ALERT:The Brass Choirs of the Wisconsin Youth Symphony Orchestras will present an afternoon of brass music this Saturday afternoon, May 11, at 2:30 p.m. in Mills Concert Hall, 455 North Park Street, in Madison. Directed by Tom Curry, the program features brass musicians from WYSO’s Concert, Philharmonia and Youth Orchestras. The concert is FREE and OPEN TO THE PUBLC. Music to be played is by Johann Sebastian Bach, George Frideric Handel, Giovanni Gabrieli, Charles Gounod, Edward Elgar, Paul Hindemith, Alan Hovahaness and Karel Husa.
IF YOU LIKE A CERTAIN BLOG POST, PLEASE SPREAD THE WORD. FORWARD A LINK TO IT OR, SHARE or TAG IT (not just “Like” it) ON FACEBOOK. Performers can use the extra exposure to draw potential audience members to an event.
By Jacob Stockinger
This Saturday afternoon, May 11, the last production of this season’s “Live From the Met in HD” series, broadcast worldwide via satellite to cinemas, is Francis Poulenc’s “Dialogues of the Carmelites.”
By all accounts, it would be hard to end on a higher, stronger or more darkly dramatic note, given the outstanding music and performance of the score as well as the superb acting. (There is a brief preview of short scenes in the YouTube video at the bottom.)
The world premiere of the opera took place in 1957 at La Scala in Milan, Italy. One of the most successful operas of the later decades of the 20th century, “Dialogues of the Carmelites” is a rare case of a modern work that is equally esteemed by audiences and experts, according to program notes from the Metropolitan Opera.
The opera focuses on a young member of the order of Carmelite nuns, the aristocratic Blanche de la Force, who must overcome a pathological timidity in order to answer her life’s calling. The score reflects key aspects of its composer’s personality: Francis Poulenc (below) was an urbane Parisian with a profound mystical dimension, and the opera addresses both the characters’ internal lives and their external realities.
The opera takes place between 1789 and 1794 in Paris and in the town of Compiègne in northeastern France, the site of the Carmelite nuns’ convent.
Its historical basis is the martyrdom of a group of 16 Carmelite nuns and lay sisters from Compiègne, who chose to offer themselves as victims for the restoration of peace to France during the French Revolution.
The Met uses the classic John Dexter production of Poulenc’s devastating story of faith and martyrdom.
Mezzo-soprano Isabel Leonard (below right) sings the touching role of Blanche and soprano Karita Mattila (below left), a legend in her own time, returns to the Met as the Prioress.
The conductor for the performance is the Met’s highly acclaimed new music director Yannick Nézet-Séguin, who also leads the Philadelphia Orchestra and the Metropolitan Orchestra of Montreal.
The high-definition broadcast of the live performance from the Metropolitan Opera (below) in New York City starts at noon and runs until 3:10 p.m. with two intermissions. (It will also air at noon on Wisconsin Public Radio.)
The encore HD showings are next Wednesday, May 15, at 1 p.m. and 6:30 p.m.
The opera will be sung in French with supertitles in English, German and Spanish.
Tickets for Saturday broadcasts are $24 for adults and $22 for seniors and children under 13. For encore showings, all tickets are $18.
The cinemas where the opera can be seen are two Marcus Cinemas: the Point Cinema on the far west side of Madison (608 833-3980) and the Palace Cinema (608 242-2100) in Sun Prairie.
Here is a link to the Marcus website for addresses and more information. You can also use them to purchase tickets:
Here is a link to the Metropolitan Opera’s website where you can find the titles, dates, casts, production information and video clips of all 10 productions this past season — PLUS an announcement, with dates and titles, for next season’s 10 productions (which feature five new productions but no Verdi):
Here is a background story that focuses on the French-Canadian conductor Yannick Nézet-Séguin, who leads the orchestra in this production and is the new music director of the Metropolitan Opera:
And here is a Wikipedia history of the hi-def broadcast series that gives you more information about how many cinemas it uses, the enormous size of the worldwide audience – now including Russia, China and Israel — and how much money it makes for The Met.
IF YOU LIKE A CERTAIN BLOG POST, PLEASE SPREAD THE WORD. FORWARD A LINK TO IT OR, SHARE or TAG IT (not just “Like” it) ON FACEBOOK. Performers can use the extra exposure to draw potential audience members to an event.
By Jacob Stockinger
This Saturday, Jan. 19, starting at noon on Wisconsin Public Radio, you can hear the Metropolitan Opera’s acclaimed new production of Claude Debussy’s only opera “Pelléas et Mélisande” (below, in a photo by Ken Howard for the Met).
