The Well-Tempered Ear

Classical music: Looking for serious fun? The thoroughly successful opening concerts by the Bach Dancing and Dynamite Society bode well for the upcoming second weekend

June 19, 2019
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By Jacob Stockinger

After 28 summers, going to a concert by the Bach Dancing and Dynamite Society still feels like attending a family reunion – the best kind of family reunion where everyone is familiar and friendly, where everything is fun, and where you always leave glad that you went.

That’s not by chance.

The first thing that co-founders and co-artistic directors Stephanie Jutt and Jeffrey Sykes did last Friday and Saturday nights was to thank the loyal audience. And the audience, full of longtime fans, returned the favor by being attentive to and appreciative of the first-rate music-making as well as responsive to the horseplay and antics – such as the surreal scene of virtuoso Axel Strauss playing “The Skater’s Waltz” on his violin while rollerblading around the stage (below).

BDDS players really mean it when they say that their audiences are in for something different, something they won’t find elsewhere and won’t forget.

Last weekend that meant the return of two longtime guest performers: San Francisco cellist Jean-Michael Fonteneau and Montreal violinist Axel Strauss (below, with pianist Jeffrey Sykes). Neither disappointed as they performed very varied music by Franz Joseph Haydn, C.P.E. Bach, Johannes Brahms, Gabriel Faure, Lili Boulanger, Maurice Ravel and Ned Rorem. And as always, the amazing  pianist Jeffrey Sykes proved a chameleon who blended masterfully into the style of each period and each composer.

But for The Ear, the unexpected standout last weekend was guest accordion player Stas Venglevski from Milwaukee. Born in Russia and trained at the Moscow Conservatory, he is a virtuoso player, a sensitive arranger and a convincing composer – all done with good humor and a charismatic stage presence.

The Ear never thought of the accordion – the Russian bayan, to be specific – as an instrument for chamber music. But he does now, after hearing Venglevski play serious Russian, French and Latin American music that ran the gamut from a graceful waltz and a sprightly polka to torchy tangos. And then there were his flying fingers punching out “The Flight of the Bumblebee,” a real crowd-pleaser.

The large audience responded on both nights with wild applause and a standing ovation every time that Venglevski (below) played, and Jutt promised the audience that he will be back.

“As you can see, we have fun here,” Jutt deadpanned.

She is not exaggerating.

Which bodes well for the second weekend of three that will happen this coming weekend.

The second weekend — two programs in three venues — celebrates Jutt and Sykes, plus two of BDDS’ favorite guest artists: violinist Stephanie Sant’Ambrogio and Madison pianist Thomas Kasdorf.

Kasdorf (below) and Sykes are both featured in a program called “Rock the Sykes-o-delic Kas-bah.” Kasdorf is featured in Brahms’ Horn Trio with guest horn player Karl Kramer Johansen, and in the appealing and accessible Café Concertino by the contemporary Australian composer Carl Vine.

Sykes will perform another chamber transcription of a Classical-era symphonic work, which over the years has become a welcome specialty of BDDS. In this case it is Wolfgang Amadeus Mozart’s snappy and appealing Piano Concerto No. 9 in E-flat Major, K. 271, the “Jeunehomme” concerto. (You can hear the irresistible last movement of the piano concerto, used in the film “Amadeus,” in the YouTube video at the bottom.) Sykes will also perform in Robert Schumann’s “Fairy Tales” for clarinet and viola.

A Madison native, cellist Alison Rowe (below) — an artist from the Dynamite Factory, which is BDDS’ program for emerging talent — will be featured in the Sonata for Cello and Piano in D Major by Johann Sebastian Bach.

“Rock the Sykes-o-delic Kas-bah” will be performed at the Stoughton Opera House on Friday, June 21, at 7:30 p.m. Braisin’ Hussies Food Cart will be parked outside the Opera House prior to the performance. The program will also be performed in Spring Green at the Hillside Theater, Sunday, June 23, at 2:30 p.m.

Jutt (below top) and Sant’Ambrogio (below bottom, in a photo by Stephanie Ann Boyd) worm their musical way into the most unexpected places in the other program, “Steph Infection.” The Nocturne for flute, violin, horn and piano of Franz Doppler opens the program, which continues with Jutt’s own arrangement of Antonin Dvorak’s popular “American” String Quartet, with a flute substituting for one of the two violins.

Dmitri Shostakovich’s Five Pieces for flute, clarinet and piano add spice to the program, and the evening concludes with Ernst von Dohnanyi’s epic Sextet for clarinet, horn, violin, viola, cello and piano. A work that ranges from stormy and turbulent to tender and funny, it features an all-star cast including audience favorite clarinetist Alan Kay, horn player Karl Kramer Johansen, violist Carol Cook (principal at the Lyric Opera of Chicago), and Madison’s own cellist of the UW-Madison’s Pro Arte Quartet, Parry Karp (below).

“Steph Infection” will be performed at The Playhouse, Overture Center for the Arts, Saturday, June 22, at 7:30 p.m.; and in Spring Green at the Hillside Theater, Sunday, June 23, at 6:30 p.m.

And of course there could also be some unannounced surprises – more door prizes, perhaps a mystery guest, or more shenanigans and antics that correspond to the “Name Dropping” pun theme of the programs.

For tickets ($43-$49) and more information, go to: https://bachdancing.org


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Classical music: The Bach Dancing and Dynamite Society again brings its surefire summery approach to serious classical chamber music when it starts its 28th annual series this weekend

June 11, 2019
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By Jacob Stockinger

It’s not just the calendar that makes the Bach Dancing and Dynamite Society the official start of the increasingly busy summer classical musical season in Madison.

The real reason is that the summer chamber music series, about to start its 28th annual summer this Friday night, June 14, is downright summery in its approach.

Say “summer,” and you think of lightness, of fun, of playfulness. And those are the very same qualities – along with serious, first-rate performances of great music by outstanding musicians – that BDDS brings to its six programs spread out in 12 concerts over three weekends and three venues during the month of June.

