By Jacob Stockinger
The Madison Bach Musicians (below), which specializes in authentic period performances of early music, will perform Johann Sebastian Bach’s “St. John Passion” this coming Friday and Saturday nights, both at 7:30 p.m., in the Atrium Auditorium of the First Unitarian Society of Madison, 900 University Bay Drive.
On both nights at 6:45 p.m., MBM founder and music director Trevor Stephenson (below) will give a free pre-concert lecture on the “Structure and Performance History of the St. John Passion.” In his remarks, Stephenson said he will discuss the question of anti-Semitism in the famous work.
(NOTE: Stephenson and some of the players will also be on Wisconsin Public Radio’s “The Midday” with Norman Gilliland TODAY at noon.)
At the end of Part I, the Rev. Michael Schuler of the Unitarian Society will give a talk focusing on “Theological Reflections on Bach and the St. John Passion.”
This is only the second time the work has been performed in historical style in the state of Wisconsin. For more information and explanation, see the story in the Wisconsin State Journal:
Tickets are $28-$33 and are available online, at Orange Tree Imports and at the door. Ticket information is at www.madisonbachmusicians.org
Trevor Stephenson writes the following about the work and the performance:
Bach was 38 years old when he composed the monumental St. John Passion during his initial year of employment in Leipzig, 1723-24. The work was first performed at the Nikolai Church during the Good Friday service on April 7, 1724.
As was the custom, no concerted music had been played in church during the previous six weeks of Lent, and the airing of the St. John Passion ― music of unprecedented complexity, lasting for over two hours — must have had an overwhelming effect on the fresh ears and devoted souls of the parishioners.
From its outset—with the whirling gear-like figures in the strings beneath the moiling of the oboes—the St. John Passion has an otherworldly aura of a story that has been foretold. Bach’s genius is in how he balances this inevitability with a sense of forward dramatic thrust: the passion story must happen, has already happened, but it also must be played out in real-time by living people, step by painful step. Time is at once both linear and circular. (Below is the manuscript for the “St. John Passion.”)
I believe that the objective of Bach (below) in setting the St. John Passion was to tell as vividly as possible the story of Jesus’ cruel earthly demise while at the same time tempering this vividness with frequent textual reminders, as well as an overarching tone, that convey the firm belief that Jesus’ Passion had not only been prophesied long before his birth but that Jesus’ suffering and death on earth was the only solution for the forgiveness of humanity’s sins.
The Evangelist John is our guide for the story of Jesus’ arrest, trial, crucifixion and burial. John sings his narration in the dry and angular recitative style, addressing the audience directly. He summarizes some scenes and introduces others, which are then played out in present-tense tableau format by various characters: Jesus, Peter, Pilate, Court officers, the angry mob.
Bach uses two techniques to pause and comment upon the narrative: first, with arias for solo voices and instrumental obbligato, that employ freely-composed poetry to reflect upon the story in a personal way — like the thoughts of someone observing the action; and second, by chorales which use tunes and texts that would have been familiar to Bach’s parishioners to elicit a broader communal response to the passion story. Many of the chorales are like a spiritual balm, providing moments of much needed rest throughout the work.
For the upcoming April 14 and 15 concerts of the St. John Passion ― on Good Friday and Holy Saturday ― the Madison Bach Musicians has endeavored as much as possible to recreate the early 18th-century sound world of that first Leipzig performance in 1724. MBM will use a 17-member baroque orchestra, conducted by UW-Madison bassoonist and performance-practice specialist Marc Vallon (below, in a photo by James Gill).
The orchestra will play entirely on 18th-century style instruments:
These instruments will join with 10 outstanding vocalists—specialists in singing both solo and choral baroque repertoire.
Internationally recognized, and Grammy Award winning tenor, Dann Coakwell (below, in a photo by Mary Gordon) will sing the part of John the Evangelist.
The Passion will be sung in its original German; but an English translation of the text will be projected in supertitles scene-by-scene throughout the performance.
MBM is thrilled to be presenting this masterwork in the Atrium Auditorium (below, in a photo by Zane Williams) at First Unitarian Society, a space beautifully suited to early music. The sightlines are superb, and the acoustics offer a great balance of clarity, crispness, and spaciousness.
