The Well-Tempered Ear

Classical music: The 150th anniversary of architect Frank Lloyd Wright’s birth will be celebrated with two concerts on this coming Sunday afternoon and Monday night in Spring Green. They feature the world premiere of a work commissioned from Madison-based composer Scott Gendel.

August 2, 2017
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By Jacob Stockinger

Effi Casey, the director of music at Taliesin, the Frank Lloyd Wright compound in Spring Green, writes:

“I am writing to you to let you know about special concerts at Taliesin on Sunday, Aug. 6, at 2:30 p.m. and Monday, Aug. 7, at 7:30 p.m., which I will direct in the Hillside Theater at Taliesin.

“The concerts are a collaboration of Taliesin Preservation and Rural Musicians Forum as part of the year-long celebration of the 150th anniversary of the birth of architect Frank Lloyd Wright (below).

“I commissioned UW-Madison prize-winning graduate Scott Gendel to write “That Which Is Near,” a piece for choir, string quartet and piano, and we have enjoyed working on it. (NOTE: Gendel will discuss his work in more detail in tomorrow’s posting on this blog.) It will receive its world premiere at these two concerts.

“Other works to be performed include: “Fanfare for the Common Man” by Aaron Copland; “Past Life Melodies” by Sarah Hopkins; the spiritual “Ev’ry Time I Feel de Spirit”; “Hymn to Nature” (from the Wright-inspired opera “Shining Brow,” which is the English translation of the Welsh word “Taliesin” and stands for the hillside location) by UW-Madison graduate Daron Hagen; “Song of Peace” by Jean Sibelius”; and the “Sanctus” and “Dona Nobis Pacem” from the Mass in B Minor) by Johann Sebastian Bach and spoken words.

“The participation and enthusiasm of the singers of the greater Spring Green community are most rewarding already.

TICKETS

“Tickets are available on-line at RuralMusiciansForum.org. Please see the “Purchase Tickets Here” link to Brown Paper Tickets on the right-hand side of the RMF home page.

“Alternatively, tickets can be purchased at the Arcadia Bookstore in downtown Spring Green.

“Ticket prices range from $15 to $30. The $30 tickets for the Sunday Aug. 6 concert include concert admission and a festive champagne post-concert reception with composer Scott Gendel, the musicians and the chorus.

“Tickets for the concert only on Aug. 6 or 7 are $20 or $15 for seniors and students. Children 12 and under are free, but please pick up a free ticket for them to be sure they get a seat at the concert.” (Below is the Hillside Theater.)

WRIGHT AND MUSIC

To The Ear, a special concert seems the perfect way to mark the Wright sesquicentennial.

Just take a look, thanks to research by Effi Casey (below), at what Wright himself said and thought about music:

“… Never miss the idea that architecture and music belong together. They are practically one.” (FLW)

“While Wright claimed architecture as the “mother art,” his experience in music was early, visceral, and eternal. Of his childhood he wrote: “…father taught him (the boy) to play (the piano). His knuckles were rapped by the lead pencil in the impatient hand that would sometimes force his hand into position at practice time on the Steinway Square in the sitting room. But he felt proud of his father too. Everybody listened and seemed happy when father talked on Sundays when he preached, the small son dressed in his home-made Sunday best, looked up at him, absorbed in something of his own making that would have surprised the father and the mother more than a little if they could have known.”(FLW’s Autobiography).

“In his later years, Wright himself preached musical integration in his own Sunday talks to the Fellowship:

“Of all the fine arts, (Wright exclaimed in a Sunday morning talk to his apprentices) music it was that I could not live without – as taught by my father. (I) found in it (a) sympathetic parallel to architecture. Beethoven and Bach were princely architects in my spiritual realm…”

“But more than words, it was in practice where he conveyed music to those in his sphere, from a piano designed into a client’s home (for someone who may or may not have been able to play it!), to his own score of concert grand pianos at the two Taliesins (he claimed “the piano plays me!”).

“In a gesture of delight and exuberance, as it is told by those who experienced it, Wright had a gramophone player installed at the top of his Romeo and Juliet tower (below is the rebuilt tower) at Taliesin to have Bach’s Mass in B Minor resound over the verdant hills and valleys.