The orchestra will be led by the French-Canadian conductor Yannick Nézet-Séguin, who is the new music director of the Met and also received critical acclaim for his production of Verdi’s “La Traviata” earlier this season.
The production also stars local bass-baritone Kyle Ketelsen – who lives in the Madison suburb of Sun Prairie – in a major male role.
Here are two stories that pertain to the production that might interest local readers.
One is a rave review by The New York Times’ senior critic Anthony Tommasini, who singles out Ketelsen (below) for praise. Ketelsen last sang here in December during the Madison Symphony Orchestra’s Christmas program. Here is a link:
Another interesting angle to this Saturday’s production is that Nézet-Séguin is openly gay and agreed to a joint interview with his longtime partner and fellow musician Pierre Tourville (below left and right, respectively, in a photo by Jeenah Moon for the Times) at a famous gay bar in Manhattan.
It is interesting in Zachary Woolfe’s story to see why the two men see the issue of sexuality as socially and artistically relevant.
FORWARD A LINK TO IT OR SHARE IT (not just “Like It IF YOU LIKE A CERTAIN BLOG POST, PLEASE”) ON FACEBOOK. Performers can use the extra exposure to draw potential audience members to an event.
This Saturday, Dec. 15, the fourth production of this season’s “Live From the Met” in HD series is Giuseppe Verdi’s famous and popular “La Traviata” (The Fallen Woman).
The Metropolitan Opera production, sumptuously directed by Michael Mayer, stars soprano Diana Damrau (below left in a photo by Marty Sohl for The Met) as Violetta while the acclaimed Peruvian tenor Juan Diego Florez (below right) returns to the Met stage for the first time in five years to play her lover Alfredo.
It is also noteworthy because the new music director, French-Canadian Yannick Nézet-Séguin (below, in a photo by Jan Regan), will be making his “Live in HD” debut and opening a new era after his hiring to succeed James Levine. Though relatively young, he has drawn raves for his sensitive conducting and insightful interpretations of this and other operas and orchestral works.
Reportedly, he is also very popular with the singers, the orchestra players and other staff at The Met as well as with audiences.
The hi-definition broadcast of the live performance from the Metropolitan Opera (below) in New York City starts at 11:55 a.m. and runs until 3:45 p.m. with two intermissions. (It will also air on Wisconsin Public Radio at noon.)
The encore showings are next Wednesday, Dec. 19, at 1 p.m. and 6:30 p.m.
The opera will be sung in Italian with supertitles in English, German, Spanish and Italian.
Tickets for Saturday broadcasts are $24 for adults and $22 for seniors and children under 13. For encore showings, all tickets are $18.
The movie theaters where the opera can be seen are two Marcus Cinemas: the Point Cinema on the west side of Madison (608 833-3980) and the Palace Cinema (608 242-2100) in Sun Prairie.
Here is a link to the Marcus website for addresses and more information. You can also use them to purchase tickets:
Here is a link to the Metropolitan Opera’s home website where you can find the titles, dates, casts, production information and video clips of all 10 productions this season, which include operas by Bizet, Wagner, Donizetti, Saint-Saens, Puccini, Cilea and Poulenc plus a new work, “Marnie,” by Nico Muhly:
And here is another positive review from Vulture magazine in New York City. Below are the impressive set and big cast in a photo by Sara Krulwich for The New York Times:
Here is a link to other information about the production of “La Traviata,” including photos and audiovisual clips (in the YouTube video preview at the bottom you can also hear the director, conductor and others speak and sing):
And here is a Wikipedia history of the broadcast series that gives you more information about how many cinemas it uses, the enormous size of the worldwide audience – now including Russia, China and Israel — and how much money it makes for The Met.
The appointment comes just weeks after the retirement of the legendary James Levine, who served for 40 years.
Nézet-Séguin is currently the music director of the Philadelphia Orchestra, where he will remain until 2026. He officially starts his new post at The Met in the 2020-21 season and will serve as interim music director until then.
A comprehensive profile of the charismatic and energetic conductor – who is known for his unique, subtle and powerful interpretations – with the pros and cons of an appointment to The Met was recently written by New York Times music critic Zachary Woolfe.
Woolfe raves about his conducting but then goes on to raise several important points about the difference between being a conductor and a music director. (You can hear a lot of recorded performances of his conducting on YouTube. At bottom is the beginning of an insightful two-part interview with Nézet-Séguin.)
The Ear found the criticism relevant, if a little lopsided, and was impressed overall with the story.
Then leave word in the COMMENTS section and let The Ear and his readers know whether you think Nézet-Séguin should be the next music director of The Met?