By now both the performers (below, in a photo by Dick Ainsworth for BDDS) and the audiences know that the formula works, however finely tuned or slightly changed it is from one summer to the next.

WHAT’S THE SAME

This year much remains.

There are still door prizes, spoken introductions and stories, mystery guests and a colorful art installation by UW-Madison designer Carolyn Kallenborn.

The titles of the six programs for 12 concerts over three weekends still have groan-inducing puns — “Name Dropping” in the theme for this summer — that are based on the musicians’ names like “Founteneau of Youth” after the San Francisco cellist Jean-Michel Fonteneau (below top) and “Quadruple Axel” after the Montreal-based violin virtuoso Axel Strauss (below bottom).

There are still the usual venues: the Playhouse in the Overture Center (below top); the Stoughton Opera House (below middle); and the Hillside Theater at Taliesin, the Frank Lloyd Wright compound in Spring Green.

There are still the many distinguished and accomplished musicians among the many imported guest artists and the many local musicians, including the co-founders and co-artistic directors flutist Stephanie Jutt and pianist Jeffrey Sykes (below). The Ear can’t recall ever hearing a bad BDDS performance, even of music he didn’t like.

And there is a mix of older well-known and classic repertoire along with newer and neglected composers and works.

WHAT’S NEW

But some things are different too.

The first concert this Friday will have a post-concert reception with free champagne and dessert to celebrate the 28th season.

This summer, unlike recent ones, there is no vocal music. All music is instrumental.

At both Stoughton and Spring Green, you can get food. Go to the home website for details.

Especially new and noteworthy is that the Russian virtuoso accordion player Stas Venglevski (below), from Milwaukee, will also perform on programs. Venglevski performs on the bayan, a Russian-style accordion noted for its deep bass sound and range and purity of tone.

Venglevski will be featured in works that range from polkas and heart-on-the-sleeve tangos by Argentinian composer Astor Piazzolla, Cuban composer Ernesto Lecuona and Russian composer Igor Stravinsky; down-and-dirty original works by Russian master Tatyana Sergeyeva and arrangements of favorite pieces by Johann Sebastian Bach and others.

This Wednesday night, June 12, from 7 to 9 p.m., Venglevski and Jutt will perform “Bayan-o-rama” at the Arts and Literature Lab, 2021 Winnebago Street. Tickets are $10 at the door. Refreshments will be served.

Here is a summary of the first weekend:

WEEK ONE

The elegance, charm, and finesse of French cellist Jean-Michel Fonteneau is displayed in a program called “Fonteneau of Youth.”

It includes music written by great composers in their youth, including the ravishing Elegy for cello and piano of French composer Gabriel Fauré; the rhythmically exciting Trio for flute, cello and piano of living American composer Ned Rorem; and the astonishing D’un soir triste (One Sad Evening) and D’un matin de printemps (One Spring Morning), both for piano trio, of 21-year old Lili Boulanger (below), who was the Prix de Rome-winning composer sister of famed teacher Nadia Boulanger and who died very young. (You can hear both pieces by Lili Boulanger in the YouTube video at the bottom.)

The great Franz Joseph Haydn—always the most youthful of composers, even into his late years—is represented by the masterful Piano Trio no. 28 in E major, in honor of BDDS’ 28th season.

“Fonteneau of Youth” will be performed at The Playhouse in the Overture Center for the Arts on this Friday, June 14, at 7:30 p.m. A free champagne and dessert reception will be held following the performance to celebrate the 28th season opener. It will also be performed in Spring Green at the Hillside Theater on Sunday, June 16, at 2:30 p.m.

Audience favorite Axel Strauss—not just a virtuoso violinist, but a virtuoso musician and artist of the highest distinction—will brave gravity-defying musical heights in “Quadruple Axel.” Carl Philipp Emanuel Bach’s Trio Sonata in D minor for violin, flute, cello and piano starts the program on an elegant note. Johannes Brahms’ fiery Piano Trio No. 3 in C minor, Op. 101, raises the temperature significantly. And all sorts of hijinks are on display in Maurice Ravel’s extraordinary and ravishing Sonata for Violin and Piano.

“Quadruple Axel” will be performed at The Playhouse in the Overture Center for the Arts on Saturday, June 15, at 7:30 p.m. and in Spring Green at the Hillside Theater, Sunday, June 16, at 6:30 p.m.

For more information about the full BDDS season and how to purchase tickets ($43 and $49), go to: https://bachdancing.org


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Classical music: The second LunART Festival will spotlight women in the performing and creative arts. Here is Part 2 of 2 with more about new music, comedy and a full schedule

June 3, 2019
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ALERT: The second Van Cliburn Junior Piano Competition resumes today — Monday, June 3 — in Dallas at 2:20 p.m. CDT. The young players range from 13 to 17 and come from around the world, and they are terrific. Plus the quality of the live streaming is outstanding, especially for the camera work of the keyboard. It’s all FREE. If you want to see it, here is a link: https://www.cliburn.org. You might also be interested to know that among the jurors are Alessio Bax, who has performed in Madison at Farley’s House of Pianos, and Philippe Bianconi, who has soloed several times with the Madison Symphony Orchestra.  All that and you get to vote for the Audience Award too! 

By Jacob Stockinger

The Ear has received a long and detailed announcement about the upcoming second LunART Festival. Here is Part 2 of two parts with more information about new music, comedy and a schedule of events. Yesterday was Part 1 — a link is below — with background and participants. 

https://welltempered.wordpress.com/2019/06/02/classical-music-starting-wednesday-the-second-lunart-festival-will-again-spotlight-women-in-the-performing-and-creative-arts-here-is-the-first-of-a-two-part-preview/

The LunART Festival, co-founded and co-directed by Iva Ugrcic and Laura Medisky, is back for its second season from this Wednesday, June 5, through Sunday, June 9, and will continue its mission of supporting, inspiring, promoting and celebrating women in the arts.

The 2019 season brings 10 events to eight venues in the Madison area, providing accessible, high-quality, engaging concerts and events with diverse programming from various arts fields.

The festival will showcase over 100 artists this season, including many familiar local artists and performers as well as guest artists hailing from Missouri to Texas, Minnesota to Florida and as far away as Peru.

LunART’s 2019 call for scores was open to women composers of all ages and nationalities, and received an impressive 98 applicants from around the globe. Scores were evaluated by a committee of 17 LunART Festival musicians and directors, and three works were selected to be performed at each of the Gala concerts.

The winning composers are Eunike Tanzil (below top), Edna Alejandra Longoria (below middle) and Kirsten Volness (below bottom). All three will be in attendance at the festival. (In the YouTube video at the bottom, you can hear a piece for cello and piano, with the composer playing the piano, by Eunike Tanzil.)

The “From Page to Stage: Emerging Composers” educational program also returns, bringing six composers to Madison to work with flutist and composer-in-residence Valerie Coleman (below).

During the festival she will mentor participants in developing practical skills to express their creative ideas, cultivate relationships with performers and master the art of collaboration. The program culminates with a free public concert featuring their music on Saturday, June 8, at 2 p.m. in the Capitol Lakes Grand Hall, 333 West Main street, downtown and two blocks from the Capitol Square.

On Friday, June 7 at Overture Center in Promenade Hall, Meaghan Heinrich (below) presents her pre-concert lecture, “Portrait of the Artist as a Young Woman,” which explores what it means to be a woman artist in the 21st century, and how women’s experiences shape their artistic expressions.

Following the Friday gala concert is “Holding Court,” this season’s Starry Night event at Robinia Courtyard. This all-women comedy show features Midwestern comics Vanessa Tortolano (below top), Chastity Washington (below bottom), Vickie Lynn, Samara Suomi and Cynthia Marie who are blazing a trail of funny that will leave you gasping in their wake.

“The Multi-faceted Artist” panel discussion is for anyone interested in the ongoing trend and need for artists to wear multiple hats to succeed and thrive.

Coleman (composer and flutist) and Dr. Linda DiRaimondo (psychiatrist and aerial dancer, below top on top) serve as panelists along with Katrin Talbot (violist, poet and photographer, below bottom in a photo by Isabel Karp), and will lead the discussion on Saturday, June 8, at the downtown Madison Public Library’s Bubbler Room.

The festival wraps up on Sunday, June 9, from 10 a.m. to noon at Common Ground, 2644 Branch Street in Middleton, with “Mooning Around” poetry reading and artist mixer, featuring a performance of “One for Mileva Maric (Einstein)” by Andrea Musher, with special guests Sarah Whelan and Jackie Bradley, and poetry readings by The Line-Breakers: Andrea Potos (below), Eve Robillard, Rosemary Zurlo-Cuva and Katrin Talbot.

Everyone is welcome to come enjoy their morning coffee and pastries while making creative connections with other artists.

LunART Festival is supported by Dane Arts, the Madison Arts Commission, the Wisconsin Arts Board and the Open Meadows Foundation; it also won first place at the 2018 National Flute Association C.R.E.A.T.E. Project Competition and second prize at the 2018 UW Arts Business Competition.

Schedule of 2019 Festival events:

Wednesday, June 5

  • 6-8 p.m.: “Women Against Hate United by Love” exhibition opening reception @ Rotunda Stage, Overture Center for the Arts (free event)

Thursday, June 6

  • 9 a.m.-Noon From Page to Stage composition master class with Valerie Coleman @ First United Methodist Church (free event)
  • 7 p.m.: Opening Gala Concert @ Maiahaus (402 E. Mifflin St.) (Tickets: $20 general/$10 students)

Friday, June 7

  • 6 p.m.: “Portrait of the Artist as a Young Woman” pre-concert lecture by Meaghan Heinrich (free event)
  • 7 p.m.: “Portraits of Josephine” Gala Concert @ Promenade Hall, Overture Center for the Arts (Tickets: $20 general/$10 students)
  • 9 p.m.: Starry Night: “Holding Court” All-Women Comedy Show @ Robinia Courtyard (Tickets: $7 in advance/$10 at the door)

Saturday, June 8

  • 10 a.m.-Noon: “The Multi-faceted Artist” Panel Discussion @ Madison Public Library Bubbler Room (free event)
  • 2 p.m.: From Page To Stage: Emerging Composers Concert @ Capitol Lakes Grand Hall (free event)
  • 7 p.m.: “Gaia” Closing Gala Concert @ First Unitarian Society of Madison Atrium Auditorium (Tickets: $20 general/$10 students)

Sunday, June 9

  • 10 a.m.-Noon: “Mooning Around” poetry reading and artist mixer @ Common Ground, 2644 Branch St., Middleton (free event)

More information can be found at lunartfestival.org

video


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Classical music: Starting Wednesday, the second LunART Festival will again spotlight women in the performing and creative arts. Here is the first of a two-part preview

June 2, 2019
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By Jacob Stockinger

The Ear has received a long and detailed announcement about the upcoming second LunART Festival. Here is Part 1 with background and participants. Tomorrow will be Part 2 with more information about new music and a schedule of events.

The LunART Festival is back for its second season from this Wednesday, June 5, through Sunday, June 9, and will continue its mission of supporting, inspiring, promoting and celebrating women in the arts.

The 2019 season brings 10 events to eight venues in the Madison area, providing accessible, high-quality, engaging concerts and events with diverse programming from various arts fields.

The festival will showcase over 100 artists this season, including many familiar local artists and performers as well as guest artists hailing from Missouri to Texas, Minnesota to Florida and as far away as Peru.

LunART’s inaugural 2018 season was a success on numerous fronts. From showcasing a wide variety of artists and arts disciplines to building lasting relationships and collaborations, LunART has distinguished itself from other arts events in Madison.

Both artists and audiences have commented that the LunART atmosphere is one of camaraderie, love and acceptance. Festival directors Iva Ugrcic and Laura Medisky (below right and left, respectively) have set this season to come back even stronger, with expanded dates and more diverse programming.

Like last year, the three ticketed evening gala concerts are centered on classical chamber music. Other art forms — including contemporary and aerial dance, poetry, spoken word and visual arts — are interwoven throughout the programs to create a unique atmosphere for performers, artists and audiences.

This year’s Grammy-nominated composer-in-residence is flutist Valerie Coleman (below), a former member of Imani Winds, who was described as one of the “Top 35 Female Composers in Classical Music” by The Washington Post.

Coleman embodies LunART’s vision by challenging norms and being a strong advocate for diversity in the arts. Her rich compositional output infuses elements of jazz and African secular music into the Western classical tradition, creating a soundscape that honors both worlds. (In the YouTube video at the bottom, you can hear Valerie Coleman playing her own composition “Fanmi Imen” at the 2018 convention of the National Flute Association.)

Coleman’s music will be featured throughout the festival among the works of other remarkable women who shaped music history, from Baroque composer Barbara Strozzi to Romantic composer Clara Schumann to living composer Missy Mazzoli.

Drawing from Madison’s rich arts scene and community, LunART 2019 features local artists including: former Madison poet laureate Andrea Musher (below); actor and theater artist Deborah Hearst; choreographers and dancers Liz Sexe and Kimi Evelyn; and aerial dancer Linda DiRaimondo.

Also featured are musicians from arts organizations such as Madison Symphony Orchestra, Wisconsin Chamber Orchestra, Fresco Opera Theatre, Arbor Ensemble, Madison New Music Ensemble and Sound Out Loud Contemporary Music Collective. Under the direction of Edgewood College professor Kathleen Otterson, Madison’s only women’s choir ARTemis Ensemble returns in greater numbers and will present a work by LunART 2018 “From Page to Stage” alum Meg Huskin among others.

Visual art will have a stronger presence in the 2019 Festival. From May 11-July 7, Overture’s Playhouse Gallery will house “Women Against Hate United by Love,” a collaborative, traveling art exhibition and multi-step “anti-hate” campaign united against bigotry, intolerance and racism, created by J. Leigh Garcia (below), Rachael Griffin and Kelly Parks Snider.

A gallery reception on Wednesday, June 5, serves as LunART’s opening event, in which Snider will give a talk about the exhibit and her use of art to educate communities about targeted issues in the hopes of shaking up the status quo. This engaging and thought-provoking exhibit is meant to provide a meaningful and hopeful community experience for all who attend.

In collaboration with Studio 84 and ArtWorking, two nonprofit art studios specializing in the creative development of people with disabilities, the final Gala concert at First Unitarian Society of Madison, 900 University Bay Drive, on Saturday, June 8, will showcase 40 artworks. This exhibit will feature 20 women artists whose works will be displayed, flanking the Atrium Auditorium stage as well as in the lobby.

Tomorrow: New music to be premiered, comedy and the full schedule of events


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Classical music: This Tuesday night, May 21, at 7:30 the Wisconsin Chamber Orchestra and the Wisconsin Youth Symphony Orchestras perform an impressive Side-by-Side concert that is FREE and UNTICKETED in Overture Hall  

May 19, 2019
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By Jacob Stockinger

This coming Tuesday night, May 21, at 7:30 p.m. in Overture Hall of the Overture Center, 201 State Street, is another event that can’t help but build audiences and generate good will for classical music.

That is when, once again, the professional musicians of the Wisconsin Chamber Orchestra and the student musicians of the Wisconsin Youth Symphony Orchestras will play side-by-side (below, in a rehearsal), under the baton of WCO music director Andrew Sewell,  in an inspiring example of apprenticeship and cooperation.

The Ear has been to the concert before, and loved the experience, which he found moving and excellent. He highly recommends it.

The ensemble repertoire to be played is ambitious and impressive.

In addition, soloists on the program are winners of the WYSO Concerto Competition: flutist Brian Liebau and violinist Benjamin Davies Hudson (below).

Says the WCO website: “Supporting young musicians in our community is essential to the future of music and the arts in Madison. We welcome all in the community to join us at this FREE concert.”

TICKETS
There is no charge for this concert, and no ticket is necessary to enter. Seating is general admission. Doors open at 6:45 p.m., and the concert begins at 7:30 p.m.

REPERTOIRE
Antonin Dvorak, “Slavonic Dances,” Op. 46, Nos. 1, 3 and 8 (1878)

Hamilton Harty, “In Ireland,” a fantasy for flute, harp and orchestra (1935)

Camille Saint-Saens, “Introduction and Rondo Capriccioso,” Op. 28 (1863), for violin and orchestra. (In the YouTube video at the bottom, you hear the catchy, tuneful and virtuosic work performed by violinist Itzhak Perlman.)

Peter Ilyich Tchaikovsky, Symphony No. 4 in F minor, Op. 36 (1877-78), movements 3 and 4

Modest Mussorgsky, selections from “Pictures at an Exhibition” (1874; arranged by Maurice Ravel in 1922)


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Classical music: This Saturday night and Sunday afternoon, the Oakwood Chamber Players finish their “Vignettes” season with an American audio-visual work and music by French, Italian and British composers

May 14, 2019
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By Jacob Stockinger

This weekend, the Oakwood Chamber Players — known for highlighting neglected composers and works — perform the last concert of their current season series “Vignettes” with an array of contrasting and generally neglected works from the late 19th to 21st century.

Performances will take place on Saturday night, May 18, at 7 p.m. and on Sunday afternoon, May 19, at 2 p.m. Both concerts will be held at the Oakwood Village Center for Arts and Education, 6209 Mineral Point Road, on Madison’s far west side near West Towne Mall.

Tickets can be purchased with cash or personal checks at the door: $25 for general admission, $20 for seniors and $5 for students.

Members of the Oakwood Chamber Players (below) are: Marilyn Chohaney, flute; Nancy Mackenzie, clarinet; Amanda Szyczs, bassoon; Anne Aley, horn; and Maggie Townsend, cello.

They are joined by guest artists: Valree Casey, oboe; Hillary Hempel, violin; Michael Koszewski, percussion; Jason Kutz, piano; and Carrie Backman, conductor.

American composer Michael Gandolfi (below top) collaborated with MIT computer animator Jonathan Bachrach (below bottom) to create a unique musical and visual partnership for his Abridged History of the World in Seven Acts. Six instrumentalists create overlapping textures and rhythmic interplay in response to mesmerizing images.

Four French composers from the late 19th to mid-20th century are featured: The piano, four-hand “Dolly Suite” by Gabriel Fauré (below top) in an arrangement for woodwind quintet and piano; Petite Pièces (Small Pieces) for violin, horn and piano by his student Charles Koechlin (below middle; the sweetly engaging quartet Sérénade  (Serenade) by Reynaldo Hahn (below third)and five Pièces en Trio (Trio Pieces) for oboe, clarinet and bassoon by Jacques Ibert (below bottom).

The Piano Trio in One Movement” by British composer Norman O’Neill (below) is full of verve and heart-felt melodies.

The woodwind quintet Piccolo Offerta Musicale” by noted Italian film composer Nino Rota (below), who wrote the scores for many films by Federico Fellini, is a short homage to Johann Sebastian Bach. (You can hear in the YouTube video at the bottom.)

The Oakwood Chamber Players are a group of Madison-area professional musicians who have rehearsed and performed at Oakwood Village for over 30 years. They perform in other groups, including the Madison Symphony Orchestra, the Wisconsin Chamber Orchestra and the Willy Street Chamber Players.

For more information, go to www.oakwoodchamberplayers.com or call (608) 230-4316.

The Oakwood Chamber Players are a professional music ensemble supported by Oakwood Lutheran Senior Ministries and the Oakwood Foundation.


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Classical music: This Wednesday brings a FREE Just Bach concert and the FREE Final Forte concerto competition of the  Madison Symphony Orchestra on Wisconsin Public Radio and Wisconsin Public Television

March 11, 2019
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By Jacob Stockinger

This Wednesday, March 13, brings two noteworthy and FREE events: this month’s midday Just Bach concert; and, at night, the annual Final Forte teenage concerto competition of the Madison Symphony Orchestra.

Here are details about both events:

JUST BACH

This month’s FREE hour-long performance by Just Bach (below, in a photo by John W. Barker) will take place at Luther Memorial Church, 1021 University Avenue, starting at 1 p.m. Food and drink are permitted and free-will donations are accepted.

The program this Wednesday is: the Toccata and Fugue in D Minor “Dorian” for organ, BWV 538, by Johann Sebastian Bach; the cantata “Herr, Ich Warte auf dein Heil” (Lord, I Wait for Your Salvation) by Johann Michael Bach, a cousin of Johann Sebastian; and the famous cantata “Christ lag in Todesbanden” (Christ Lay in the Bonds of Death”), BWV 4, by Johann Sebastian Bach. (You can hear the opening Sinfonia and Chorus to the latter in the YouTube video at the bottom.)

Here is a list of upcoming performances and programs for the second semester:

https://justbach.org/concerts/

And here is a link to the home page and website with links to information about the performers and more.

https://justbach.org

FINAL FORTE

Then on Wednesday night, starting at 6:45 p.m. in Overture Hall of the Overture Center, the four finalists in the annual Final Forte teenage concerto competition, held by the Madison Symphony Orchestra, will compete accompanied by the MSO and conductor John DeMain.

The public is invited to attend the FREE event, but tickets but must be reserved in advance.

The performances will also be broadcast live starting at 7 p.m. by both Wisconsin Public Television (WPT) and Wisconsin Public Radio (WPR).

The four finalists, from dozens of statewide applicants who took part in the two preliminary rounds, are (below, from left): violinist Monona Suzuki of Fitchburg playing Ravel; cellist Grace Kim of Waunakee playing Saint-Saens; flutist Holly Venkitaswaren of Lisbon playing Pierce; and pianist Antonio Wu of Madison playing Rachmaninoff.

For more information about the performers, what they will perform and how to obtain tickets, as well as background on the competition, including impressive radio and television ratings, go to:

https://madisonsymphony.org/education-community/education-programs/young-artist-competitions/the-final-forte/


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Classical music: FREE Handel aria concert by area high school singers is this Saturday afternoon at Capitol Lakes

January 23, 2019
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ALERT: This week’s FREE Friday Noon Musicale at the First Unitarian Society of Madison, 900 University Bay Drive, will feature flutist Marilyn Chohaney, of The Oakwood Chamber Players, with pianist Joseph Ross and clarinetist James Smith. The program is salon music by Arnold Bax, Florent Schmitt, Claude Debussy and Dmitri Shostakovich. Sorry, no titles have been given. The concerts run from 12:15 to 1 p.m.

By Jacob Stockinger

On this coming Saturday afternoon, Jan. 26 at 2 p.m. at Capitol Lakes Retirement Community, 333 West Main Street – two blocks off the Capitol Square — there will be an hour-long program featuring five young singers performing Handel arias.

There will also be a guest performance of a Handel duet by the Handel Aria Competition’s new artistic director Sarah Brailey (below top) and founding artistic director Cheryl Bensman-Rowe (below bottom).

You can hear Brailey, who won the Handel Aria Competition in 2015  and is now doing graduate work at the UW-Madison’s Mead Witter School of Music while pursuing her growing career, in the YouTube video at the bottom.

Karlos Moser, professor emeritus of the UW-Madison Mead Witter School of Music’s opera program, will accompany on the piano.

The performance is FREE and OPEN TO THE PUBLIC.

“Our goal is to encourage high school singers in the Madison, Wisconsin area to explore works from Handel’s vocal repertoire,” says Brailey.

All participating high school singers will receive a $100 Handel Aria Competition scholarship towards voice lessons or membership in the Madison Youth Choirs.

The high school singers who will perform are: Allana Beilke from Madison West High School; Daphne Buan from Verona Area High School; Ava DeCroix from Middleton High School; Cecilia League from McFarland High School; and Virginia Morgan from Madison West High School.

