The Well-Tempered Ear

Classical music: Meet UW-Madison bassoonist Marc Vallon who performs with the Willy Street Chamber Players on Friday night

July 17, 2019
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By Jacob Stockinger

Who is Marc Vallon (below, in a photo by James Gill)?

This week, he is the bassoonist who will perform Franz Danzi’s Quartet for Bassoon and Strings in D minor, Op. 40, No. 2 (ca. 1820), this coming Friday night, July 19, with the acclaimed Willy Street Chamber Players (below), who will also be joined by pianist Jason Kutz and violist Sharon Tenhundfeld..

(The concert is at 6 p.m. in Immanuel Lutheran Church, 1021 Spaight Street. The program includes: the Allegretto for Piano Trio by Ludwig van Beethoven (1812); “Dark Wood” by American composer Jennifer Higdon (2001); and the rarely heard String Quartet No. 1  (1948) by Argentinean composer Alberto Ginastera. Admission is $15.)

A native of France, Vallon is one of the busiest musicians in Madison. He teaches at the University of Wisconsin-Madison’s Mead Witter School of Music, where he also performs individually, with faculty and student colleagues, and as a member of the Wingra Wind Quintet. He also frequently performs and conducts Baroque music with the Madison Bach Musicians.

Vallon attended the Paris Conservatory, where he won first prizes in bassoon and chamber music, and also earned a philosopher degree at the Sorbonne or University of Paris.

A versatile musician, Vallon played with famed avant-garde French composer Pierre Boulez and for more than 20 years was the principal bassoon of the well-known Amsterdam Baroque Orchestra. He has also performed with major modern orchestras and conductors as well as with many period-instrument groups.

He gives master classes worldwide and also composes.

For a more extended and detailed biography, go to: https://www.music.wisc.edu/faculty/marc-vallon/

Vallon recently did an email Q&A interview with The Ear:

What drew you to the bassoon (below) over, say, the piano or singing, over strings, brass or other woodwinds?

I played the piano as young kid but was not very interested in the mechanics of it, even if I had a strong passion for music. It was the day that my piano teacher brought to my lesson a friend of his to do a bassoon demo that I found the right medium for my passion.

I started practicing like a maniac and knew by the age of 14 that I was going to be a professional bassoonist.

What would you like the public to know about the bassoon, perhaps about the challenges of playing it and about the repertoire for it?

The bassoon does not offer more challenges than other wind instruments, but it is safe to say that an absolute perfectionist person should probably not play it.

It is an instrument capable of true beauties, yet it has its own character. You don’t conquer it, you work with it like you would work with a wonderful but temperamental colleague.

Bassoonists sometimes complain that our solo repertoire is not as rich in masterpieces as the clarinet’s or the flute’s. True, but in its 350 years of existence, the bassoon has amassed enough wonderful music to keep us busy for several lifetimes.

What would you like to tell the public about the specific Bassoon Quartet by Franz Danzi that you will perform, and about Danzi and his music in general?

The bassoon and strings quartet became popular in the last decades of the 18th century, a trend that lasted well into the Romantic era.

Sadly, many of these quartets are basically show-off pieces for the bassoonist while the strings players have to suffer through some often very dull accompaniment parts.

I like this one by Danzi (below) because it features the strings on the same musical level as the bassoon, creating an enjoyable musical conversation rather than a cocky bassoon monologue. (You can hear that musical conversation in the opening movement of the Bassoon Quartet by Danzi in the YouTube video at the bottom.)

As a performer and conductor, you are well–known for championing baroque music as well as modern and contemporary music. Do you have a preference? Do they feed each other in your experience?

What I always have enjoyed about playing contemporary music is the possibility to work with living composers because I often realized how flexible they are with their own music and how much they like the performer’s input. They’re often ready to compromise and veer away from the strict notation.