You might remember that at holiday time, The Ear offered a series of roundups of the best recordings and classical music gifts of the past year. The idea is to use them as holiday gift guides.
One of those days was Grammy Day.
This past Monday night, the winners of the 58th annual Grammy were announced.
The Ear notes that there were a few items of special local and regional interest.
The late Twin Cities composer Stephen Paulus, whose works were often commissioned and premiered in Madison by the Festival Choir of Madison, the Wisconsin Chamber Choir and groups at the University of Wisconsin-Madison School of Music, was nominated for several works. And he won in two categories.
In addition, producer Judith Sherman, who already has several Grammys to her credit, was nominated again and won again. She is also the producer to the two recordings of the six centennial commissions by the Pro Arte Quartet at the University of Wisconsin-Madison. The last one – with the String Quartet No. 3 by Belgian composer Benoit Mernier and a Clarinet Quintet by Canadian composer Pierre Jalbert – will be released this spring.
In addition, violinist Augustin Hadelich (below), who has turned in outstanding and memorable performances with the Madison Symphony Orchestra, received his first Grammy for a recording of the late French composer Henri Dutilleux.
Plus, the critically acclaimed Chicago-based record company Çedille (below top), which has celebrated its 25th anniversary and which specializes in Midwest artists as well as unusual repertoire of both old and new music, had several nominations and won a Grammy for a recording of the new music group Eighth Blackbird. Two other superb artists who record for Çedille and have performed in Madison with the Wisconsin Chamber Orchestra are violinists Rachel Barton Pine and Jennifer Koh.
Here are all the winners in classical music for the 2016 Grammys. All the nominees are listed and the winners are noted with three asterisks (***):
***Ask Your Mama (below): Leslie Ann Jones, John Kilgore, Nora Kroll-Rosenbaum & Justin Merrill, engineers; Patricia Sullivan, mastering engineer (George Manahan & San Francisco Ballet Orchestra) Label: Avie Records
Dutilleux: Métaboles; L’Arbre Des Songes (Tree of Dreams); Symphony No. 2, ‘Le Double’: Dmitriy Lipay, engineer; Alexander Lipay, mastering engineer (Ludovic Morlot, Augustin Hadelich & Seattle Symphony) Label: Seattle Symphony Media
Monteverdi: Il Ritorno D’Ulisse In Patria: Robert Friedrich, engineer; Michael Bishop, mastering engineer (Martin Pearlman, Jennifer Rivera, Fernando Guimarães & Boston Baroque) Label: Linn Records
Rachmaninoff: All-Night Vigil: Beyong Joon Hwang & John Newton, engineers; Mark Donahue, mastering engineer (Charles Bruffy, Phoenix Chorale and Kansas City Chorale) Label: Chandos
Saint-Saëns: Symphony No. 3, ‘Organ’: Keith O. Johnson and Sean Royce Martin, engineers; Keith O. Johnson, mastering engineer (Michael Stern and Kansas City Symphony) Label: Reference Recordings
73. PRODUCER OF THE YEAR, CLASSICAL
Blanton Alspaugh: • Hill: Symphony No. 4; Concertino Nos. 1 & 2; Divertimento (Peter Bay, Anton Nel & Austin Symphony Orchestra) • Rachmaninoff: All-Night Vigil (Charles Bruffy, Phoenix Chorale & Kansas City Chorale) • Sacred Songs Of Life & Love (Brian A. Schmidt & South Dakota Chorale) • Spirit Of The American Range (Carlos Kalmar & The Oregon Symphony) • Tower: Violin Concerto; Stroke; Chamber Dance (Giancarlo Guerrero, Cho-Liang Lin & Nashville Symphony)
Marina A. Ledin, Victor Ledin: • Dances For Piano & Orchestra (Joel Fan, Christophe Chagnard & Northwest Sinfonietta) • Tempo Do Brasil (Marc Regnier) • Woman At The New Piano (Nadia Shpachenko)
Dan Merceruio: • Chapí: String Quartets 1 & 2 (Cuarteto Latinoamericano) • From Whence We Came (Ensemble Galilei) • Gregson: Touch (Peter Gregson) • In The Light Of Air – ICE Performs Anna Thorvaldsdottir (International Contemporary Ensemble) • Schumann (Ying Quartet) • Scrapyard Exotica (Del Sol String Quartet) • Stravinsky: Petrushka (Richard Scerbo & Inscape Chamber Orchestra) • What Artemisia Heard (El Mundo) • ZOFO Plays Terry Riley (ZOFO)
***Judith Sherman: • Ask Your Mama (George Manahan & San Francisco Ballet Orchestra) • Fields: Double Cluster; Space Sciences (Jan Kučera, