The Well-Tempered Ear

Classical music: This afternoon is your last chance to hear rave-winning performances by pianist Joyce Yang and the Madison Symphony Orchestra. Here’s a review to read

November 10, 2019
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By Jacob Stockinger

This afternoon — Sunday, Nov. 10 — at 2:30 p.m. in Overture Hall is your last chance to hear South Korean pianist Joyce Yang and the Madison Symphony Orchestra (below, in a photo by Peter Rodgers) under the baton of music director John DeMain.

The program features the exciting, popular and beautiful Piano Concerto No. 3 by the Russian modernist composer Sergei Prokofiev as well as “Newly Drawn Sky” by contemporary American composer and Yale School of Music professor Aaron Jay Kernis (below) and the Symphony No. 2 by the German Romantic master Robert Schumann.

For more information about the performers, the program and tickets, go to: https://welltempered.wordpress.com/2019/11/04/classical-music-this-weekend-prize-winning-pianist-joyce-yang-solos-in-prokofievs-most-popular-piano-concerto-with-the-madison-symphony-orchestra-works-by-schumann-and-aaron-jay-kernis-are/

The prize-winning Yang (below), who  at 19 won the silver medal at the 2005 Van Cliburn International Piano Competition, rewarded a standing ovation with the late Earl Wild’s virtuosic arrangement of George Gershwin’s song “The Man I Love,” which you can hear Yang play in the YouTube video at the bottom.

The reviews that have appeared so far agreed: It is a rave-winning concert with special attention going to Yang, who is making her MSO debut after performing a solo recital several years ago at the Wisconsin Union Theater.

The Ear cannot find a link to the rave review by Bill Wineke for Channel 3000.

But here is the rapturous review that Michael Muckian wrote for Isthmus:

https://isthmus.com/music/joyce-yang-triumphs-with-prokofiev/

But you be the critic.

What did you think of Joyce Yang and the MSO?

The Ear wants to hear.

 


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Classical music: UW countertenor Gerrod Pagenkopf returns to sing on Sunday night with Chanticleer. Here’s how he got there with the right teacher, hard work, good luck and a push from mom. Part 2 of 2 

October 1, 2019
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By Jacob Stockinger

This coming Sunday night, Oct. 6, at 7:30 p.m. in the new Hamel Music Center, the a cappella singing group Chanticleer (below) will kick off the centennial anniversary celebration of the Concert Series at the Wisconsin Union Theater.

Tickets are $45 for the public; $40 for faculty staff and Union members; and $10 for students. For more information about the performers and the “Trade Winds” program, go to: https://union.wisc.edu/events-and-activities/event-calendar/event/chanticleer/

Among the 12 members of Chanticleer is Gerrod Pagenkopf, who is in his fifth year with the group as both a countertenor and the assistant music director.

For a biography of Pagenkopf, go to: https://www.chanticleer.org/gerrod-pagenkopf

Pagenkopf is a graduate of the UW-Madison. When he performed as a student, his high, clear countertenor voice was a new experience and made those of us who heard him sit bolt upright and take notice. “He is going places,” we said to each. And so he has.

But Pagenkopf’s story is not only about him. It is also about the rediscovery of countertenors, about the changing public acceptance of them, and about the challenges that young musicians often face in establishing a professional performing career.

So The Ear is offering a longer-than-usual, two-part interview with Pagenkopf (below).

Part 1 appeared yesterday. Here is a link: https://welltempered.wordpress.com/2019/09/30/classical-music-uws-first-countertenor-gerrod-pagenkopf-returns-to-perform-on-sunday-night-as-a-member-of-the-acclaimed-choral-group-chanticleer-heres-how-he-got-from-here-to-there/

Here is Part 2:

Back when you were a student here, were you the only countertenor at the School of Music? How did you find out you were a countertenor and pursue that training?

As I recall, I was the only countertenor — certainly the only one studying in the voice department. I had been studying as a tenor with Ilona Kombrink (below, in photo by UW-Madison News Service) for a few semesters, and it just didn’t seem as easy as it was supposed to.

I didn’t sound like other tenors in my studio or on recordings. I remember that a famous countertenor had just come out with an album of Handel arias, and, upon hearing it, I thought to myself, “I can sing like that!”

