The Well-Tempered Ear

Classical music: This Sunday afternoon brings percussion music from Clocks in Motion and a performance by the Edgewood Chamber Orchestra.

September 21, 2018
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By Jacob Stockinger

This Sunday afternoon brings two noteworthy concerts: a selection of percussion music from Clocks in Motion and a performance of classic composers by the Edgewood Chamber Orchestra.

Here are the details:

CLOCKS IN MOTION

This Sunday afternoon at 2 p.m., the local percussion group Clocks in Motion will perform at its Rehearsal Facility, located at 126 West Fulton Street in Edgerton, Wisconsin.

Members of Clocks in Motion (below, performing in 2017) are Matthew Coley, Chris Jones, Sean Kleve and Andrew Veit.

Admission to the limited seating is $10, with donations accepted.

For more information, tickets and driving directions, go to:

https://www.artful.ly/store/events/15960

Presenting music never before heard in Wisconsin, Clocks in Motion Percussion will be performing classic repertoire and local premieres in this special event.

Here is the complete program: *”Gravity” by Marc Melltis; *Atomic Atomic” by Andrew Rindfleisch (below and heard in the YouTube video at the bottom); “Third Construction” by John Cage; selections from “Threads” by Paul Lansky; “Mechanical Ballet” by Anders Koppel; “Fantezie” by Sergiu Cretu; and “Glitz!” Bejorn Berkhout

*Denotes this piece was written specifically for Clocks in Motion.

Hailed as “nothing short of remarkable” (ClevelandClassical.com) and “the most exciting addition to Madison’s classical music scene” (Isthmus), Clocks in Motion is a percussion quartet that performs new music, builds many of its own instruments, and breaks down the boundaries of the traditional concert program.

Formed in 2011, Clocks in Motion is quickly becoming a major artistic force in today’s contemporary music scene. Among its many recent and upcoming engagements, the group served as performers at the Interlochen Arts Academy in Michigan; The Stone in New York City; The Overture Center for the Arts; Casper College in Wyoming; the University of Michigan;, Baldwin-Wallace University in Ohio; the University of North Carolina-Pembroke; and the Ewell Concert Series in Virginia.

EDGEWOOD CHAMBER ORCHESTRA

The Edgewood Chamber Orchestra will give a concert on this Sunday afternoon at 2:30 p.m. in the newly remodeled St. Joseph Chapel, 1000 Edgewood College Drive.

The orchestra will perform under the baton of Blake Walter (below).

The program features three arrangements of piano works by Claude Debussy; Arabesques 1 and2, arranged by Henri Mouton, and the seldom-performed Sarabande, arranged by Maurice Ravel.

Other works to be performed include Luigi Cherubini’s Overture to the opera Medea, and Symphony No. 59, subtitled “Fire,” by Franz Joseph Haydn.

Admission is $5 for the general public, free with Edgewood College ID.


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Classical music: Acclaimed a cappella vocal ensemble Cantus performs a world premiere in Edgerton this Saturday night

March 12, 2018
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By Jacob Stockinger

“Cantus: Inspiring Through Song“ will perform in concert this coming Saturday night, March 17, at 7:30 p.m. at the Edgerton Performing Arts Center, 200 Elm High Drive in Edgerton, Wisconsin.

In its 2017-18 touring program “Discovery of Sight,” the a cappella ensemble Cantus (below) explores the essence of light and vision, reveling in the mystery, science and poetry of what it means to truly “see” with music.

The program features works by Richard Strauss, Franz Schubert, Eric Whitacre (below top) and Einojuhani Rautavaara (below middle, in a  photo by Getty Images) alongside a world premiere by Gabriel Kahane (below bottom).

Tickets are $25 each and can be purchased online at www.edgertonpac.com or by phone at (608) 561-6093.

Praised as “engaging” by the New Yorker magazine, the men’s vocal ensemble Cantus is widely known for its trademark warmth and blending, and for its innovative programming and involving performances of music ranging from the Renaissance to the 21st century.

The Washington Post has hailed the Cantus sound as having both “exalting finesse” and “expressive power,” and refers to the “spontaneous grace” of its music making.

As one of the nation’s few full-time vocal ensembles, Cantus has grown in prominence with its distinctive approach to creating music. Working without a conductor, the members of Cantus rehearse and perform as chamber musicians, each contributing to the entirety of the artistic process.

Cantus performs more than 60 concerts each year both in national and international touring, and in its home of Minneapolis and St. Paul, Minnesota. Cantus has performed at Lincoln Center, Kennedy Center, UCLA, San Francisco Performances, Atlanta’s Spivey Hall, and Bravo! Vail Valley Music Festival.

