The Well-Tempered Ear

Classical music: The UW Schubertiade last Sunday afternoon explored the influence of Beethoven on Schubert with insight and beauty

February 2, 2020
3 Comments

PLEASE HELP THE EAR. IF YOU LIKE A CERTAIN BLOG POST, SPREAD THE WORD. FORWARD A LINK TO IT OR, SHARE IT or TAG IT (not just “Like” it) ON FACEBOOK. Performers can use the extra exposure to draw potential audience members to an event. And you might even attract new readers and subscribers to the blog.

ALERT: In early editions of my last post, I mistakenly said that the UW Choral Union and the UW Symphony Orchestra will perform the Verdi Requiem on May 25 and 26. The correct dates are APRIL 25 and 26. The Ear regrets the error.

By Jacob Stockinger

One of the most informative and enjoyable events of the Beethoven Year – 2020 is the 250th anniversary of the composer’s birth – came early.

It took place last Sunday afternoon in the Collins Recital Hall of the new Hamel Music Center at the UW-Madison.

It was the seventh annual Schubertiade, and its theme was “Schubert and Beethoven: Influences and Homages.” A classic contrast-and-compare examination of two musical giants who lived and worked in Vienna in the early 19th century, the concert took place for almost three hours before a packed house. (Schubert is below top, Beethoven below middle, and the sold-out audience below bottom)

The annual event is organized by co-founders and co-directors UW piano professor Martha Fisher and her pianist husband Bill Lutes (below, greeting the crowd), who also perform frequently, especially as outstandingly sensitive and subtle accompanists.

They make the event, with audience members sitting onstage, look easy and informal. But it takes a lot of hard work.

The two sure know how to choose talent. As usual, all the singers and instrumentalists – UW alumni and faculty members (below) — proved very capable. The concert cohered with consistency.

Nonetheless, The Ear heard highlights worth singling out.

Baritone Michael Roemer (below) sang exceptionally in “An die ferne Geliebte” (To the Distant Beloved) by Beethoven (1770-1827). His voice brought to mind the young Dietrich Fischer-Dieskau in the inviting tone and direct delivery of the first song cycle ever composed. It was also the one that inspired the younger Schubert (1797-1828) to compose his own song cycles, and you could hear why.

Soprano Jamie Rose Guarrine (below right), accompanied by Bill Lutes and cellist Karl Knapp (below center), brought warmth, ease and confidence to the lyrical beauty of “Auf dem Strom” (On the River).

Tenor Daniel O’Dea (below) showed how Schubert’s setting of Friedrich Schiller’s “Ode to Joy” – the same Romantic poem made famous in Beethoven’s Ninth Symphony “Choral” – ended up much more lighthearted than the more familiar, serious and intense symphonic version.

Martha Fischer and Bill Lutes, who also sang as well as narrated and accompanied, showed complete blending and tightness in Schubert’s first published composition: “Eight Variations on a French Song.” It was for piano, four-hands – a sociable genre that Schubert favored and wrote a lot of.

Soprano Jennifer D’Agostino (below) sang Schubert’s song “Elysium” in which it is unclear whether it is a pastiche or a parody of Beethoven, who remained a mentor until Schubert died at 31. Could that ambiguity point to Schubert’s maturing sense of himself and his own art as compared to Beethoven’s?

One year after Beethoven’s death – Schubert was a pallbearer — Schubert put on his only formal public concert of his own work. That was when he premiered his Piano Trio No. 2, the bravura last movement of which was played by Bill Lutes with cellist Parry Karp and first violinist David Perry (below), of the UW’s Pro Arte Quartet.

Then all four members of the Pro Arte Quartet (below) – with violist Sally Chisholm and second violinist Suzanne Beia – played the last two movements of Beethoven’s late String Quartet in C-sharp Minor, Op. 131, the work that Schubert requested to hear performed as he lay on his death bed in his brother’s Vienna apartment.

Of course there were other moments that pleased and instructed. There was a set of four songs – one coupling sung by mezzo-soprano Allisanne Apple (below) — in which the same texts were set to music by both Beethoven and Schubert.

We got to hear Beethoven’s final song, “Abendlied unterm gestirnten Himmel” (Evening Song Beneath the Starry Firmament).

Then there was the heart-wrenching “Nachthymne” (Hymn to the Night) by Schubert, again beautifully performed by Jamie Rose Guarrine. (You can hear “Hymn to the Night,” sung by Elly Ameling, in the YouTube video at the bottom.)

So in the end, what were the big lessons, the takeaways from this year’s Schubertiade?

One lesson is that for all his more familiar symphonies and concertos, his string quartets and piano trios, his piano sonatas and his sonatas for cello and violin, Beethoven was also a much more accomplished song composer than the public generally knows.

But for The Ear, the biggest lesson of all is that despite Beethoven’s deep influence, Schubert retained his own special voice, a voice full of unforgettable melodies and harmonies, of lyricism and empathy.

And using a mentor to find, refine and retain one’s own identity is the highest homage any student can pay to a teacher.

 


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Classical music: The 7th annual Schubertiade at the UW-Madison is this Sunday afternoon and will explore the influence of Beethoven on Schubert

January 23, 2020
3 Comments

PLEASE HELP THE EAR. IF YOU LIKE A CERTAIN BLOG POST, SPREAD THE WORD. FORWARD A LINK TO IT OR, SHARE IT or TAG IT (not just “Like” it) ON FACEBOOK. Performers can use the extra exposure to draw potential audience members to an event. And you might even attract new readers and subscribers to the blog.

By Jacob Stockinger

This coming Sunday afternoon, Jan. 26, is the seventh annual UW Schubertiade – named after the evening gatherings of friends (below) where the composer Franz Schubert performed and premiered his own music.

This year’s theme, given that 2020 is the Beethoven Year, is the immense influence that the older Beethoven (below top) 1770-1827) had on the younger Schubert (below bottom, 1797-1828).

The event will begin with a pre-concert lecture by UW-Madison Professor of Musicology Margaret Butler at 2:15 p.m. in the Rehearsal Hall at the new Hamel Music Center, 740 University Avenue, next to the Chazen Museum of Art.

Then at 3 p.m. in the 330-seat Collins Recital Hall in the same building, the two-hour concert will take place.

The concert will close with the usual custom. The audience and performers will join in singing “An die Musik” (To Music). (In the YouTube video at the bottom, you can hear it sung by legendary German soprano Elisabeth Schwarzkopf and legendary British accompanist Gerald Moore.)

A reception will follow the concert in the main lobby.

For more description of the event plus a complete program and list of performers – who consist of UW-Madison graduates and musicians including soprano Jamie Rose Guarrine (below top) and mezzo-soprano Alisanne Apple (below middle) as well as the Pro Arte Quartet (below bottom, in a photo by Rick Langer) – go to: https://www.music.wisc.edu/event/our-annual-schubertiade/

At the site, you will also find information about buying tickets – general admission is $20 with free student tickets on the day of the concert is space is available – and about parking.

The event was founded by and continues to be directed by wife-and-husband pianists Martha Fischer and Bill Lutes (below) who also sing, accompany and play works for piano, four hands.

Lutes sent the following introductory remarks: “Ever since Martha and I presented the first of our annual Schubertiades back in January 2014, we’ve looked for ways to keep our all-Schubert birthday parties fresh and interesting for our audience.

“From time to time we contemplated introducing another composer – maybe even switching our allegiance from the immortal Franz to another of our favorites: perhaps a “Schumanniade.”

“This time, with six years of all-Schubert behind us, we thought we would do the obvious and finally unite Schubert with the composer who probably meant more to him than almost any other – Beethoven, whose 250th birthday is being celebrated this year.

“Once Beethoven moved permanently to Vienna at age 22, he soon became famous and eventually was regarded as the greatest of the city’s composers.

“Schubert, who was born in Vienna five years after Beethoven’s arrival, grew up hearing the older master’s works, often at their premieres. As his genius flowered early, Schubert was often challenged and inspired by Beethoven’s music.

“We bring together these two giants who lived in the same city, knew the same people, attended the same musical events, perhaps met or quite possibly didn’t.

“Yet Beethoven’s presence and example guided Schubert in his own road toward the Ultimate Sublime in music. Our concert of “Influences and Homages” features works where the musical, if not the personal, relationship is there for all to hear.”

Lutes also supplied a list of the song titles in English translation:

“Ich liebe dich” – I love you

“Der Atlas” – Atlas

“Auf dem Strom” – On the River

“Der Zufriedene” – The Contented Man

“Der Wachtelschlag” – The Quail’s Cry

“Wonne der Wehmut” – Joy in Melancholy

“Kennst du das Land?” – Do You Know the Land?

“An die ferne Geliebte” – To the Distant Beloved

“An die Freude” – Ode to Joy

“Gruppe aus dem Tartarus” – Scene from Hades

“Elysium”

“Nachthymne” – Hymn to the Night

“Abendlied unterm gestirnten Himmel” – Evening Song Beneath the Starry Firmament

Have you attended a past Schubertiade (below, in Mills Hall)?

What did you think?

Would you recommend it to others?

The Ear wants to hear.

 


Posted in Classical music
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