I asked Professor Kombrink about it, and she told me to learn “Cara Sposa” from Handel’s “Rinaldo” over the summer. When I came back in the fall, if it sounded legitimate she agreed I could pursue countertenor singing.

I remember that first lesson of the fall. After I sang this Handel aria for her, she sat back and mused in her sage-like manner, “Yes, this must needs be.”

I never looked back. I think I was on the early edge of the re-emergence of countertenors. Certainly there were countertenors working professionally, but there weren’t that many. There weren’t any other countertenors in Houston when I went to grad school, and even when I moved to Boston, there were only a handful of working countertenors.

Since then, how has the treatment of countertenors changed in the academic and professional worlds?

By the time I left Boston a few years ago, you couldn’t throw a stone without hitting a countertenor. We now see young countertenors winning major competitions and earning places in young artist programs around the country. The competition is fierce now.

I was lucky enough to be one of just a few fish in the pond, but now countertenors are everywhere—and a lot of them are really good! I also remember that there was a stigma so that it would be difficult to find a voice teacher who would teach countertenors.

A lot of pedagogy books by reputable technicians said that countertenors weren’t real — they just sing in falsetto, which isn’t a real voice. I was lucky that Professor Kombrink was willing to explore that with me. I think now that there are so many successful countertenors singing everywhere, I hope this antiquated view of the voice type has changed.

What would you like the public to know about the program you will perform here? Are you featured in certain pieces?

Our “Trade Winds” program explores several different aspects of the wayfaring sailor. They include Monteverdi madrigals about water and nature; a wonderful mass setting by a largely unknown century Portuguese composer, Filipe de Magalhaes; several charming folksongs from around the Pacific Rim; and even a few sea shanties.

It’s a varied program that includes repertoire from as early as the 15th century up to just a few months ago. One of Chanticleer’s missions is to further the art of live music through new compositions, and we’ve commissioned a fantastic young Chinese-American composer, Zhou Tian (below), to write a new multi-movement piece for us, entitled “Trade Winds,” from which our program also gets its title.

Lots of listeners are scared of “new music,” but Zhou has given us a gem. It’s easy to listen to, and I think listeners will instantly understand what it’s all about.

What are your plans for the future?

Personally, I can’t say that I have anything coming up. As wonderful as Chanticleer is, the job pretty much limits any amount of outside freelance work. (At the bottom, you can hear Chanticleer singing “Shenandoah,” its most popular YouTube video – and a piece with a prominent countertenor part — with well over 1.6 million hits.)

One of the truly fantastic parts of singing in Chanticleer (below, performing on stage) is all the places we travel to. We started off this season with a three-week tour of Europe, which was actually the ensemble’s third trip to Europe in 2019.

We love traveling around the U.S., and as I’ve said, traveling back to Madison is certainly the highlight for me. The Midwest is always a special place for us to sing, as several of our members are from this region.

We’re very excited to travel to Australia in June 2020. I think it’s Chanticleer’s first visit “Down Under.” We will also be going back to the studio in January to record a new album for release sometime later in 2020. We have lots of exciting events coming down the pipeline.

Is there something else you would like to say?

Prior to singing with Chanticleer, I had been living in Boston for almost eight years, pursuing professional singing as a freelance artist.

To make ends meet, I had been working at Starbucks, which I actually started doing when I still lived in Madison, and my gigging was getting lucrative enough that I eventually decided to take a leave of absence from slinging lattes.

While I was in Wisconsin on Christmas vacation, I received a message from Chanticleer’s music director, William Fred Scott, letting me know that there was an immediate vacancy in the ensemble, and would I be interested in singing for them.

I thought I was being spammed, so I didn’t respond, and continued to enjoy the bliss of spending the entirety of the holidays with my family.

When I eventually got back to Boston a few days later, another email arrived from Mr. Scott: “Did you get my email? We’d really like to hear from you.” Ok, how do I tell them I’m clearly NOT the countertenor they’re looking for?

Well, after much soul-searching, calling my mother (“Just do it!” she exclaimed), and figuring out the logistics of liquidating a one-bedroom apartment, I decided to run away and join the circus. It was a complete leap of faith, but I think I made the right decision.

Don’t give up on your dreams. Singing in Chanticleer was the first legitimate dream I remember having. Although my musical path took me in several other directions, that path eventually led me to where I am today, and I wouldn’t trade it for the world.