Seating is limited, so advance ticket purchase is suggested.
ALERT: This week’s FREE Friday Noon Musicale at the First Unitarian Society of Madison, 900 University Bay Drive, features the Ann Arbor Ensemble. The group consists of Berlinda Lopez, flute; Marie Pauls, viola; and Stacy Feher-Regehr, piano. The all-French program includes the Trio Sonata by Claude Debussy and the Trio No. 2 in A minor, Op. 34, by Cecile Chaminade.
By Jacob Stockinger
The Oakwood Chamber Players (below) continue their 2016-2017 season with a concert titled Looking Within on this coming Saturday, Jan. 21, at 7 p.m. and Sunday, Jan. 22, 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.
Tickets can be purchased with cash or personal checks at the door: $20 for general admission, $15 for seniors and $5 for students. Visit www.oakwoodchamberplayers.com for more information.
Here are notes to the eclectic and unusually noteworthy program:
In 2011, American composer Byron Adams (below top) wrote a piece to honor the notable Czech-American composer Karel Husa (below bottom), who was also his composition teacher at Cornell University. The Serenade (Homage de Husa) not only illuminates Husa’s Czech heritage through musical references but also captures the essence of his positive influence in a piece that shows musical charm and wit. With the death of the Pulitzer Prize-winning Husa this past December, the intended tribute is particularly appropriate.
The Notturno (Nocturne) by Arnold Schoenberg (below) is a sweetly atmospheric, late Romantic work for harp and strings. After premiering in 1896 to an appreciative audience, this lovely piece of music was lost for decades and not rediscovered until 2001.
Originally written by French composer Maurice Ravel (below) in 1914, Kaddisch was set as a song using Aramaic text from the Jewish prayer book. The Oakwood Chamber Players will perform an evocative arrangement by David Bruce for a mixed ensemble of strings, winds, harp and English horn.
Music by British composer Gabriel Jackson (below, in a photo by Joel Garthwaite) is written with directness and clarity. In the Mendips, written in 2014, depicts the natural beauty of limestone hills in Somerset, England. The influence of generations of British composers, such as Vaughan Williams who was also inspired by pastoral beauty, is deftly woven into this piece for flute, clarinet, string trio, and harp.
Composer Frances Poulenc (below) was surrounded by the impressionist influence of his fellow French contemporaries Debussy and Ravel.
However, known for humor in how he approached his compositions, his creativity is resoundingly experienced in the high-energy Sextet for piano and woodwind quintet.
The listener will experience quicksilver shifts from the zesty vivace opening to glimpses of introspection to a dazzling high velocity finale. (You can hear the opening of the Sextet in the YouTube video at the bottom.)
The Oakwood Chamber Players are joined by guests Geri Hamilton and Maureen McCarty, violins; Brad Townsend, string bass; Aaron Hill, oboe and English horn; and Mary Ann Harr, harp (below).
This is the third of five concerts in the Oakwood Chamber Players’ 2016-2017 season series entitled Perspective. Remaining concerts will take place on March 18 and 19, and May 13 and 14.
The Oakwood Chamber Players are a group of Madison-area professional musicians who 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
ALERT: This week’s FREE Friday Noon Musicale, held from 12:15 to 1 p.m. at the First Unitarian Society of Madison, 900 University Bay Drive, features bassoonists Rozan Anderson and Willy Walter with oboist Scott Ellington and English hornist Ruth Dahlke in music by Bela Bartok, Bill Malcolm, Ange Flegier, Sarah Woolsey, Thomas Morley and John Wilbye with a world premiere by Louise Hillery.
By Jacob Stockinger
The Ear has received word from the Madison-based wind quintet Black Marigold about its upcoming winter concerts running from January 23 through January 31.
Members of Black Marigold (below) include Elizabeth Marshall, flute; Laura Medisky, oboe; Bethany Schultz, clarinet; Kia Karlen, horn; and Carl Wilder, bassoon.
Here is the announcement:
“Add a dash of heat to your winter with a hearty dose of chamber music!
“Black Marigold’s winter program features: the Wind Quintet in C major, Op.79 (ca. 1898, heard at bottom in a YouTube video) by August Klughardt; “La Cheminée du Roi René,” Op. 205 (1939) by Darius Milhaud; and two contemporary pieces by Brian DuFord: Vignettes Balletiques (2011) and Variations on an Afro-Cuban Lullaby (2012).
