The Well-Tempered Ear

Classical music: Award-winning prodigy pianist Maxim Lando performs a recital at Farley’s on Sunday afternoon and gives a free public master class on Saturday afternoon

November 15, 2019
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ALERT: At noon this Saturday, Nov. 16, Grace Presents offers a FREE one-hour concert by Lawren Brianna Ware and friends. The concert is at Grace Episcopal Church, 116 West Washington Avenue, downtown on the Capitol Square.

Pianist and composer Ware, the 2017 Grand Prize Winner of the Overture Rising Stars Competition, will perform a program of original, contemporary and classical solo and chamber works entitled “These Are a Few of My Favorite Things.” Featured are works by Aram Khachaturian, Fazil Say, Frederic Chopin, Ludwig van Beethoven, Robert W. Smith, Martin Ellerby  and Eric Ewazen.

By Jacob Stockinger

You have to hand it to Farley’s House of Pianos and its Salon Piano Series: They sure know how to book young up-and-coming performers to stay ahead of the curve.

Last season, they presented Kenneth Broberg, a silver medalist at the last Van Cliburn International Piano Competition, before he was accepted into the International Tchaikovsky Competition in Moscow, where he won a bronze medal.

This weekend, the Salon Piano Series presents another timely choice.

This Sunday afternoon, Nov. 17, at 4 p.m., the 17-year-old American piano prodigy Maxim Lando (below, in a photo by Matt Dine) will perform a solo recital at Farley’s showroom, 6522 Seybold Road, on Madison’s far west side near West Towne Mall.

Once again, Lando was booked just before winning a big award and honor.

In addition, at his Salon Piano Series premiere, Lando will have grandparents in the audience, as well as an aunt, uncle and cousins, all from the Madison area.

The son of pianist Pippa Borisy, who grew up in Madison, and clarinetist Vadim Lando, Maxim was raised in Great Neck, Long Island, New York, and has a full-time career as a touring pianist while still finishing high school.

Lando first received national attention in 2017 when he performed with superstar Chinese pianist Lang Lang and jazz great Chick Corea with the Philadelphia Orchestra at Carnegie Hall’s Gala Opening Night.

He won the 2018 Young Concert Artists auditions at the age of 16 and Susan Hall of Berkshire Fine Arts has described him as having “a very old musical soul.”

This fall he received a Gilmore 2020 Young Artist Award, which recognizes the most promising of the new generation of U.S.-based pianists, age 22 or younger. He will perform a series of concerts this season at the Gilmore Keyboard Festival as part of the recognition.

For this Salon Piano Series concert, Lando will perform the same program he performed for recent sold-out performances at the Kennedy Center in Washington, D.C., and Carnegie Hall in New York City.

Lando’s program includes: Nikolai Kapustin’s Concert Etude “Toccatina”; Ludwig van Beethoven’s Sonata No. 30 in E Major, Op. 109 (you can hear the opening movement in the YouTube video at the bottom); Alexander Scriabin’s Prelude in B major and Etude in D-sharp minor; and Franz Liszt’s “Transcendental Etudes.”

Tickets are $45 in advance (full-time students are $10) or $50 at the door (if any remain). Service fees may apply.  Student tickets can only be purchased online and are not available the day of the concert.

Tickets can be purchased at: https://www.brownpapertickets.com/event/4275212

An artist’s reception will follow the concert.

For more information, go to: https://salonpianoseries.org/concerts.html

MASTER CLASS

Also, on this Saturday, Nov. 16, at 4 p.m., Maxim Lando will teach a master class at Farley’s House of Pianos, where he will instruct four local students.

This is a free event that the public is invited to observe.

For a complete list of the music by Beethoven, Prokofiev and Clementi to be performed as well as the names of the local students and their teachers, go to: https://salonpianoseries.org/concerts.html

The master classes for the 2019-20 season are supported by the law firm of Boardman and Clark LLP.

This concert is supported in part by a grant from the Wisconsin Arts Board with funds from the State of Wisconsin and the National Endowment for the Arts.