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Classical music: After opening on Friday night, the Willy Street Chamber Players will perform a FREE and PUBLIC concert at Oakwood Village West on Saturday night at 7

July 10, 2019
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By Jacob Stockinger

You might recall that this Friday night, July 12, at 6 p.m., the critically acclaimed Willy Street Chamber Players will open their fifth summer season at Immanuel Lutheran Church at 1021 Spaight Street on the near east side. (Tickets are $15.)

https://welltempered.wordpress.com/2019/07/02/classical-music-the-critically-acclaimed-and-popular-willy-street-chamber-players-start-their-fifth-summer-series-with-a-free-community-concert-this-friday/

Core members of the Willys (below, from front left) are: violist Rachel Hauser, violinist Eleanor Bartsch, cellist Lindsay Crabb, cellist Mark Bridges and violinist Paran Amirinazari.

Rachel Hauser will not play. But the others will be joined by two guest violists and University of Wisconsin-Madison alumni: prize-winning Danny Kim (below top) of the Boston Symphony Orchestra; and Nicholas Jeffery (below bottom) of Chicago’s Ursa Ensemble. Here are links to more information about each of them:

https://www.bso.org/strings/danny-kim-viola.aspx

http://jefferyviola.com/about

For more information and biographies of the local performers, go to the website: http://www.willystreetchamberplayers.org/2019-summer-series.html

Put your cursor first on ABOUT and then on PLAYERS.

But The Ear has now received word that the Willys will also perform a FREE concert that is open to the public on Saturday night at 7 p.m. in the auditorium of the Oakwood Village West (now called University Woods) retirement center,  6205 Mineral Point Road. The concert is sponsored by Kato Perlman (below), a well-known and generous supporter of classical music in Madison.

The program is the same as the previous night’s except for the contemporary work “Study for String Instrument No. 1” (2007) by Simon Steen-Andersen: the String Quintet No. 1 in A minor (1826), Op.18, by Felix Mendelssohn (1826), and the String Quintet No. 2 in C minor (1787), K. 406/516b by Wolfgang Amadeus Mozart. (You can hear the first movement of the Mozart quintet, played by the Dover Quartet, in the YouTube video at the bottom.)

Now in their fifth season, the Willy Street Chamber Players (WSCP) has become an established part of the vibrant Williamson Street neighborhood on Madison’s east side.

Recently recognized in Madison Magazine’s prestigious “Best of Madison” reader poll in the category of “Best Classical Music Group,” WSCP has received numerous accolades for its accessible and exciting performances, intelligent and fun programming, and community partnerships.


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Classical music: The critically acclaimed and popular Willy Street Chamber Players start their fifth summer series with a FREE community concert this Friday

July 2, 2019
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By Jacob Stockinger

The Ear has received the following announcement for a remarkable and must-hear summer series of chamber music concerts that from its very beginning seems to have found a successful formula that resonated with the public  It relies on informality, affordable tickets, first-rate musicianship, short concerts, eclectic programs that mix classics with sure-fire new music, support for their local community.

Now in their fifth year, the Willy Street Chamber Players (WSCP, below) have become an established part of the Williamson Street neighborhood.

Recently awarded the silver medal in Madison Magazine’s prestigious “Best of Madison” reader poll in the category of “Best Classical Music Group,” WSCP has received numerous accolades for its accessible and exciting performances, intelligent and fun programming, and dedication to community partnerships.

The group has also been named “Musician of the Year”for 2016 by this blog.

The Summer Series concerts are on Friday evenings at 6 p.m. in the sanctuary of the beautiful Immanuel Lutheran Church (below) at 1021 Spaight St. The church is right on Lake Monona in the Williamson Street neighborhood. Enjoy 60-90 minutes of inspiring and unforgettable live music, then go explore the neighborhood with the remaining daylight hours.

Following the performance, enjoy a reception provided by one of our Willy Street restaurant partners. (Past contributors have been the Underground Butcher, Let It Ride Cold Brew Coffee, Madison Sourdough, the Willy Street Co-Op, Festival Foods, Roman Candle Pizza and more.)

While you enjoy your snacks, chat with the friendly musicians and ask them about the performance, the pieces and the group. We love interacting with our awesome audience.