“You can learn more about Black Marigold’s 2016 commissioning collaboration with Brian DuFord (below), a musical salute to Wisconsin craft brews and beer, at http://www.blackmarigold.com/beermusic.html
“All concerts are FREE and OPEN TO THE PUBLIC.
Here is a complete schedule:
“Saturday, January 23, 2016 – 7 p.m. Orchard Ridge United Church of Christ 1501 Gilbert Rd, Madison
“Friday, January 29, 2016 – 12:15 p.m. First Unitarian Society, Noon Musicale Series, 900 University Bay Drive, Madison
“Black Marigold is a dynamic wind quintet that has performed throughout Wisconsin since 2012.
“As advocates of new music and living composers, the quintet presents captivating concerts introducing new music, while also highlighting classic woodwind quintet repertoire.
“For more information, visit:
ALERT: This week’s FREE Friday Noon Musicale, to be held from 12:15 to 1 p.m. in the Landmark Auditorium of the historic Frank Lloyd Wright-designed First Unitarian Society of Madison, 900 University Bay Drive, will feature “Music for Double Reeds and Piano” with Scott Ellington, Ruth Dahlke, Willy Walter, Rozan Anderson and Ann Aschbacher playing music by Johannes Brahms, George Frideric Handel, Alyssa Morris and more. Double reed instruments include the bassoon, the oboe, the oboe d’amore and the English horn.
By Jacob Stockinger
The Edgewood College Music Department will give the 87th annual Christmas concerts (below is a photo from last year’s concert) on this Friday night, Dec. 5, at 7 p.m., and again on this Saturday night, Dec. 6 at 7 p.m., in St. Joseph Chapel, 1000 Edgewood College Drive.
Sorry, The Ear has received no word on the program or specific works or composers to be performed.
According to a press release: “This annual Christmas celebration is one of the College’s oldest traditions. A highlight each year is the invitation for audience members to join in singing traditional carols.”
Please visit www.edgewood.edu.
All proceeds for these concerts benefit Edgewood College music students through the Edward Walters Music Scholarship Fund.
By Jacob Stockinger
It will be a busy weekend at the University of Wisconsin-Madison School of Music.
Events include a FREE orchestra concert on Sunday afternoon for the Wisconsin Academy’s marking of the centennial of the extinction of the passenger pigeon.
But there is also a FREE cello recital on Saturday night and a voice faculty showcase concert on Sunday evening.
Here are details.
At 8 p.m. in Mills Hall, cello Professor Parry Karp (below left), who also plays in the Pro Arte Quartet, will play a FREE recital with his longtime pianist partner Eli Kalman (below right), who teaches at UW-Oshkosh and did his doctoral work at the UW-Madison School of Music.
The program includes the Sonata in C Minor for Piano and Violin, Op; 30, No. 2 (1802), by Ludwig van Beethoven as transcribed for cello by Parry Karp, who also transcribed all the violin sonatas by Johannes Brahms; the Sonata in E-flat Major for cello and piano (1922) by Ettore Desderi; and the Concerto for Cello and Orchestra, Op 22 (1945) by Samuel Barber.
REMEMBERING THE PASSENGER PIGEON
On Sunday, Nov. 2, at 2 p.m. in Mills Hall, the UW Symphony Orchestra will perform the Wisconsin premiere of “The Columbiad,” preceded by a talk by acclaimed emeritus wildlife professor Stanley Temple (below).
The concert is part of a two-day symposium on the 100th anniversary of the demise of the fabled passenger pigeon. It features a short talk by Stanley Temple, Beers-Bascom Professor Emeritus in Conservation, University of Wisconsin-Madison and Senior Fellow, Aldo Leopold Foundation.
Learn more here.
On the occasion of the 2014 centenary of the extinction of the passenger pigeon, the Wisconsin Academy of Sciences, Arts and Letters and the UW-Madison Department of Forest and Wildlife Ecology invite the public to join in an exploration of the sobering story of the passenger pigeon (below is a photo of a stuffed real passenger pigeon) and what it can tell us about the ongoing extinction crisis and our relationship with other species.