 


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Classical music: Steve Kurr talks about his new work celebrating Middleton that will be premiered Wednesday night by the Middleton Community Orchestra alongside Mozart and Dvorak

October 8, 2019
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By Jacob Stockinger

This Wednesday night, Oct. 9, the mostly amateur but highly praised Middleton Community Orchestra (below) will open its 10th anniversary season, which is dedicated to retired critic John W. Barker for his help in championing the ensemble.

The concert is at 7:30 p.m. in the comfortable and acoustically excellent Middleton Performing Arts Center (below, in a photo by Brian Ruppert), which is attached to Middleton High School, 2100 Bristol Street.

Admission is $15 for the public, free for students. Tickets are available from the Willy Street Coop West and at the door. The box office opens at 6:30 p.m. Auditorium doors open at 7 p.m. 

The appealing program features J.J. Koh (below), principal clarinet of the Madison Symphony Orchestra, as guest soloist in the beautiful and poignant Clarinet Concerto in A Major, K. 622. (In the YouTube video at the bottom, you can hear the sublime slow movement, which may sound familiar from when it was used in the soundtrack to the film “Out of Africa.”)

Also on the program is the popular Symphony No. 9 – “From the New World” – by Antonin Dvorak.

But raising the curtain will be the world premiere of a work that was written specifically for this orchestra on this occasion in its own city.

The piece was composed by Steve Kurr, who teaches at Middleton High School and who is the resident conductor of the MCO.

For more information about the MCO’s season along with critical reviews and information about how to join it or support it and how to enter its new youth concerto competition, go to:

http://middletoncommunityorchestra.org

Kurr, below, will conduct the premiere of his own work, which he recently discussed via email with The Ear:

How much do you compose and why do you compose?

When I do compose, which is not often, it is usually with a specific event in mind. I have written several things for the musicians at Middleton High School, including a four-movement string symphony, a piece for a retiring colleague, and several works we have taken on tour.

In this case, the 10th season of the Middleton Community Orchestra provided a great reason to write. I always enjoy the process, but it can be time-consuming, so I don’t do it as often as I might like.

How does composing fit in with your teaching and conducting?

Most of the composing I do comes in the summer because it is when I can devote larger chunks of time. This new work was germinating in some form for several years, but almost all of the notes-on-the-page work came this past June.

How do you compose?

I approach composition in an analytical way, which will come as no surprise to anyone who knows me. I think about structure early on in the process, both at the full work scale and in the smaller sections.

Most of my work comes on the computer in the notation software Finale, and some comes on the piano or on a string instrument.

I run ideas past my wife Nancy for her input and for this piece I also got a huge amount of advice and help from composer and MCO violist Neb Macura (below). (Thanks, Neb! You were invaluable!) Most of the melodic material came to me in the car on the way to school.

How would you describe your musical or tonal style?

I would say that my style is mostly tonal and not all that adventurous in terms of harmony. The fact that I have spent much of my musical career studying the works of the Classical and Romantic periods shows through. And yet you might find some moments that hint at more recent styles.

Can you briefly tell the public about the new piece to be premiered?

“Good Neighbors” is subtitled “Episodes for Orchestra” and the connected episodes describe various aspects of the Middleton community.

Episode 1 depicts the city of Middleton and its bustling energy within a small town feel. Episode 2 is about all of the water around, including the creeks, ponds and Lake Mendota. Episode 3 is the Good Neighbor Festival, appearing at the end of summer for so many years. Episode 4 describes the land around, including the rolling farmland, the driftless area, and the Ice Age Trail.

The final episode brings together tunes from the previous four, combining them to demonstrate that the Good Neighbor City is more than the sum of its parts. The opening theme shows up in several different versions throughout, including most notably the theme from Episode 4.

Is there anything else you would like to say?

At first I considered the endeavor almost self-indulgent as I set a piece of my own in front of the ensemble. Then I started to feel presumptuous. It is a humbling experience to see my name on a program with Mozart and Dvorak, two of my favorite composers.

It has been a terrific experience working with these fine musicians as we realize this new work together. My thanks go to them for their willingness to help me present this gift to the Middleton community.


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Classical music: This Sunday afternoon, the annual Opera Props Showcase features well-known alumna Ariana Douglas and current UW students singing arias from great operas and musicals

September 19, 2019
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By Jacob Stockinger

The annual University Opera’s Student Showcase will take place this coming Sunday afternoon, Sept. 22, at 3 p.m. at the Madison Christian Community, 7118 Old Sauk Road, on the far west side.