A season pass is $40. Admission to individual concerts is $15. For tickets and more infomation, got to: http://www.willystreetchamberplayers.org/2019-summer-series.html

COMMUNITY CONNECT – This is a FREE and family-friendly concert with all ages welcome for music, interactive learning, conversation and connections.

It takes place this Friday, July 5, at 6 p.m. at the Goodman Community Center (149 Waubesa Street on the east side), as is posted on the home website — NOT at the Wil-Mar Neighborhood Center, which is listed in the printed brochure but is undergoing construction.

The program – “Growing Sound: A Sonic Exploration” – features music by Wolfgang Amadeus Mozart, John Corigliano, Antonin Dvorak, Friedrich August Kummer and Alberto Ginastera.

SUMMER SERIES 1

Friday, July 12, at 6 p.m. – Mozart and Mendelssohn

Prize-winning UW-Madison graduate Danny Kim, viola (below)

PROGRAM:

Mendelssohn: String Quintet No. 1 in A major, Op. 18 (1826)

Simon Steen-Andersen: Study for String Instrument No. 1 (2007)

Mozart: String Quintet No. 2 in C minor, K. 406/516b (1787)

SUMMER SERIES 2

Friday, July 19, at 6 p.m. – Bassoon and Strings

UW-Madison Professor Marc Vallon, bassoon (below)

PROGRAM:

Beethoven: Allegretto for Piano Trio in B-flat major, WoO. 39 (1812)

Jennifer Higdon: “Dark Wood” (2001)

Franz Danzi: Bassoon Quartet in D minor, Op. 40, No. 2 (ca. 1820)

Alberto Ginastera: String Quartet No.1, Op. 20 (1948)

SUMMER SERIES 3

Friday, July 26, at 6 p.m. – Christopher Taylor, piano (below)

PROGRAM:

Ernest Bloch: Three Nocturnes (1924)

Jessie Montgomery: “Voodoo Dolls” (2008)

Dvorak: Piano Quintet No. 2 in A major, Op. 81 (1887) with UW-Madison pianist Christopher Taylor. (You can hear the first movement of Dvorak’s beautiful and melodic Piano Quintet in the YouTube video at the bottom.)

For more information, including background, biographies of the musicians, critics’ reviews, photos and how to support the Willy Street Chamber Players, go to:

http://www.willystreetchamberplayers.org


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Classical music: Combining a ticket to a live music performance with a book or recording that is tied to the concert’s program makes a great holiday gift

December 20, 2018
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By Jacob Stockinger

The holidays seem to arrive earlier each year.

The Ear isn’t sure why that is.

Whatever the reason, a lot of holiday gift shopping can by now seem last-minute and somewhat frantic.

But if you are shopping for a classical music fan, you are in luck if you go local.

The best way to please the recipient and also to support the local arts is to give a ticket to a live concert – always the most powerful and exciting musical experience — perhaps coupled to a related book or recording. (Below is UW-Madison pianist Christopher Taylor in a photo by Michael R. Anderson).

This blog doesn’t have room to list separately all the many musical groups in the area. But here are some samples that might interest you.

Through Monday, Dec. 24, the Madison Symphony Orchestra (below, in a photo by Greg Anderson) is once again offering a special deal for the remainder of the season. Tickets to both the “Beyond the Score” program and the remaining four season concerts, including Mahler’s mammoth “Symphony of a Thousand,” have been reduced to two price ranges: $10 and $25 for the former; $25 and $50 for the latter.

For more information, go to: https://madisonsymphony.org/concerts-events/buy-tickets/offers-discounts/holiday-tickets-sale/

If you want to see what other performers and presenters are offering – say, the Wisconsin Chamber Orchestra (below), the Oakwood Chamber Players, the Madison Bach Musicians, the Middleton Community Orchestra, the Wisconsin Baroque Ensemble, the Bach Dancing and Dynamite Society, the Willy Street Chamber Players, the Wisconsin Union Theater, the Overture Center and the Madison Opera, to name just a few of the more prominent names – just go to Google and type in their name to search and go to their home page on the web.

Many of them have all sorts of other discounts for students, seniors, subscribers, groups and others.

Don’t forget that Madison features many FREE concerts, especially at the University of Wisconsin-Madison.

True, a few of the most attractive and gift-worthy UW concerts are ticketed ($17 for adults, $7 for UW students) – including the annual Schubertiade, the yearly recital by pianist Christopher Taylor and the world premiere of the new Viola Sonata by John Harbison (below). But you could offer to take someone to a free chamber music or orchestral concert and provide companionship, transportation and maybe even dinner.

Here is a link to the very busy lineup and informative previews at the UW-Madison’s Mead Witter School of Music: https://www.music.wisc.edu

To top it off, you could add one of two outstanding local books The Ear puts at the top of the holiday gift guide.

The first is John Harbison’s “What Do We Make of Bach” (below top) which is short, very readable, thoroughly engaging and wonderfully informative in an autobiographical way that helps us celebrate both the 80th birthday of Harbison and the upcoming 334th birthday of Johann Sebastian Bach.

The second book, now in its second printing, is a comprehensive history of the Pro Arte Quartet (below) done by John W. Barker, who often writes for this blog as well as Isthmus.

Of course, a CD with one of the composers or works on a program also makes a fine complement, whether it is a Mahler symphony, a Bach suite or Schubert’s “Swan Songs” from his final year.

Finally, The Ear wants to know: What are your suggestions for a for holiday gift of classical music?

It could be a live concert or a recording, either something new or an old favorite.

It could be a particularly informative and enjoyable or entertaining book, including biographies of Leonard Bernstein (including one by his daughter Jamie Bernstein, below), whose centennial has been celebrated this season.

Over the next few days, The Ear will post suggestions  and Top 10 lists by professional critics. But in the end, it is the audience, the ordinary public, that many people want to hear from.

So perhaps you will leave your ideas in the COMMENT section.

Thank you! And have Happy Holidays — a Merry Christmas, a joyous Kwanzaa and a Happy New Year.


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Classical music: This coming weekend, pianist John O’Conor returns to play a Beethoven concerto with the Wisconsin Chamber Orchestra on Friday night and then a solo recital at Farley’s on Saturday night

May 7, 2018
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By Jacob Stockinger

The acclaimed Irish pianist and teacher John O’Conor (below) returns to Madison this weekend for two concerts that will close out the season for the Wisconsin Chamber Orchestra on Friday night and the Salon Piano Series at Farley’s House of Piano on Saturday night.

For more about John O’Conor‘s impressive background as a performer, a recording artist, a pedagogue and a juror for international piano competitions, go to: https://en.wikipedia.org/wiki/John_O%27Conor

WISCONSIN CHAMBER ORCHESTRA

The first event with O’Conor is an all-Beethoven concert by the Wisconsin Chamber Orchestra (below) under the baton of music director Andrew Sewell.

The WCO concert is on Friday night, May 11, at 7:30 p.m. in the Capitol Theater of the Overture Center, 201 State St.

The program features the Overture to “King Stephen”; the Piano Concerto No. 3 in C minor, Op. 37, with O’Conor as soloist; and the popular, dramatic and iconoclastic or even revolutionary Symphony No. 5 in C minor.

Such repertoire from the Classical period is one of O’Conor’s strong suits as well as one of the WCO’s. When the two last performed together in 2016 O’Conor and the WCO played works by Wolfgang Amadeus Mozart and the Irish early Romantic John Field.

Plus, O’Conor studied Beethoven with the legendary Beethoven interpreter Wilhelm Kempff.

So this concert promises to be a dynamic experience with perfectly paired players.

Tickets are $15-$80 with student tickets available for $10.

For more information about O’Conor and about how to obtain tickets, go to:

https://wisconsinchamberorchestra.org/performances/masterworks-v-3/

SALON PIANO SERIES

Then on Saturday night, May 12, at 7:30 p.m. at Farley’s House of Pianos, located at 6522 Seybold Road, on Madison’s far west side near the West Towne Mall, pianist O’Conor will give a solo recital to close out the Salon Piano Series.

The program includes the Sonata in B minor by Franz Joseph Haydn; Four Impromptus, Op. 90 or D. 899, by Franz Schubert; Nocturnes Nos. 5, 6, and 18 by the Irish composer John Field (below), whose neglected works are a specialty of O’Conor; and the iconic “Moonlight” Sonata in C-sharp minor by Ludwig van Beethoven. (You can hear O’Conor perform the exciting and virtuosic last moment of the “Moonlight” in the YouTube video at the bottom.)

A reception follows the concert.