The approach when playing composers from the past is actually very similar in the sense that we have to remember how approximate music notation is. Baroque composers are not here anymore obviously, but the 17th and 18th centuries sources tell us clearly how much flexibility we, modern performers, have in our approach to their music.

When it comes to music pre-1800, we basically have a sketch on our music stands. I always want to remember this. (Below is a manuscript page of a cantata by Johann Sebastian Bach.)

Do you have big projects coming up next season?

Always! I am putting together a contemporary program on March 27 in our new concert hall on campus. It is called ”Opening Statements” and will feature early works from major 20th-century composers.

On period instruments, I have Bach’s “Christmas Oratorio,” Mendelssohn’s “Elijah” and more Bach on my calendar.

Is there something else you would like to say?

A big Thank You to you, Jake, for being such a relentless and informed advocate of the Madison musical scene!


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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 Madison Early Music Festival’s 20th anniversary Grand Tour includes a silent movie and rare books as well as lots of varied music to mark its success after 20 years. Part 2 of 2

July 6, 2019
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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, which is marking its 20th year, have come up with.

All concerts include a pre-concert lecture at 6:30 p.m. The concerts begin at 7:30 p.m.

Here’s the link for all the information about MEMF: https://memf.wisc.edu/

Tickets are $90 for an all-event pass. Individual concerts are $22, $12 for students. 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.

Co-artistic director Cheryl Bensman-Rowe recently wrote about the festival in a Q&A for this blog. Yesterday she spoke about the overall concept and the first weekend’s concerts. Here is a link to Part 1:

https://welltempered.wordpress.com/2019/07/05/classical-music-the-madison-early-music-festival-will-present-a-grand-tour-of-musical-styles-a-movie-and-rare-books-to-mark-its-success-after-20-years-the-tour-starts-this-saturda/

Here is Part 2 of 2:

What events take place next week?

The concert on Tuesday, July 9, is going to be a unique experience for MEMF audiences. HESPERUS creates the soundtrack for the 1923 silent film “The Hunchback of Notre Dame” with music (below) from 14th- and 15th-century France. (The cathedral was started in 1163 and finished in 1345.)

Compositions include French and Burgundian music from 1300 to 1500, featuring Guillaume de Machaut, Jehan l’Escurel, Guillaume Dufay, as well as lesser-known composers such as Vaillant, Morton and Borlet.

On Friday, July 12, the vocal ensemble Calmus (below) performs “Faith and Madness,” a program of a dialogue between sacred music masterpieces followed by madrigals that portray madness, love, war and loneliness.

Composers include Giovanni Pierluigi da Palestrina, Heinrich Schütz, Claudio Monteverdi, Carlo Gesualdo, Clement Janequin and others.

All of the singers are graduates of Leipzig’s renowned St. Thomas Church Choir School. Calmus was founded in 1999. This a cappella quintet embodies the rich choral tradition of its hometown, the city associated with Johann Sebastian Bach and Felix Mendelssohn.

To hear a preview of their arrangement of Bach’s “Nun komm, der Heiden Heiland,” BWV 659, visit: https://youtu.be/WNzzUU0GcF4

Can you tell us about the program and performers for the All-Festival concert on Saturday, July 13?

The All-Festival Concert includes all of our workshop participants and faculty. We work together to prepare the concert all week and it is truly a MEMF community project. Grant Herreid (below) has created the All-Festival program this year. Grant is a genius at designing a program that tells a musical story featuring MEMF’s faculty and participants.

“Musical Postcards from The Grand Tour” features a narrator, loosely based on Thomas Coryat (below, at sea and in the Alps), the English 17th-century century travel writer, who, as a young man, travels throughout Europe in search of music. Beginning in London, 1641, the musical itinerary continues to Venice, Rome, Naples, Dresden, Paris, and back to London.