You can hear Cantus perform a Tiny Desk Concert for National Public Radio (NPR) in the YouTube video at the bottom. The Ear is especially fond of the way they sing “Wanting Memories.”

For more information about Cantus, go to the ensemble’s website: www.cantussings.org

The performance is funded by the William and Joyce Wartmann Endowment for the Performing Arts.


Classical music: Candid Concert Opera brings a pared down performance of Mozart’s “The Magic Flute” to Edgerton with enchanting results.

May 13, 2013
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By Jacob Stockinger 

Here is a special posting, a review written by frequent guest critic and writer for this blog, John W. Barker. Barker (below) is an emeritus professor of Medieval history at the University of Wisconsin-Madison. He also is a well-known classical music critic who writes for Isthmus and the American Record Guide, and who hosts an early music show every other Sunday morning on WORT 88.9 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

Founder and music director Codrut Birsan has been moving on steadily with his Chicago-based Candid Concert Opera project. I was lucky to catch his latest presentation at the Edgerton Performing Arts Center (below top is the exterior, below bottom is the interior and concert hall) on this past Saturday evening, May 11. (At bottom is a YouTube video of Birsan speaking with excerpts from a production of “Die Fledermaus.”)

edgerton performing arts center exterior

Edgerton PAC stage

Edgerton is blessed to have so fine a performance venue as that incorporated into its high school.  The house is ample, the acoustics excellent, the sightlines uniformly open, and the seating comfortable. Its annual seasons are full of fine visiting ensembles, and it is to the particular credit of Edgerton’s stellar benefactor, William Wartmann (below), that an effort is made to attract operatic offerings.  For those, Madisonians can find it worthwhile to make the trip down to this quiet and welcoming little city.

wiiliam wartmann

The CCO production this time was a version of Mozart’s “The Magic Flute,” sung in the original German, with English surtitles projected.  One of the defining patterns of evolution that Birsan has made is gradually to develop a mini-orchestral accompaniment for his presentations.  This time, he had the largest showing yet: 13 players, made up of four winds (one each of flute, oboe, clarinet, bassoon), eight strings, and piano. 

Candid Concert Opera 8

This group, conducted by Birsan (below), made a credible Mozartean sound, even when shorn of brass and timpani.

Codrut Birsan

Such restrictions meant some sacrifices, such as the symbolic three chords of Freemasonry. Indeed, much of Mozart’s Masonic imagery was bypassed for a simplified story of the main characters. In the inevitable cutting, we lost the Three Boys, and the two Armed Men, along with a few musical numbers.

The spoken dialogue was gone also, with a narrator (Tom Kastle, below on the far right) filling in the context for the numbers.  With all that, we were still left with a big bundle of Mozart’s wonderful music.  And, marshaling his solo singers, Birsan was able to deliver some of the important choral work.  Indeed, his clever trimming and adjusting resulted in a very enjoyable show.

Tom Kastle far right

As usual, he could draw upon a lot of young vocal talent from the Chicago area.  Their names will be unfamiliar, but–who knows–some of them might develop into famous singers.

The men were a mixed group.  Their standout was Dan Richardson (below top), who has a very appealing baritone voice, and who displayed real acting talent as the comic birdman Papageno. Tenor Javier Bernard has a pleasant voice, but needed a bit more strength and projection as Prince Tamino. Bass Neil Edwards had the vocal dignity of Sarastro, but lacked full power in the crucial lower notes of his solos.  With a limited tenor voice but a lively acting flair, Eric Mason (below bottom) was delightful as the wicked slave Monostatos.

Dan Richardson

Eric Mason USE BW headshot

More uniform were the women. Soprano Amanda Compton (below) was pert and winning as the birdgirl Papagena. Remarkable strength, ensemble, and stage presence were displayed by the Three Ladies (Leila Bowie, Marci Wagnon Jackson, and Robin Bradley).

amanda compton

As the Queen of the Night, soprano Amanda Kingston (below) had ringing tone and strong personality.  Her command of the fearsome high-range pyrotechnics was somewhat challenged in her first big aria, but was much more secure in the second. 

Amanda Kingston

The star of the show in general, however, was Chelsea Morris (below) as Pamina: her firm, truly beautiful voice, with absolute technical confidence, offered consistently lovely singing.

Chelsea Morris soprano

The staging (below) was, even more than usual, minimal, with the sequence of numbers indeed like a standup concert progression.  Still, some interaction of the singers, lots of body language, and some simple movements, all sustained the sense of theater.

Candid Concert Opera 9

Birsan’s CCO deserves support and delivers satisfaction in bringing opera in direct ways to wider audiences.  Next season it will offer Rossini’s “La Cenerentola and Mozart’s “Così fan tutte.”  Watch for them, wherever they turn up.


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