Tickets are $45 in advance and $50 at the door, with student tickets available for $10.

For more information and to purchase tickets, call (608) 271-2626 or go to these two web sites:

http://salonpianoseries.org/concerts.html

https://www.brownpapertickets.com/event/2995003


Classical music: New faculty conductor Chad Hutchinson makes an impressive and promising debut with the UW Symphony Orchestra

October 11, 2017
2 Comments

By Jacob Stockinger

Last Saturday night, Chad Hutchinson (below), the new faculty conductor at the University of Wisconsin-Madison’s Mead Witter School of Music, made an impressive and promising debut with the UW Symphony Orchestra.

The ambitious program that Hutchinson put together says a lot about his priorities and instincts, and about his confidence in himself and the abilities of his student players, who performed superbly.  

The varied works came from the early 19th century, the mid-19th century, the early 20th century and the 21st century. And it seemed that each piece in the ambitious program was chosen to put the spotlight on a different section – percussion, brass, strings and winds.

Curiously, The Ear found the most successful pieces were the most traditional ones.

The Prelude to the opera “Die Meistersinger von Nürnberg” by Richard Wagner received the right mix of horn pomp and string zest. It made The Ear realize again how much more he prefers Wagner’s instrumental music to his vocal music. Let’s hear more Wagner preludes, since we are unlikely to hear more Wagner operas.

The orchestral transcription by Leopold Stokowski (below) of the piano prelude “The Sunken Cathedral” by Claude Debussy was the least successful work of the night. This is the second overblown and bombastic Stokowski transcription that The Ear has heard performed live in a month.

Clearly, Stokowski’s aesthetic was Bigger is Better. This particular transcription strips away the mystery, sensuality and subtlety, the watery softness,  of the original. It works more as an etude for orchestra than as an authentic expression of Impressionism.  The Ear’s objections are to the transcription, not to the performance, which was well voiced, precise and tightly controlled.

“Mothership” by the popular American composer Mason Bates (below), who wrote the recent successful opera based on the life of the late Apple guru Steve Jobs, proved an interesting foray into contemporary music culture. It was also the Madison premiere of the 2011 work.

The electronic music in the pulsating and highly atmospheric score, including the computer-generated disco dance beat, highlighted the percussion section and the UW’s new Electro-Acoustic Research Space (EARS), which collaborated with the symphony orchestra.

The dramatic work, a novelty that is pop-infused and resembles music by John Adams a little too closely, has its pleasing and engaging moments. But overall it seems a triumph of style over substance. (You can judge for yourself from the performance with Michael Tilson Thomas in the YouTube video at the bottom.)

That said, Hutchinson nonetheless held the complex and coordinated score together, and the young audience seemed to take to the new music — a major achievement in itself.

Expect to hear many more contemporary works from Hutchinson, who says he is an unabashed champion of new music. He will include other living composers in many other concerts, including the next one on Nov. 4 and then again on Feb. 22.  

To these ears, the most impressive performance came in the Symphony No. 3 “Eroica” by Ludwig van Beethoven. In its day, the difficult and long work proved revolutionary and perplexing. More recently, more than 100 conductors named it the best symphony ever written. You can’t get more establishment than that.

Yet despite being so mainstream, the “Eroica” remains a difficult and challenging work, both technically and interpretively. And this performance succeeded on both counts. That is no small feat for a new conductor and his young students to pull off in the first six weeks of school.

Especially impressive was Hutchinson’s choice to skip any pause between the third movement and the finale. It worked dramatically to maintain momentum. Such exciting attacks should be a more common practice in performing symphonies and concertos as well as chamber music.

Hutchinson seems a congenial and humorous concert hall host. His pre-concert talk (below), which he is slated to do at all performances, was helpful and informative, even if he repeated some major points when he introduced  the actual performances. Hutchinson, intent on expanding the audience for classical music, is worth listening to.

Hutchinson may not possess an especially graceful or fluid podium presence that is pleasing to watch, but he gets results. Certainly both the student players and the large audience (below) seemed pleased and excited by these performances.

In the end, the concert provided plenty of reasons to look forward to hearing more from Chad Hutchinson and seeing how he develops and leaves his mark on programming and performing at the UW.

Were you there as either a performer or an audience member?

What did you think of the concert and of Chad Hutchinson’s debut?

The Ear wants to hear.


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