The students are all very active in the local arts scene and have participated in Wisconsin Badger All-State Choir, the Madison Opera Youth Apprentice Program, the Madison Symphony Chorus, the 50th anniversary Wisconsin School Music Association State Honors Treble Choir, and have won numerous awards in the National Association for Teachers of Singing Student Auditions and the State Solo and Ensemble Festival.

The program will include selections from operas and oratorios “Agrippina,” “Joshua,” “L’Allegro,” “Semele” and “Solomon.”


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Classical music: Here are the Grammy Award nominations for 2019 in classical music. They can serve as a great holiday gift guide and many have local ties

December 8, 2018
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By Jacob Stockinger

Is there a classical recording you wish to give or get?

Perhaps the list of classical Grammy nominations for 2019, which was just released yesterday, can help you.

It is worth mentioning that many of the musicians nominated have past, present or future ties to Madison.

Flutist Stephanie Jutt, singer Timothy Jones and pianist Jeffrey Sykes perform regularly with the Bach Dancing and Dynamite Society and Jutt and Sykes also have ties to the University of Wisconsin-Madison; producer Judith Sherman recorded the centennial commissions for the Pro Arte Quartet at the UW-Madison; and Canadian violinist James Ehnes has performed several times with the Madison Symphony Orchestra and will do so again this season, while pianist Marc-André Hamelin will make his MSO debut this season.

And there are other local tie-ins including pianist Jonathan Biss and the Pulitzer Prize-winning composer John Harbison, who also co-directs the  Token Creek Chamber Music Festival. Plus, the group Apollo’s Fire makes its local debut playing Bach and Vivaldi in March at the Wisconsin Union Theater.

Here are — without record labels, curiously  — the nominees for the 61st annual Grammy Awards. The winners will be announced during a live TV broadcast on CBS on Sunday, Feb. 10, 2019, from the Staples Center in Los Angeles. For more information, go to: https://www.grammy.com


  1. Best Engineered Album, Classical
    An Engineer’s Award. (Artist names appear in parentheses.)

BATES: THE (R)EVOLUTION OF STEVE JOBS
Mark Donahue & Dirk Sobotka, engineers; Mark Donahue, mastering engineer (Michael Christie, Garrett Sorenson, Wei Wu, Sasha Cooke, Edwards Parks, Jessica E. Jones & Santa Fe Opera Orchestra)

BEETHOVEN: SYMPHONY NO. 3; STRAUSS: HORN CONCERTO NO. 1
Mark Donahue, engineer; Mark Donahue, mastering engineer (Manfred Honeck & Pittsburgh Symphony Orchestra)

JOHN WILLIAMS AT THE MOVIES
Keith O. Johnson & Sean Royce Martin, engineers; Keith O. Johnson, mastering engineer (Jerry Junkin & Dallas Winds)

LIQUID MELANCHOLY – CLARINET MUSIC OF JAMES M. STEPHENSON
Bill Maylone & Mary Mazurek, engineers; Bill Maylone, mastering engineer (John Bruce Yeh)

SHOSTAKOVICH: SYMPHONIES NOS. 4 & 11 (below)
Shawn Murphy & Nick Squire, engineers; Tim Martyn, mastering engineer (Andris Nelsons & Boston Symphony Orchestra)

VISIONS AND VARIATIONS
Tom Caulfield, engineer; Jesse Lewis, mastering engineer (A Far Cry)

 

  1. Producer Of The Year, Classical A Producer’s Award. (Artist names appear in parentheses.)

BLANTON ALSPAUGH

  • Arnesen: Infinity – Choral Works (Joel Rinsema & Kantorei
  • Aspects Of America (Carlos Kalmar & Oregon Symphony)
  • Chesnokov: Teach Me Thy Statutes (Vladimir Gorbik & PaTRAM Institute Male Choir)
  •  Gordon, R.: The House Without A Christmas Tree (Bradley Moore, Elisabeth Leone, Maximillian Macias, Megan Mikailovna Samarin, Patricia Schuman, Lauren Snouffer, Heidi Stober, Daniel Belcher, Houston Grand Opera Juvenile Chorus & Houston Grand Opera Orchestra)
  • Haydn: The Creation (Andrés Orozco-Estrada, Betsy Cook Weber, Houston Symphony & Houston Symphony Chorus)
  • Heggie: Great Scott (Patrick Summers, Manuel Palazzo, Mark Hancock, Michael Mayes, Rodell Rosel, Kevin Burdette, Anthony Roth Costanzo, Nathan Gunn, Frederica von Stade, Ailyn Pérez, Joyce DiDonato, Dallas Opera Chorus & Orchestra)
  • Music Of Fauré, Buide & Zemlinsky (Trio Séléné)
  • Paterson: Three Way – A Trio Of One-Act Operas (Dean Williamson, Daniele Pastin, Courtney Ruckman, Eliza Bonet, Melisa Bonetti, Jordan Rutter, Samuel Levine, Wes Mason, Matthew Treviño & Nashville Opera Orchestra)
  • Vaughan Williams: Piano Concerto; Oboe Concerto; Serenade To Music; Flos Campi (Peter Oundjian & Toronto Symphony Orchestra)

DAVID FROST

  • Beethoven: Piano Sonatas, Volume 7 (Jonathan Biss)
  • Mirror In Mirror (Anne Akiko Meyers, Kristjan Järvi & Philharmonia Orchestra)
  • Mozart: Idomeneo (James Levine, Alan Opie, Matthew Polenzani, Alice Coote, Nadine Sierra, Elza van den Heever, The Metropolitan Opera Orchestra & Chorus)
  • Presentiment (Orion Weiss)
  • Strauss, R.: Der Rosenkavalier (Sebastian Weigle, Renée Fleming, Elīna Garanča, Erin Morley, Günther Groissböck, Metropolitan Opera Orchestra & Chorus)

 ELIZABETH OSTROW

  • Bates: The (R)evolution Of Steve Jobs (Michael Christie, Garrett Sorenson, Wei Wu, Sasha Cooke, Edwards Parks, Jessica E. Jones & Santa Fe Opera Orchestra)
  • The Road Home (Joshua Habermann & Santa Fe Desert Chorale)

JUDITH SHERMAN (below top)

  • Beethoven Unbound (Llŷr Williams)
  • Black Manhattan Volume 3 (Rick Benjamin & Paragon Ragtime Orchestra)
  • Bolcom: Piano Music (Various Artists)
  • Del Tredici: March To Tonality (Mark Peskanov & Various Artists)
  • Love Comes In At The Eye (Timothy Jones, below bottom, Stephanie Sant’Ambrogio, Jeffrey Sykes, Anthony Ross, Carol Cook, Beth Rapier & Stephanie Jutt). An excerpt is in the YouTube video at the bottom.
  •  Meltzer: Variations On A Summer Day & Piano Quartet (Abigail Fischer, Jayce Ogren & Sequitur)
  • Mendelssohn: Complete Works For Cello And Piano (Marcy Rosen & Lydia Artymiw)
  • New Music For Violin And Piano (Julie Rosenfeld & Peter Miyamoto)
  • Reich: Pulse/Quartet (Colin Currie Group & International Contemporary Ensemble)

DIRK SOBOTKA

  • Beethoven: Symphony No. 3; Strauss: Horn Concerto No. 1 (Manfred Honeck & Pittsburgh Symphony Orchestra)
  • Lippencott: Frontier Symphony (Jeff Lippencott & Ligonier Festival Orchestra)
  • Mahler: Symphony No. 8 (Thierry Fischer, Mormon Tabernacle Choir & Utah Symphony)
  • Music Of The Americas (Andrés Orozco-Estrada & Houston Symphony)


Best Orchestral Performance

 Award to the Conductor and to the Orchestra

  • BEETHOVEN: SYMPHONY NO. 3; STRAUSS: HORN CONCERTO NO. 1. Manfred Honeck, conductor (Pittsburgh Symphony Orchestra)
  • NIELSEN: SYMPHONY NO. 3 & SYMPHONY NO. 4. Thomas Dausgaard, conductor (Seattle Symphony)

      •  RUGGLES, STUCKY & HARBISON: ORCHESTRAL WORKS. David Alan Miller, conductor (National Orchestral Institute Philharmonic)

  • SCHUMANN: SYMPHONIES NOS. 1-4. Michael Tilson Thomas (below), conductor (San Francisco Symphony)

      • SHOSTAKOVICH: SYMPHONIES NOS. 4 & 11. Andris Nelsons, conductor (Boston Symphony Orchestra)

Best Opera Recording – Award to the Conductor, Album Producer(s) and Principal Soloists.

  • ADAMS: DOCTOR ATOMIC. John Adams, conductor; Aubrey Allicock, Julia Bullock, Gerald Finley & Brindley Sherratt; Friedemann Engelbrecht, producer (BBC Symphony Orchestra; BBC Singers)

      •   BATES: THE (R)EVOLUTION OF STEVE JOBS. Michael Christie, conductor; Sasha Cooke, Jessica E. Jones, Edwards Parks, Garrett Sorenson & Wei Wu; Elizabeth Ostrow, producer (The Santa Fe Opera Orchestra) 

  • LULLY: ALCESTE. Christophe Rousset, conductor; Edwin Crossley-Mercer, Emiliano Gonzalez Toro & Judith Van Wanroij; Maximilien Ciup, producer (Les Talens Lyriques; Choeur De Chambre De Namur) 
  • STRAUSS, R.: DER ROSENKAVALIER. Sebastian Weigle, conductor; Renée Fleming, Elīna Garanča, Günther Groissböck & Erin Morley; David Frost, producer (Metropolitan Opera Orchestra; Metropolitan Opera Chorus) 
  • VERDI: RIGOLETTO. Constantine Orbelian, conductor; Francesco Demuro, the late Dmitri Hvorostovsky (below) & Nadine Sierra; Vilius Keras & Aleksandra Keriene, producers (Kaunas City Symphony Orchestra; Men Of The Kaunas State Choir)

 

  1. Best Choral Performance

Award to the Conductor, and to the Choral Director and/or Chorus Master where applicable and to the Choral Organization/Ensemble. 

  • CHESNOKOV: TEACH ME THY STATUTES. Vladimir Gorbik, conductor (Mikhail Davydov & Vladimir Krasov; PaTRAM Institute Male Choir) 
  • KASTALSKY: MEMORY ETERNAL. Steven Fox, conductor (The Clarion Choir) 
  • MCLOSKEY: ZEALOT CANTICLES. Donald Nally, conductor (Doris Hall-Gulati, Rebecca Harris, Arlen Hlusko, Lorenzo Raval & Mandy Wolman; The Crossing)

      •  RACHMANINOV: THE BELLS. Mariss Jansons (below), conductor; Peter      Dijkstra, chorus master (Oleg Dolgov, Alexey Markov & Tatiana Pavlovskaya; Symphonieorchester Des Bayerischen Rundfunks; Chor Des Bayerischen Rundfunks) 

  • SEVEN WORDS FROM THE CROSS. Matthew Guard, conductor (Skylark)
  • Best Chamber Music/Small Ensemble Performance 

For new recordings of works with chamber or small ensemble (twenty-four or fewer members, not including the conductor). One Award to the ensemble and one Award to the conductor, if applicable.

  • ANDERSON, LAURIE: LANDFALL. Laurie Anderson & Kronos Quartet
  • BEETHOVEN, SHOSTAKOVICH & BACH. The Danish String Quartet
  • BLUEPRINTING. Azure Quartet 
  • STRAVINSKY: THE RITE OF SPRING CONCERTO FOR TWO PIANOS Leif Ove Andsnes & Marc-André Hamelin (below)
  • VISIONS AND VARIATIONS. A Far Cry

 

  1. Best Classical Instrumental Solo

Award to the Instrumental Soloist(s) and to the Conductor when applicable. 