Adds Casey: “Architecture is indeed a musical parallel of composition, rhythm, pattern, texture, and color. As Beethoven’s Fifth Symphony is an “edifice of sound” (FLW) built upon the famous first eight notes, so Wright’s overture of verse expresses a singular IDEA, played in stone, wood, and concrete, from superstructure to matching porcelain cup.”

video

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Classical music: The Wisconsin Chamber Choir performs Bach’s “Magnificat” and other music by Handel and Schütz this Friday night and Sunday afternoon in Madison and Whitewater

April 27, 2017
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By Jacob Stockinger

The critically acclaimed Wisconsin Chamber Choir (below) will perform Johann Sebastian Bach’s Magnificat with full orchestra and additional works by Bach, George Frideric Handel and Heinrich Schütz on this coming Friday, April 28, at 7:30 p.m. at Luther Memorial Church, 1021 University Avenue, in Madison.

There will be an additional concert on Sunday, April 30, at 2 p.m. at the Young Auditorium, UW-Whitewater, 930 West Main Street, in Whitewater.

 

The Baroque splendor of Bach’s Magnificat will be performed by the Wisconsin Chamber Choir with its professional orchestra, Sinfonia Sacra.

Featured soloists include trumpet virtuoso John Aley, oboist Marc Fink, violinist Leanne League, New York-based tenor (and former Madisonian) Alex Gmeinder (below top) and mezzo-soprano Rachel Wood (below bottom, in a photo by Michael Cooper.)

Sharing billing with the Bach is Handel’s impressive Utrecht Te Deum, which, like the Magnificat, exalts in the colors of voices, trumpets, timpani, oboes, flutes and strings.

Rounding out the program are Bach’s double-choir motet, Fürchte dich nicht (Be Not Afraid), and a work by Bach’s great predecessor Heinrich Schütz: Nun danket alle Gott (Now Thank We All Our God).

Inspired by Mary’s song of praise from the Gospel of Luke (depicted below), the Magnificat is one of Bach’s most glorious and varied pieces. Its music offers a sampling of every style of music in Bach’s repertoire as a composer.

Imposing, concerto-like movements crowned by brilliant trumpet fanfares highlight the full chorus, whereas solo arias, duets and trios deepen the mood of the text in counterpoint with constantly changing instrumental colors—from lush strings to playful flutes to the dolorous oboe d’amore. (You can hear the “Magnificat” in the YouTube video at the bottom.)

In the solo movements the professional singers share the stage with highly accomplished members of the choir including Christopher Eggers and Nicole McCarty; Madison Savoyards regulars Bill Rosholt and Natalie Falconer; and many others.

The members of Sinfonia Sacra are drawn from the rosters of the Madison Symphony, the Wisconsin Chamber Orchestra, the Wisconsin Baroque Ensemble, and the music faculties of UW-Madison, UW-Whitewater and UW-Oshkosh.

Founded in 1998, the Wisconsin Chamber Choir has established a reputation for excellence in the performance of oratorios by Bach, Mozart and Brahms; a cappella works from various centuries; and world premieres. Artistic Director Robert Gehrenbeck (below), who directs choral activities at the UW-Whitewater, has been hailed by critics for his vibrant and emotionally compelling interpretations of a wide variety of choral masterworks.

Advance tickets for the April 28 performance at Luther Memorial Church in Madison are available for $20 ($10 for students) from www.wisconsinchamberchoir.org, via Brown Paper Tickets, or at Orange Tree Imports and Willy Street Coop (all three locations).

Advance tickets for the April 30 performance at Young Auditorium in Whitewater are available from www.uww.edu/youngauditorium/tickets


Classical music education: The Wisconsin Youth Symphony Orchestras concerts are tomorrow, Sunday afternoon, and on Saturday afternoon, March 28.

March 14, 2015
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By Jacob Stockinger

Today’s post is just a reminder that the annual Diane Endres Ballweg Winterfest Concert Series of the Wisconsin Youth Symphony Orchestras (WYSO) will take place this Sunday afternoon and on Saturday afternoon, March 28.

The concerts will feature Sinfonietta, Harp Ensemble (below, to play this Sunday at 4 p.m.), Concert Orchestra, Philharmonia Orchestra and Youth Orchestra.

WYSO Harp Ensemble 2011

The music for the programs is below. Please note that the pieces are subject to change at the conductor’s discretion.

All concerts will take place in Mills Concert Hall, located in the UW-Madison Mosse Humanities Building, 455 N. Park St.

Admission is $10 for adults, $5 for youth age 3-18.

For information, call 608-263-3320 or visit www.wyso.music.wisc.edu

SUNDAY, MARCH 15, 2015

Sinfonietta: 1:30 p.m.

Richard Stephan – “Fanfare and Frippery”

Arr. Benjamin Britten – “The Sally Gardens”

William Hofeldt – “Twilight Ceremonial”

Clare Grundman – “Hebrides Suite”

Carold Nunez – “M to The Third Power” (Minor Meter Mix)

Antonin Dvorak – Themes from the “New World” Symphony

Richard Stephans – Variations on a well-known “Sea Chantey”

Sinfonietta strings

Concert Orchestra – 1:30 p.m.

Rimsky-Korsakov – Dance of the Tumblers from “The Snow Maiden,” ed. Carl Simpson

William Hofeldt – “Song of the Prairie”

John Barry – “Dances with Wolves,” arr. Steven I. Rosenhaus

James Barnes – “Yorkshire Ballad”

Harry Gregson-Williams and Steve Barton – ‘The Chronicles of Narnia: The Lion, The Witch and The Wardrobe, Arr. Stephen Bulla

wyso concert orchestra brass

Philharmonia Orchestra – 4 p.m.

Schubert – “Military March,” arr. Leopold Damrosch

Mozart – Overture from “The Magic Flute”

Marquez – Danzon No. 2

Debussy – “Clair de Lune,” orch. Arthur Luck

Bizet – Excerpts from “Carmen” Suite No. 1

Tom Buchhauser Conducting Philharmonia Jon Harlow

SATURDAY, MARCH 28, 2015

Youth Orchestra – 1:30 p.m., with winners of the WYSO Concerto Competition

Walter Piston – Suite from the “Incredible Flutist”

Schubert – “Unfinished” Symphony (No. 8) Movements 1 and 2

Arutiunian – Trumpet Concerto

Noah Mennenga, Soloist

Beethoven – Third Piano Concert, Movement 3

Theodore Liu, Soloist

WYSO Youth  Orchestra


Classical music: Good-byes to UW composer and tuba master John Stevens and hellos to guest singers from the Sibelius Academy of Finland make this a busy week at the University of Wisconsin-Madison School of Music. Plus, there will also be a piano recital by UW alumus Ilia Radoslavov, a concert of new music by the UW Contemporary Chamber Ensemble and a cello recital by Parry Karp of the Pro Arte Quartet.

March 3, 2014
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By Jacob Stockinger

This is a very busy week to say good-byes and hellos at the University of Wisconsin-Madison School of Music – as well as to hear a piano master class and recital by UW graduate Ilia Radoslavov; a concert of new music by the UW Contemporary Chamber Ensemble; and a recital by UW cellist Parry Karp. Plus, all the events are FREE and UNTICKETED.

GOOD-BYES

Let’s start with the good-byes, which are for the prolific and award-winning American composer John Stevens, a congenial man and musician who is also a longtime professor of tuba and euphonium at the UW-Madison, where he has twice served as director of the School of Music and where he has been a longtime member of the acclaimed Wisconsin Brass Quintet.

john stevens lon gprofile with tuba

Several events are scheduled to mark Stevens’ retirement, which will take place this May when the current semester ends.

Among the highlights are:

On this Saturday, March 8, at 4 p.m. in Music Hall, there is a chamber music concert featuring works composed by John Stevens and performed by his colleagues.

John Stevens writing with tuba and piano

On this Sunday, Match 9, at 7:30 p.m. in Mills Hall, inhere is a FREE concert that is part of the Wisconsin Union Theater series. The UW Symphony Orchestra under conductor James Smith will perform Stevens’ concerto for Tuba and Orchestra called “Journey.” The soloist is Gene Pakorny (below), who premiered the work during his tenure as principal tuba with the Chicago Symphony Orchestra. Also on the program are the Symphony No. 2 in D Major and the “Academic Festival” Overture, both by Johannes Brahms.

Gene Pakorny

And there will be more. For a full listing of events plus some background, the School of Music calendar of events plus some background, the School of Music events calendar is a good place to start:

http://www.music.wisc.edu/calendar

There is also a terrific profile story about John Stevens and his retirement celebrations on Fanfare, the MUST-READ new blog at the UW School of Music:

Here is a link to Fanfare’s list of complete events with details of programs:

http://uwmadisonschoolofmusic.files.wordpress.com/2014/01/spring2014_stevens_concerts.pdf

And here is a link to Fanfare’s fine profile of Stevens written by Madison freelancer Paul Baker:

http://uwmadisonschoolofmusic.wordpress.com/2014/01/24/stevens/

And at the bottom is a YouTube video of the Wisconsin Youth Symphony Orchestras giving the world premiere performance of “Fanfare for an Uncommon Man,” a piece playing off Aaron Copland’s famous “Fanfare for the Common Man” that John Stevens composed to honor the late Marvin Rabin, who founded and directed WYSO for such a long time and who recently died at 97.