Tickets are $30 if purchased in advance or $35 if purchased at the door; and $10 for students. Additional ticket information is provided at the website UWOperaProps.org

The event is sponsored by UW Opera Props, the friends group that helps support the opera program at University of Wisconsin-Madison.

The benefit opera program, the concert will feature guest artist and soprano alumna Ariana Douglas (below). In addition, eight current voice students will join Douglas in a program assembled by David Ronis, the Karen K. Bishop Director of Opera at UW’s Mead Witter School of Music.

UW-Madison piano graduate student Thomas Kasdorf, who coaches the singers, will provide the piano accompaniment.

The concert will include arias and duets by Puccini, Offenbach, Rodgers and Hammerstein, Wagner, Mozart, Gounod, Verdi and others.

Ariana Douglas is well known for her “clarion sound and striking stage presence” in performances at Milwaukee’s Florentine Opera (Zerlina in “Don Giovanni,” Mrs. Vance in Aldridge’s “Sister Carrie,” and, upcoming in October, Susanna in “The Marriage of Figaro”).

Next April, she will sing Diana in Jacques Offenbach’s “Orpheus in the Underworld” for the Madison Opera.

And after two summers in the Glimmerglass Festival’s Young Artists program, she was invited last year to return to help workshop J. Tesori’s highly anticipated opera “Blue,” which premiered there this July.

In the YouTube video at the bottom, you can hear Ariana Douglas perform while still a UW student. She sings the famous Puccini aria “O mio bambino caro” with the UW Varsity Band under now-retired director Mike Leckrone, who admired Douglas’ big, expressive voice and invited her to perform at the band’s huge annual concerts in 2013.

In short, says one OperaProps organizer, “Douglas seems to getting fine reviews everywhere. And student recruiting seems to be successful, with the students getting more impressive every year lately.” (Below is the group of Showcase students in 2018 with director David Ronis on the far right.)

Here is the program, with performers and pieces, that is subject to change:

Lindsey Meekhof – “C’est l’amour vainqueur” from (Offenbach: Les contes d’Hoffmann)

Benjamin Galvin – “Amorosi miei giorni” (Donaudy)

Ariana Douglas – “Quando m’en vò” (Puccini: La bohème)

Benjamin Hopkins – “A mes amis” (Donizetti: La fille du régiment)

Shelby Zang – “If I Loved You” (Rodgers and Hammerstein: Carousel)

DaSean Stokes – “Winterstürme” (Wagner: Die Walküre)

Julia Urbank – “Parto, parto” (Mozart: La clemenza di Tito)

Ariana Douglas – “Till There Was You” (Meredith Wilson: The Music Man)

Cayla Rosché – “Nun eilt herbei” (Nicolai: Die lustigen Weiber von Windsor)

Benjamin Galvin – “If Ever I Would Leave You” (Lerner and Lowe: Camelot)

Carly Ochoa – “Je veux vivre” (Gounod: Roméo et Juliette)

DaSean Stokes – “Deep River” (Spiritual)

Ariana Douglas and Benjamin Hopkins – “Libiamo” (Verdi: La traviata)


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Classical music: Chamber versions of symphonies and piano concertos by Haydn, Mozart and Beethoven helped secure the composers’ reputations back when they were new music

August 30, 2019
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By Jacob Stockinger

Perhaps you heard one at Bach Dancing and Dynamite Society concerts (below), where they have become a kind of signature.

Or perhaps you heard one at a concert by the Ancora String Quartet or the University of Wisconsin-Madison’s Pro Arte Quartet.

What we’re talking about are scaled-down chamber versions of symphonies and piano concertos by Franz Joseph Haydn, Wolfgang Amadeus Mozart and Ludwig van Beethoven.

Today they seem like curiosities, perhaps programmed to keep budgets smaller and use fewer performers.

But historically those same arrangements were more than conveniences or compromises. They proved vital in securing the works and reputations of those composers for posterity up until today.

Recently, The New York Times published a record review by Zachary Woolfe that provides valuable background about these rearranged works.

Here is a link:

https://www.nytimes.com/2019/07/19/arts/music/mozart-jupiter-hyperion.html

If you would like to experience one for yourself, you have the chance this Saturday and Sunday afternoon at 4 p.m. at the Token Creek Chamber Music Festival.

That’s when and where pianist and Harvard University professor of musicology Robert Levin (below) will perform a chamber version of the Piano Concerto No. 4 in G Major, Op. 58, by Beethoven. It is part of a program by Levin and pianist Ya-Fei Chuang that explores the piano and concludes this year’s 30th anniversary festival. (You can hear the opening movement of the Beethoven piano concerto in the version with string quartet in the YouTube video at the bottom.)

Here is a link with more information about tickets ($32) and the festival:

http://tokencreekfestival.org/2019-season/programs/


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Classical music: This Saturday and Sunday, the Token Creek Festival explores how an unrequited love for Clara Schumann helped make Brahms and his music autumnal

August 22, 2019
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By Jacob Stockinger

Johannes Brahms (below) remains the only composer whose complete catalogue of chamber music is still in constant use. This is due to his fastidiously high standards, and to his ideal temperament for music played by smaller groups of players.

His music is universally admired for its combination of sheer craft and deep emotional impact, ranging from the most muted private conversation to the most passionate and revealing passages he ever composed.

But putting aside his own personal temperament as well as his melancholy melodies, his bittersweet harmonies, and his masterful use of strings and woodwinds, what gives Brahms’ music that quality of sadness that so many listeners and critics describe as “autumnal”?

No discussion of Brahms can take place without engaging with the most important person in his life — Clara Schumann (below, in a  Getty photo), who was born Clara Wieck and became a virtuoso pianist and a composer whose 200th birth anniversary is being celebrated this year.

Brahms was deeply in love with Clara. But unfortunately she was married to Robert Schumann (below right with Clara), one of Brahms’ closest friends and most loyal promoters. Even after a mentally ill Robert Schumann died of suicide at 46, Clara remained loyal to his memory. For the rest of her long life, she performed, edited and promoted his music and rejected Brahms as a lover or second husband.

Almost overnight, Clara’s rejection seemed to cause Brahms to turn from a handsome young man (below top) to the more familiar figure of an overweight, cigar-smoking, bearded and prematurely old curmudgeon (below bottom).

Clara Schumann’s hidden presence is involved with all of the pieces on the Token Creek Festival program, which will be performed at 4 p.m. this Saturday and Sunday, Aug. 24 and 25, in the festival’s refurbished barn (below) at 4037 Highway 19 in DeForest.

The program includes the Violin Sonata No. 1 in G major, illustrated with a performance of Brahms’ “Regenlied” (the “Rain Song” that precedes it and introduces the theme of the sonata); the Sonata No. 1 for Cello and Piano in E minor; and the Piano Quartet No 3 in C minor, a piece that retains its distinctive charge of unresolvable emotion. (You can hear that unresolved emotion in the beautiful slow movement of the Piano Quartet No. 3 in the YouTube video at the bottom.)

Performers are violinist Rose Mary Harbison, co-artistic director of the Token Creek Festival; violist Lila Brown; cellist Rhonda Rider; pianist Janice Weber; and Edgewood College mezzo-soprano Kathleen Otterson.

THE REST OF THE FEST

Upcoming programs include “Words & Music,” a belated 80th birthday tribute to artistic co-director John Harbison, on Wednesday night, Aug. 28 at 7:30 p.m. The intimate program will include readings by poet Lloyd Schwartz, the premiere of new Harbison songs, plus works by Johann Sebastian Bach, Wolfgang Amadeus Mozart and Arnold Schoenberg.

The festival closes with “The Piano” program on Saturday and Sunday, Aug. 31 and Sept. 1, both at 4 p.m. The festival welcomes back pianists Robert Levin and Ya-Fei Chuang, playing together and as soloists.

Their program explores the question of the composer-performer, here composers who were also formidable pianists:  Mozart, Maurice Ravel and Franz Liszt. Beethoven’s Piano Concerto No. 4, arranged by the composer for chamber ensemble, and excerpts of John Harbison’s Sonata No. 2, written for Levin, complete the program.

For tickets ($32) and more information, go to www.tokencreekfestival.org or call (608) 241-2525.


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Classical music: The fourth annual Madison New Music Festival takes place this Friday, Saturday and Sunday. It features Wisconsin composers and several world premieres

August 7, 2019
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By Jacob Stockinger

The fourth season of the Madison New Music Festival (below, in a photo from 2017 by Max Schmidt) will take place this coming Friday, Aug. 9, through Sunday, Aug. 11.

The Madison New Music Festival is an annual, weekend-long celebration for the Madison community of classical works written by contemporary composers.

In four concerts – three with admission and one free — the festival will showcase Wisconsin-based composers and performers of new music, as well as world premiere performances by guest artists.

Tickets for each concert are $15 for adults and $5 for students. Subscriptions to all three concerts are available for $35. For more information, go to http://madisonnewmusic.org or to Facebook (@Madison New Music Festival) or Instagram (@madisonnewmusic).

Here is the line-up:

Concert 1: Music from Wisconsin – Friday, Aug. 9, at 7:30 p.m.

Where: Madison Museum of Contemporary Art (227 State St.)

What: In anticipation of this fall’s Wisconsin Triennial and the Madison Museum of Contemporary Art, this concert spotlights all Wisconsin-born, -based, or -educated composers, curated by pianist Robert Fleitz (below, with a toy piano he often performs on), whom The New York Times called “mesmerizing.” Joined by young local musicians, Fleitz explores music created right here in their own backyard.

Concert 2: World Premieres – Saturday, Aug. 10, at 7:30 p.m.

Where: First Unitarian Society of Madison’s Atrium Auditorium (900 University Bay Drive)

What: Internationally acclaimed violist Anne Leilehua Lanzilotti and Wisconsin-born pianist Karl Larson (below top) will give the world premieres of new viola sonatas from three of the world’s leading composers: Andrew Norman, Anna Thorvaldsdottir and Scott Wollschleger. In addition, local cellist James Waldo will kick off the evening with a premiere of a work for solo cello by University of Wisconsin-Madison professor Les Thimmig (below bottom).

Concert 3: SistaStrings – Sunday, Aug. 11, at 2:30 p.m.

Where: Robinia Courtyard (829 East Washington Avenue)

What: The concert features the Milwaukee-based sister duo SistaStrings (below, in a photo by Adam Ryan Morris). Violinist Chauntee Ross and cellist Monique LaDora Ross blend their training as accomplished classical instrumentalists with “R&B and a touch of gospel influence that culminates in a vibey, lush sound.” The sisters will play tracks from their new and acclaimed Extended Play recording in the cozy courtyard. (You can hear them in the YouTube video at the bottom.)

Partner concert: Madison New Music Ensemble (FREE concert) – Sunday, Aug. 11, at 5 p.m.

Where: Memorial Union Terrace (800 Langdon Street, below)

What: Join the newly formed Madison New Music Ensemble (below top), led by UW-Madison composer Joseph Koykkar (below bottom), at the Memorial Union Terrace as part of their Summer Serenade series. The group will perform works by Koykkar, Ian Clarke, Gabriela Lena Frank, Gareth Farr and Kirsten Volness.


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Classical music: The Madison-based string quartet Quartessence will perform this Sunday afternoon at the Little Brown Church in Richland County

August 2, 2019
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By Jacob Stockinger

On this Sunday, Aug. 4, at 2 p.m. the Madison-based Quartessence string quartet (below, in a photo by Ralph Russo) will perform a rare public concert of classical music at the Little Brown Church in Richland County. (The group usually performs at private events.)

Performers (below, from left) are: violinist Suzanne Beia; cellist Sarah Schaffer; violinist Laura Burns; and violist Jennifer Clare Paulson. Beia, Burns and Paulson are members of the Madison Symphony Orchestra, the Wisconsin Chamber Orchestra and the Pro Arte String Quartet. Schaffer has a career in arts management and organizes the annual summertime Token Creek Chamber Music Festival.

The location is 29864 Brown Church Road at the intersection of Highway 130 and Highway B, approximately five miles north of Highway 14.

Tickets cost $10 for adults and $5 for students, and will be available at the door.

The program includes: music by baroque composer Antonio Vivaldi; the “Brook Green” Suite by Gustav Holst; the String Quartet in G Major, K. 156, by Wolfgang Amadeus Mozart; “Household Music: Three Preludes on Welsh Hymn Tunes” by British composer Ralph Vaughan Williams (originally written for organ, one of the preludes can be heard in an orchestral arrangement in the YouTube video at the bottom); and “Painting the Floors Blue” and “Thanks, Victor” by the contemporary American composer John Harbison.

The concert is sponsored by a family, and proceeds will be used by the Friends of the Little Brown Church for maintenance of the building. The donors are happy to be able to provide this opportunity to music lovers in the community.

The refurbished building is air-conditioned, so you can take a break from the hot weather while you enjoy the music.

Here is some background from Harriet Statz (below, far right), who organizes the event because the Little Brown Church is special to her:

“Last year we started what is turning out to be an annual event (maybe) at the Brown Church (below) in Richland County. That’s up the road (Highway 131) from where I lived in the late 1970s.

“Since then Julie Jazicek and I have been in contact about fencing for this historic place, as she is sort of the manager and deserves much credit for keeping both the building and grounds beautiful. Over the years some concerts have been held in the church, but until 2018 nothing classical. So we fixed that!

“Last year’s concert by the Quartessence Quartet was a resounding success. An audience of about 60 people encouraged us to keep going, so we did, and hope for even a larger turnout to fill up the place. As it turns out the acoustics are outstanding!

“The location is west of Spring Green and north of Lone Rock. It’s a lovely drive. So I invite you to mark this Sunday Aug. 4, on your calendar and come out to the country for a lovely afternoon of music. Bring friends! Share rides!”

For information, call 608-356-8421 or send an email to: FriendsOfLittleBrownChurch@gmail.com


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Classical music: Madison Bach Musicians summer workshops in early music are open to the public. A faculty concert is on Wednesday night and a FREE all-participants concert is on Friday at 12:30 p.m.

July 21, 2019
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REMINDER: Madison Opera’s annual Opera is the Park was cancelled last night because of weather and takes place TONIGHT in Garner Park at 8 p.m. For more information, go to: https://welltempered.wordpress.com/2019/07/15/classical-music-madison-operas-annual-free-opera-in-the-park-returns-this-saturday-night-july-20-in-garner-park-and-celebrates-18-years-in-madison-plus-a-glimpse-of-the-upcoming-season/

By Jacob Stockinger

The fifth annual Madison Bach Musicians Summer Chamber Music Workshop (below,  a cello class from last year) will be held from Monday, July 23, to Friday, July 26, at the West Middleton Lutheran Church, 3763 Pioneer Road, in Verona, Wisconsin.

The workshop is chaired by MBM assistant artistic director and baroque violinist Kangwon Kim (below), who says: “I’m excited to welcome 32 participants, our largest number ever, working in nine chamber groups this summer to share a week of intense music-making and learning.

” We will explore wonderful repertoire from the baroque and early classical periods, both familiar and rarely performed, while working intensely in an encouraging community that will support musical growth.”

Harpsichordist JungHae Kim (below top) from San Francisco and baroque violist Micah Behr from Madison will join returning faculty members recorder player Lisette Kielson, cellist Martha Vallon (below bottom), dance instructor Karen McShane-Hellenbrand, and MBM founder, artistic director and keyboardist Trevor Stephenson.

Musicians who range in age from 13 to older adulthood will receive personalized ensemble coaching in violin, viola, baroque cello, viola da gamba, piano, fortepiano, harpsichord and recorder. (You can sample the Madison Bach Musicians in the YouTube video at the bottom.)

The public is invited to an evening Faculty Concert and various afternoon classes exploring continuo playing, specific instrument master classes, stage presence for musicians, sight-reading, baroque dance, and more.

The Faculty Concert on Wednesday night, July 23, at 7:30 p.m. will feature works by Carl Heinirch Graun (below top), Francesco Turini, Jean-Henri D’Anglebert (below  bottom), Georg Philipp Telemann, Joseph Bodin de Boismortier and Henry Purcell on period instruments. Admission is $15 at the door.

The all-participants final concert of the music from the workshops is on Friday, July 26, at 12:30 p.m. It is FREE and open to the public.

An Auditor’s Pass for afternoon programming for the entire festival — including the Faculty Concert — is $40.

For more information, go to: https://madisonbachmusicians.org/summer-workshop/


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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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