  • BARTÓK: PIANO CONCERTO NO. 2. Yuja Wang (below); Simon Rattle, conductor (Berliner Philharmoniker)
  • BIBER: THE MYSTERY SONATAS. Christina Day Martinson; Martin Pearlman, conductor (Boston Baroque). 
  • BRUCH: SCOTTISH FANTASY, OP. 46; VIOLIN CONCERTO NO. 1 IN G MINOR, OP. 26. Joshua Bell (The Academy Of St. Martin In The Fields) 
  • GLASS: THREE PIECES IN THE SHAPE OF A SQUARE. Craig Morris 
  • KERNIS: VIOLIN CONCERTO. James Ehnes; Ludovic Morlot, conductor (Seattle Symphony)

  1. Best Classical Solo Vocal Album 

Award to: Vocalist(s), Collaborative Artist(s) (Ex: pianists, conductors, chamber groups) Producer(s), Recording Engineers/Mixers with 51% or more playing time of new material.

  • ARC. Anthony Roth Costanzo; Jonathan Cohen, conductor (Les Violons Du Roy) 
  • THE HANDEL ALBUM. Philippe Jaroussky; Artaserse, ensemble
  • MIRAGES. Sabine Devieilhe; François-Xavier Roth, conductor (Alexandre Tharaud; Marianne Crebassa & Jodie Devos; Les Siècles)

      • SCHUBERT: WINTERREISE. Randall Scarlata; Gilbert Kalish,     accompanist

 SONGS OF ORPHEUS – MONTEVERDI, CACCINI, D’INDIA & LANDI.          Karim Sulayman; Jeannette Sorrell, conductor; Apollo’s Fire, ensembles 

  1. Best Classical Compendium 

Award to the Artist(s) and to the Album Producer(s) and Engineer(s) of over 51% playing time of the album, if other than the artist. 

  • FUCHS: PIANO CONCERTO ‘SPIRITUALIST’; POEMS OF LIFE; GLACIER; RUSH. JoAnn Falletta, conductor; Tim Handley, producer 
  • GOLD. The King’s Singers; Nigel Short, producer 
  • THE JOHN ADAMS (below) EDITION. Simon Rattle, conductor; Christoph Franke, producer
  • JOHN WILLIAMS AT THE MOVIES. Jerry Junkin, conductor; Donald J. McKinney, producer 
  • VAUGHAN WILLIAMS: PIANO CONCERTO; OBOE CONCERTO; SERENADE TO MUSIC; FLOS CAMPI. Peter Oundjian, conductor; Blanton Alspaugh, producer

 

  1. Best Contemporary Classical Composition 

A Composer’s Award. (For a contemporary classical composition composed within the last 25 years, and released for the first time during the Eligibility Year.) Award to the librettist, if applicable.

  • BATES: THE (R)EVOLUTION OF STEVE JOBS. Mason Bates, composer; Mark Campbell, librettist (Michael Christie, Garrett Sorenson, Wei Wu, Sasha Cooke, Edwards Parks, Jessica E. Jones & Santa Fe Opera Orchestra) 
  • DU YUN: AIR GLOW. Du Yun, composer (International Contemporary Ensemble) 
  • HEGGIE: GREAT SCOTT. Jake Heggie, composer; Terrence McNally, librettist (Patrick Summers, Manuel Palazzo, Mark Hancock, Michael Mayes, Rodell Rosel, Kevin Burdette, Anthony Roth Costanzo, Nathan Gunn, Frederica von Stade, Ailyn Pérez, Joyce DiDonato, Dallas Opera Chorus & Orchestra) 
  • KERNIS: VIOLIN CONCERTO. Aaron Jay Kernis, composer (James Ehnes (below), Ludovic Morlot & Seattle Symphony) 
  • MAZZOLI: VESPERS FOR VIOLIN. Missy Mazzoli, composer (Olivia De Prato)


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Classical music: The Middleton Community Orchestra and solo flutist Iva Ugrcic turn in polished performances of a fun program to kick off the new season

October 12, 2018
3 Comments

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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 89.9 FM. For years, he served on the Board of Advisors for the Madison Early Music Festival and frequently gives pre-concert lectures in Madison. He also took the performance photo.

By John W. Barker

The opening concert on Wednesday night by the largely amateur Middleton Community Orchestra (below top), under the baton of Steve Kurr (below bottom), was a relatively brief but pithy one, with only three short works on the program.

The opener was Autumn, the most frequently played section of the ballet The Seasons, Op. 67 (1899), by Alexander Glazunov (below) and one of the composer’s most frequently heard pieces. It is a rondo-like sequence of varied dance movements, full of lyricism and bright colors. The Middleton players dug into it with gusto.

Second came the Flute Concerto in D Major, Op. 283, by the prolific 19th-century German composer Carl Reinecke (1824-1910, below). He was conservative as a teacher and as a prolific composer.

Among his concertos, this one was his last, written just two years before his death. It is an engaging work, not notable for great ideas, but amiable, with a good virtuosic workout for the soloist.

The soloist was the Serbian-born flutist Iva Ugrcic, an absolute whiz of a player, and, among other things, a product of the UW-Madison’s Mead Witter School of Music doctoral program.  She played with super-precision and confidence, giving her instrument great personality.

Without intermission, the concert ended with the Symphony No. 100, known as the “Military,” by Franz Joseph Haydn (below). It was first played in 1794 among the composer’s “London” Symphonies during his second visit to England. But it may well have been begun while he was in Vienna, for it reflects a particular fad popular there.

This was the use in orchestral writing of an adaptation of the sounds of the Turkish Janissary band. In the second movement, whose tune was taken from an earlier chamber work of his, Haydn introduced recurrently the “Turkish” instruments (two clarinets, triangle, cymbals, bass drums) with startling effect.

At the movement’s end, a trumpet call brings these novelties back for a crashing conclusion. And then, in the fourth movement’s ending, the “Janissary” instruments return for another razzle-dazzle finish. (You can hear the fourth movement in the YouTube video at the bottom.)

It’s all great fun, and the orchestra players seemed to find their own enjoyment in it.

The MCO continues its steady growth as a polished and reliable ensemble — all 98 players!


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