The program features so many wonderful composers, and the large ensemble pieces are: the Gloria from Monteverdi’s Selva morale et spirituale; the beautiful Miserere of Gregorio Allegri; Nun danket alle Gott by Heinrich Schütz; Domine salvum fac regem setting by Jean-Baptiste Lully; and, as an ending, This point in time ends all your grief from Ye tuneful muses by Henry Purcell.

Are there other sessions — guest lectures, certain performers, particular works — that you especially recommend for the general public?

All the planning that goes into each festival leads me to encourage the general public to attend everything! The concert series, lectures and workshops have so much to offer.

The special moments that I’m looking forward to are singing in the All-Festival concert and performing Allegri’s  Miserere,a stunning piece that I have never heard performed in Madison. (You can hear it in there YouTube video at the bottom.)

I also look forward to hearing the fantastic musical soundtrack created by HESPERUS for the silent movie “The Hunchback of Notre Dame” and the Calmus singing connection back to Bach through their musical education in Leipzig, plus experiencing all the different travelogues of the past as they come to life through narrations and music.

Special events include a dance with a live band drawn from the MEMF Faculty with dance instruction by Peggy Murray, Grand Tour Dance Excursions, at the Memorial Union in the Great Hall on Thursday, July 11, at 7:30 pm. https://memf.wisc.edu/event/07-11-2019-2/

The lecture series features some well-known Madisonians like J. Michael Allsen (below top), who writes program notes and lectures for the Madison Symphony Orchestra and Maria Saffiotti Dale (below bottom), curator at the Chazen Museum of Art.

There will be a special exhibit created for MEMF in the lobby of Memorial Library by Jeanette Casey, the head of the Mills Music Library and Lisa Wettleson of Special Collections at Memorial Library. This curated display includes materials about the Grand Tour, including one of the oldest travelogues from 1611 written by Thomas Coryat.

The exhibit will be in the lobby of Memorial Library (below) and open to the public from Saturday, July 6, through Thursday, July 18, with a special talk about the exhibit during the festival on Monday, July 8, at 11:30 a.m.

This partnership allows the library to display rarely seen original and facsimile publications, some dating back to the 15th and 16th centuries within the context of the MEMF theme.

Is there anything else you would like to add?

In 1611 Thomas Coryat, the author of the travelogue Crudities foretold what you will hear at MEMF in 2019:

“…I heard the best musicke that ever I did in all my life…so good that I would willingly goe an hundred miles a foote at any time to heare the like…the Musicke which was both vocall and instrumental, so good, so delectable, so rare, so admirable, so superexcellent, that it did even ravish and stupifie all those strangers that never heard the like”.

Get your tickets for the concert series. Attend the lectures. Take some classes. See a movie. Come and dance with us. Join us to experience the ultimate musical gap year at our 20th anniversary celebration!


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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

July 5, 2019
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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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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: The seventh annual Make Music Madison is on Friday, June 21, and features 17 different FREE classical concerts as well as dozens of performances of jazz, folk, blues, hip-hop, swing and other genres

June 15, 2019
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REMINDER: TODAY, Saturday, June 15, at noon in Grace Episcopal Church, 116 West Washington Avenue, on the Capitol Square, the Ancora String Quartet will give a FREE performance as part of “Grace Presents.” The one-hour program includes the String Quartet in A Major, Op. 13, by Felix Mendelssohn; the String Quartet in B-flat Major, “La Malinconia” (Melancholy), Op. 18, No. 6, by Ludwig van Beethoven; and “Entr’acte” by the contemporary Pulitzer Prize-winning composer Caroline Shaw. The Ear heard an earlier performance of the same program by the Ancora, and highly recommends it.

By Jacob Stockinger

This coming Friday, June 21, is the Summer Solstice, which arrives at 10:54 a.m. CDT.

That means not only the first day of summer, but also the seventh annual Make Music Madison – a day-long FREE mostly outdoor festival of live performances.

The event, which is organized and staffed by volunteers and costs about $45,000,  will take place from easy morning until midnight. Madison will be joining more than 80 cities in the United States and more than 1,000 cities around the world for the global event. The estimated audience worldwide is in the tens of millions.

The local lineup is impressive.

More than 400 concerts at more than 100 venues will take place all around the Madison area.

Many genres of music besides classical will be featured: jazz, folk, ethnic, rock, blues, hip-hop, reggae, gospel, swing and more. (In the YouTube video at the bottom,  you can hear a compilation of different music and assessments from Make Music Madison participants in 2014.) 

And many forms of music, both instrumental and vocal, will be featured. (Below is the Madison Flute Club performing during last year’s event.)

Performers include professionals and amateurs, young people and adults, students and teachers, individuals and ensembles.

Some events will be more formal, while others will be jam sessions. Some events will have an open mic.

The Ear counts 17 different venues for classical music, including a public piano in the University of Wisconsin-Madison’s Alumni Park, between the Memorial Union and the Red Gym. Also featured there is opera singer Prenicia Clifton (below).

You will also find classical music at Metcalfe’s market in the Hilldale Mall; the First Congregational United Church of Christ near Camp Randall Stadium;  branches of the Madison Public Library; and other places. You can hear the Suzuki Strings as well as violin, viola, cello, brass, winds, piano and guitar ensembles.

Unfortunately, though, specific programs and works are not listed, which might cut into the attendance at some performances. 

To whet your appetite, here is a link to the Make Music Madison home website, with lots of background, some fine photos, a complete listing of events and the names of major funding sources, which include the Madison Arts Commission, Isthmus, Dane Arts,  WORT FM 89.9, Wisconsin Public Radio. WSUM-FM 91.7 (the student radio at the University of Wisconsin-Madison) and La Voz de Latinoamerica Desde Wisconsin as well as individual private donors.

To help classical fans decide what to attend and what works in their weekday schedule, here is a map of concerts. Just click on “Classical” in “Filter Map,” which is first tab on the top right, to see classical events listed by genre, location and name:

http://www.makemusicmadison.org/listings/

Have you ever attended Make Music Madison?

What did you think of it? Did you have a good time? Did you hear good music and fine performances?

Do you have any words of advice, tips or recommendations for organizers, performers and listeners?

The Ear wants to hear.


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Classical music: Next season the Wisconsin Chamber Orchestra will expand to two performances of its winter Masterworks concerts by adding a Saturday night concert in Brookfield, near Milwaukee

May 21, 2019
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By Jacob Stockinger

Next season will mark the 20th anniversary of Andrew Sewell (below top) coming to Madison to serve as the music director and principal conductor of the Wisconsin Chamber Orchestra (below bottom).

It is hard to imagine a better Bravo! or anniversary gift for the maestro – who has said he wants the WCO to become a chamber orchestra, as its name implies, for the entire state of Wisconsin — than what will in fact take place: the WCO will expand its winter Masterworks concerts to two performances by adding a Saturday night performance at 7:30 p.m. in the Sharon Lynne Wilson Center for the Arts (below) in Brookfield, a suburb of Milwaukee. (Sewell is also the music director of the San Luis Obispo Symphony in California.)

Madison performances of Masterworks will continue to take place at 7:30 p.m. on Friday night in the Capitol Theater of the Overture Center.

You can find out more about the Masterworks programs for next season by going to the WCO home website:

https://wisconsinchamberorchestra.org/performance-listing/category/masterworks

There you will find the usual eclectic mix of new guest artists and new or neglected composers and repertoire that has marked Sewell’s tenure and brought him critical acclaim.

Pianist Orion Weiss will perform the popular  Piano Concerto No. 21 in C Major, K. 467 – “Elvira Madigan” – by Wolfgang Amadeus Mozart; violinists Giora Schmidt and Eric Silberger will perform concertos by Dmitri Kabalevsky and Niccolo Paganini, respectively; harpist Yolanda Kondonassis will perform a concerto by Argentinian Alberto Ginastera; and Andrew Balio (below), principal trumpet of the Baltimore Symphony Orchestra, will return to Madison where he grew up and perform a 1948 trumpet concerto by Italian composer Andre Tomasi.

