at 6:30 p.m. and the concerts in Mils Hall begin at 7:30 p.m. Tickets are $90 for an all-event pass; each individual concert is $22, for students $12. Tickets are available for purchase online and by phone at 608-265-ARTS (2787) with a $4 service fee, or in person at the Campus Arts Ticketing Box Office @ Memorial Union.
We also have two Fringe Concerts this year featuring new vocal ensembles from Wisconsin. On Monday, July 8, at 7 p.m. at Pres House, Schola Cantorum of Eau Claire (below), a 12-voice ensemble directed by UW-Madison graduate Jerry Hui, will perform “Mystery and Mirth: A Spanish Christmas.”
And on Wednesday, July 10, at 7 p.m. at Luther Memorial Church, 1021 University Avenue, the Milwaukee-based Aperi Animam (below) perform “Libera Nos,” a program of sacred vocal music.
The Fringe Concerts are FREE with donations accepted at the door.
Why was the theme of “The Grand Tour” chosen for the festival? What is the origin of the conceit, and what major composers and works will be highlighted?
We decided to celebrate the 20th anniversary by choosing a theme that would be broader than previous years and portray what people might experience when they are 20 years old – traveling abroad on a gap year.
We were also inspired by Englishman Thomas Coryat, aka “The First Tourist.” He published his travelogue Crudities in 1611, an amusing and thorough account of his five months of travel throughout Europe. This tradition of the Grand Tour of Europe continued through the 17th and 18th centuries, especially when wealthy young aristocrats finished their formal schooling.
Several of the concert programs this summer feature quotes from different travelogues, including Coryat’s, as an organizational concept. If you search all over Europe, you find an American at Versailles learning courtly manners, and a fictional Englishman, born in 1620, sending postcards from the Grand Tour.
We will also have a stop at Notre-Dame Cathedral in Paris with the silent film version of The Hunchback of Notre-Dame, and a musical tour of sacred vocal music and madrigals. This theme allowed us to include music from many different time periods from all over Europe — a rich Grand Tour of musical offerings!
The opening concert on this Saturday, July 6, features Dark Horse Consort returning to Madison with Wanderlust, their newly created program for MEMF’s Grand Tour theme. The program follows the misadventures of an English gentleman as he embarks on a continental Grand Tour adventure in search of love and fulfillment.
Our hero’s travelogue includes springtime consort songs by Alfonso Ferrabosco and William Byrd; Erasmus Widmann’s beguiling German dances dedicated to women; the wooing songs of the Italian gondolier; and sultry Spanish airs.
On Sunday, July 7, Alchymy Viols (below) performs “American at Versailles,” an original ballet masque of French baroque music, dance and drama written and choreographed by Sarah Edgar, featuring Carrie Henneman Shaw, soprano; Sarah Edgar, director and dancer; and guest soprano Paulina Francisco. The American on the Grand Tour encounters the exotic world of French baroque manners, dress, dance and love.
TOMORROW: Part 2 explores the rest of the festival next week, including a rare book exhibit and the All-Festival finale on Saturday night
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The Well-Tempered Ear 