Events include the Wisconsin premiere of The Columbiad, a symphony by Anthony Philip Heinrich, performed by the UW Symphony Orchestra. The Columbiad created a sensation at its premiere in Prague in 1858 and will be performed once again this fall at UW-Madison and Yale University. (You can hear the beginning of the work as performed at Yale in early October in a YouTube video at the bottom.)
Heinrich was inspired by witnessing vast flocks of passenger pigeons in 1831. Known in his day as “the log cabin composer” and “the Beethoven of America,” Anthony Philip Heinrich is the only important composer of the early 19th century to have experienced the North American frontier as he did. He saw Niagara Falls, he encountered Native Americans and slave musicians, and he witnessed the astonishing migration of giant flocks of passenger pigeons.
To learn about the national effort, please see Project Passenger Pigeon.
Here are related events and links:
A staged reading of a new play about the passenger pigeon by The Bricks Theatre
Saturday, November 1, 2014 from 7 to 9 p.m.
UW-Madison Biotechnology Auditorium, 425 Henry Mall
An afternoon documentary screening and panel discussion on the demise of the passenger pigeon
Saturday, November 1, 2014 from 1 p.m. to 4 p.m.
UW–Madison Union South, Marquee Theater
1308 W. Dayton St.
Stanley A. Temple is the Beers-Bascom Professor Emeritus in Conservation in the Department of Forest and Wildlife Ecology and former Chairman of the Conservation Biology and Sustainable Development Program in the Gaylord Nelson Institute for Environmental Studies at UW–Madison. For 32 years he held the academic position once occupied by Aldo Leopold, and during that time he won every teaching award for which he was eligible. Temple has a PhD in ecology from Cornell University where he studied at the Cornell Lab of Ornithology. (below is a photo of one mass shooting of passenger pigeons.)
At 7:30 p.m. on Sunday night, Nov. 2, in Mills Hall the UW-Madison voice faculty presents an evening of chamber music featuring the solo voice. Featuring a premiere, “White Clouds, Yellow Leaves,” written by composer and saxophone professor Les Thimmig (below).
Participants includes: Mimmi Fulmer and Elizabeth Hagedorn, sopranos; Paul Rowe, baritone; with Karen Atz, harp; Thomas Kasdorf, piano; Marc Vallon, bassoon; Parry Karp, cello; and many students and faculty from the UW-Madison School of Music.
Tickets are $10 with students getting in for FREE. Tickets will be available at the door as well as online or at the box office. Please see this link.
Here is the full program:
“Don Quichotte à Dulcinée” (1934) by Maurice Ravel (1875-1937) Chanson Romanesque; Chanson épique; Chanson á boire with Paul Rowe, baritone, with Thomas Kasdorf, piano.
“La lettre” by Jules Massenet (1842-1912)
“Absence” by Georges Bizet (1838-1875)
“L’invitation au voyage” by Emmanuel Chabrier (1841-1894) with Elizabeth Hagedorn, soprano; Marc Vallon, bassoon, with Thomas Kasdorf, piano, and Karen Atz, harp.
“Barcarolle” by Charles Gounod (1818-1893) with Elizabeth Hagedorn, soprano; Paul Rowe, baritone, with Thomas Kasdorf, piano.
“Long Pond Revisited” (2002) by Lori Laitman (below, b. 1955). From poetry by C.G.R. Shepard: “I Looked for Reasons,” “The Pond Seems Smaller,” “Late in the Day,” “Days Turn,” “Long Pond Revisited” with Paul Rowe, baritone; Parry Karp, cello.
“White Clouds, Yellow Leaves” (2013) by UW-Madison composer Les Thimmig (b. 1943) fromTexts derived from 8th- and 9th-century Chinese poetry with Mimmi Fulmer: mezzo-soprano; Mi-Li Chang: flute, piccolo, alto flute; Kostas Tiliakos,: English horn; Marc Vallon: bassoon; Sean Kleve: percussion; Karen Atz, harp; Paran Amirinizari: violin; Rachel Hauser: viola; Andrew Briggs: violoncello; and Les Thimmig: conductor.
Here is a link to the full program with program notes:
Tickets are $10 for the public; students get in free.