Early music and new music to be featured includes works by: Donald Fraser (an acclaimed English conductor, composer and arranger, below) who now lives in Illinois, and often comes to Madison); Joseph Martin Kraus, known as the “Swedish Mozart”; Norwegian composer Johann Svensen; and three English composers (always favorites of Sewell who was born and educated in New Zealand) who are John Marsh, James Macmillan and York Bowen. (In the YouTube video at the bottom you can hear the English Symphony Orchestra, conducted by Kenneth Woods — a native Madisonian who will return next season to conduct the Madison Symphony Orchestra — recording the Scherzo movement from Donald Fraser’s “Sinfonietta,” the same work that the WCO will perform.) 

Works by Franz Joseph Haydn, Wolfgang Amadeus Mozart, Ludwig van Beethoven, Felix Mendelssohn and Sergei Prokofiev also figure prominently, including Mozart’s Symphony No. 41 “Jupiter” and Beethoven’s Symphony No. 6 “Pastoral” in honor of the composer’s 250th birthday in 2020.

Also on the website, you will find the upcoming season of Wednesday night Concerts on the Square for this summer (June 26-July 31) plus the dates and themes – although no guest artists or works — for 2020 (June 24-July 29).

Go to: https://wisconsinchamberorchestra.org/performances

You can also find information for next season about the WCO performing George Frideric Handel’s “Messiah,” Peter Ilyich Tchaikovsky’s ballet “The Nutcracker” with the Madison Ballet; the Young Artist Concerto Competition; the free Family Series; and the community Super Strings program for elementary students.

To receive a brochure with information about all these events and about how to get tickets — an “early bird” discount on subscription tickets runs through May 31– call (608) 257-0638 or go to: https://wisconsinchamberorchestra.org


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Classical music: The Ancora String Quartet closes out its season with polished, precise and emotionally intense performances of contrasting music by Mendelssohn, Beethoven and Caroline Shaw

May 16, 2019
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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 once a month on Sunday morning on WORT-FM 89.9. For years, he served on the Board of Advisors for the Madison Early Music Festival and frequently gives pre-concert lectures in Madison.

By John W. Barker

The Ancora String Quartet (below) is closing its season with a cluster of concerts around the area, including a central one Tuesday night at St. Andrew’s Episcopal Church on Regent Street in Madison.

Of the three works in the program, the centerpiece was the Entr’acte by the American musician and Pulitzer Prize-winning composer Caroline Shaw (below, in a photo by Kait Moreno). It was written in 2011 when Shaw was 29, and has won some acclaim over the years.

It is cast roughly in the traditional form of a minuet and trio, but its point is less any musical substance than the invention of new and utterly eccentric ways of string playing for ear-catching sound effects. Many of those effects are, to be sure, intriguing.

Surrounding this was a pair of quartets seemingly very distinct from each other but related.

The first published quartet, in A major, Op. 13, by Felix Mendelssohn (below), was written in the wake of a romantic song he wrote and whose motives he then used in the quartet.

Emotional suggestions aside, however, it is notable as a darker and more intense work than his subsequent ones in this form. It was composed in 1827, when Mendelssohn was 18, but also the year in which Beethoven died. And it is the shadow of Beethoven, and of Beethoven’s innovations in his later quartets, that hangs over the Mendelssohn work.

Clearly the young master was trying to see how he could absorb the older master’s progressive style into his own still emerging one. I think he found in the process that the two could not be reconciled, and so his subsequent quartets were to be in a less stressful vein.

Against that 1827 work, we were then offered a composition from Beethoven’s own earlier years when he was 29 or 30.  This was the final quartet in the set of six published as his Op. 18.