John Stevens

HELLOS

Although the official hellos actually started Sunday afternoon, there are plenty of occasions during the rest of this week to say hello to three members (below) of the Sibelius Academy of Finland, who are in residence this week at the UW School of Music.

Finnish Singers from the Sibelius Academy

All events are Free and Unticketed

Here is a schedule:

Monday, March 3, 11-11:50 a.m.: Presentation on Finnish song repertoire (Room 2531 of the George L. Mosse Humanities Building)

On Tuesday, March 4, 11-11:50 a.m. — Presentation on Finnish diction (Room 2451 in the Mosse Humanities Building); then 1:10-2:25 p.m. — Presentation on Finnish music education system (in Room 2411 of the Mosse Humanities Building)

On
 Saturday, March 8, at 1 p.m. – a concert at Luther Memorial Church (below), 1021 University Avenue, that includes a world premiere of a work for two voices and organ
 followed by gathering in church basement to talk with audience.

luther memorial church madison

OTHER EVENTS

Three other events at the UW-Madison deserve mention:

UW doctoral graduate (who studied with Christopher Taylor) and prize-winning pianist Ilia Radoslavov, who ow techies at Truman State University, will give a FREE public master class on Thursday night at 7:30 p.m. in Mills Hall.

Then on Friday night at 8 p.m. in Morphy Recital Hall, he perform a FREE recital. The program includes Piano Sonata in D Major, Op. 10, No. 3, by Ludwig van Beethoven; “
Improvisation” by Pancho Vladigerov; and
 “Pictures at an Exhibition” by Modeste Mussorgsky.

ilia Radoslavov

Also on Friday, at 7:30 p.m. in Mills Hall, the UW Contemporary Chamber Ensemble (below top), under the direction of UW composer Laura Schwendinger (below bottom), will perform a FREE concert of new and recent music.

The program includes “In C” by Terry Riley; a 
Trio for clarinet, violin, and cello by Ben Johnston; 
”Cottage Flowers” for solo flute by UW student Jonathan Posthuma, and “Cummingsong” by Leo Kraft
; the Serenade for flute, viola, and piano by Andrew Imbrie; and a work by UW composer Adam Bertz. Performers include Jordan Wilson, baritone; Peter Miliczky and Lydia Balge, violins; Ju Dee Ang, viola; Philip Bergman, cello; Nicole Tuma, flute; Alissa Ladas, clarinet; and Yosuke Yamada, piano. 

Contemporary Chamber Ensemble

Laura_Schwendinger,_Composer

On Saturday at 8 p.m. in Mills Hall, UW cellist Parry Karp (below left), who is a member of the Pro Arte String Quartet, will perform a FREE recital with pianist Eli Kalman (below right), a graduate of the UW-Madison who now teaches at the UW-Oshkosh.

Parry Karp and Eli Kalman

The program includes the Sonata for Piano and Violin in G Major, Op. 30 No. 3 (1801-2), by Ludwig van Beethoven as  transcribed for Cello by Parry Karp; the Sonata for Cello and Piano (1948) by Francis Poulenc; and 24 Preludes for Cello and Piano as transcribed for cello by the young and prodigious Russian composer Lera Auerbach from the original 24 Preludes for solo piano by Dmirtri Shostakovich.

Lera Auerbach

dmitri shostakovich

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Classical music: Today is Valentine’s Day. What piece of music best celebrates love? Here are Limelight Magazine’s Top 10 Sexiest Moments in Classical Music. Leave some music and words for your Valentine right here. Plus, the University of Wisconsin School of Music has successfully reinvented the annual Concerto Competition Winners’ concert -– to loud approval and multiple standing ovations from a packed house.

February 14, 2014
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READER SURVEY: Today is Valentine’s Day. What is the best piece of romantic music you know of to listen to or to send to someone to celebrate this day? You can even leave a link to a YouTube video and a dedication in the COMMENT section. Here is a link to Limelight Magazine’s Top 10 Sexiest Moments in Classical Music:

http://www.limelightmagazine.com.au/Article/371934,the-10-sexiest-moments-in-classical-music.aspx

Cupid

By Jacob Stockinger

Little things can add up to a big difference.

Take the annual concert given by the winners (below) of this year’s concerto competition at the University of Wisconsin-Madison School of Music.

Here are links to background of the event and the performers in the preview story that was posted  on this blog and and a link to the performers’ biographies that appeared on “Fanfare,” the outstanding bog of the UW School of Music:

https://welltempered.wordpress.com/2014/02/04/classical-music-education-the-university-of-wisconsin-school-of-music-ramps-up-its-annual-student-concerto-competition-concert-this-saturday-night-with-a-gala-reception/

http://uwmadisonschoolofmusic.wordpress.com/2014/01/07/symphony-showcase2013-14/

UW concerto winners 2014 Michael R. Anderson

Someone at the SOM (as the School of Music is referred to by insiders) rightly decided that the event deserved a higher public profile. (Except where noted, performance photos are by The Ear.)

So they made a few adjustments.

They booked Mills Hall for a Saturday night – last Saturday night, in fact — the best night of the week for entertainment events.

Then they rechristened the event the Symphonic Showcase, since the UW Symphony Orchestra (below with graduate student and assistant conductor Kyle Knox) is the common denominator and accompanies all the concerto winners and also premieres the winning piece by a student composer. The Ear likes that emphasis on collective or collaborative music-making.

They started the concert early, at 7 p.m.

That was because they also added a small and informal dessert reception from 9 to 11 p.m. — with all the proceeds of a $10 ticket going to a student scholarship fund — at the nearby Tripp Commons in the UW Memorial Union.

Kyle Knox and UW Symphony Orchestra

And what were the results?

Nothing short of a spectacular success.

Mills Hall was packed just about full (see the photo below by Michael R. Anderson).

uw concerto winner 2014 big audience Michael R. Anderson

And the big, enthusiastic audience greeted each performer with cheers and a standing ovation. And they deserved that. All of the winners played well and all chose great works to perform.

Here a rundown by contestant.

If you weren’t there -– well, you probably should regret it, You missed out on a lot of fun and a lot of beautiful music-making by a very impressive group of talented students. Maybe some state legislators were in the audience and will stop clowning around trying to micro-manage and ruin the UW while they say they’re really trying to fix it.

The evening started out with an orchestral showpiece, a kind of Romantic tone poem-concerto grosso that highlighted each section. That might be expected since the “Russian Easter” Overture came from Nikolai Rimsky-Korsakov, a master orchestrator who taught Igor Stravinsky the craft of scoring music.

Graduate student Kyle Knox (below) conducted and did a fine job of bouncing the music around to various sections and keeping a clear line.

Kyle Knox 2

Violinist Madlen Breckbill (below) confidently commanded the stage with an appropriately lyrical and heart-breaking reading of the first movement of Samuel Barber’s masterful Violin Concerto. It was a thoroughly convincing rebuff to those people and critics who say you need to hear a new piece of music several times to know it is great. This kind of greatness you get from the first notes.

Madlen Breckbill

Saxophonist Erika Anderson (below left) played and projected with absorbing conviction the new “Poema” (2014) by student composer 24-year-old Russian-born composer Daria Tennikova (below right), who writes in an impressively accessible yet thoroughly modern idiom.

Erika Anderson and Daria Tennikova

Clarinetist Kai-Ju Ho (below top) brought both lyricism and swing to Aaron Copland’s underperformed Clarinet Concerto, pleasing conductor James Smith (below bottom right), himself a very accomplished clarinetist who performed the same concerto five times under the composer.

Kai-Ju Ho

James Smith and UW Symphony Orchestra with clarinet soloist Kai-Ju Ho

SeungWha Baek (below top, playing; below bottom by Michael R. Anderson) brought out the sizzle and virtuosity in the dazzling first movement of Sergei Prokofiev’s Piano Concerto No. 3, with its ingenious Hanon-like five-finger exercise motif – except that this is no work for beginners, as you can see and hear at the bottom in a YouTube video with pianist Martha Argerich and conductor Andre Previn.

SeungWha Baek playing

UW concerto winners SeungWha Baek Michael R. Anderson 2014

Flutist Mi-Li Chang brought beautiful tone and playfulness, even Gallic charm, to the Concerto for Flute by Jacques Ibert.

Mi-Li Chang

And pianist Sung-Ho Yang brought the show to a close with a surprising subtle reading of Franz Liszt’s flashy and bombastic Piano Concerto No 1. The whole work is like one long cadenza – not one of the Ear’s favorites — so it was refreshing to hear Yang emphasize the quiet passages and subtlety, all the while bringing out the dialoguing back and forth between the piano and the orchestra.

Sung-Yo Yang playing

And after the music, we went to a quiet but friendly reception that featured coffee and tea as well as chocolate cake and pumpkin bars (below), set out much like a Wayne Thiebaud painting. It was a chance to meet the musicians and thank them for a splendid evening.

Chocolate cake al a Wayne Thiebaud

Pumpkin bars a la Wayne Thiebaud

Bravo to all.

The Ear is betting and hoping that next year will find the new format repeated.

Tinkering with failure is one thing.

But why tinker with success?

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