This Op. 18, No. 6, by Beethoven (below) in B-flat major — the program had it mistakenly in G major — is a Janus-faced work, its first two movements still rooted in the late 18th-century background, but with a scherzo full of quirks and tricks that point to the future, and a finale that plays on emotional contrasts.

Its opening Malinconia – or melancholic – music is contested by music of rousing joy, somewhat prefiguring Beethoven’s absorption with recovering his health in the Heiliger Dankgesang (Sacred Hymn of Thanksgiving) of his late string quartet, Op. 132. (You can hear the two contrasting moods and themes in the last movement, played by the Alban Berg Quartet, in the YouTube video at the bottom.)

For all three of these scores, a quartet member gave some introductory comments. (Below, first violinist Wes Luke introduces the work by Caroline Shaw.)

Members of the Ancora String Quartet are violinists Wes Luke and Robin Rynan, violist Marika Fischer Hoyt and cellist Benjamin Whitcomb. As a group, the Ancora players displayed intensity and absorption as well as polished precision, in a program of contrasts.


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Classical music: The Ancora String Quartet closes its 18th season with three upcoming local concerts of music by Mendelssohn, Beethoven and Caroline Shaw

May 12, 2019
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By Jacob Stockinger

The Ancora String Quartet closes its 18th season with a trio of concerts, and a program featuring two quartets from the early 19th century, juxtaposed with a shorter piece of much more recent date.

The program is the String Quartet No. 2 in A Minor, Op. 13, by Felix Mendelssohn; “Entr’acte” (Minuet and Trio) by Caroline Shaw; and String Quartet No. 6 in B-Flat Major, Op. 18, No. 6, by Ludwig van Beethoven.

The schedule of concert dates, times and venues is below.     

Members of the Ancora String Quartet (below, from left, in a photo by Barry Lewis), who also perform with the Madison Symphony Orchestra, the Wisconsin Chamber Orchestra and the Madison Bach Musicians among other groups, are: Wes Luke and Robin Ryan, violins; Marika Fischer Hoyt, viola; and Benjamin Whitcomb, who teaches at the University of Wisconsin-Whtewater.

Here are some program notes provided by violist Marika Fischer Hoyt:

“Mendelssohn’s Op. 13 was written in 1827 when he was 18 years old. He’d written the Octet two years earlier, but this was his first mature string quartet. It expresses his youthful passion and includes one of his signature bubbly scherzos.

“Between our two more-established works, we insert a short piece entitled (appropriately enough) “Entr’acte” (“Intermission,” heard in the YouTube video at the bottom), composed by the American Pulitzer Prize-winning composer Caroline Shaw (below, in a photo by Dashing Burton) in 2011. (It is one of The Ear’s favorite contemporary works.)

The 12-minute piece, subtitled “a minuet and trio,” takes haunting fragments and memes from Baroque and Classical styles and treats them with 21st-century audacity. With an ABA structure, the opening and closing sighing motif seems dolorous, but takes its own sadness in a philosophical spirit.

“While both the Mendelssohn and Shaw end quietly, we conclude the program with Beethoven’s exuberant Quartet No. 6, the final quartet in the composer’s set of six early quartets, his Opus 18. This delightful work, completed in 1800, is full of energy and drive; the melancholy mood of the brief fourth movement “La malinconia” (Melancholy) is banished by a cheerful Allegretto, ending with a flourish in the final Prestissimo.”

SCHEDULE

Monday, May 13, at 3 p.m. in the Stoughton Opera House‘s Music Appreciation Series, 381 East Main Street, Stoughton. Free and open to the public

Tuesday, May 14, 7:30 p.m. at St. Andrew’s Episcopal Church, 1833 Regent Street, Madison. Ticketed event — $15 for adults, $12 for seniors and $6 for young people. There will be a reception following the concert.

Saturday, June 15, at noon in Grace Episcopal Church for “Grace Presents,” 116 West Washington Avenue, on the Capitol Square in downtown Madison. Free and open to the public.


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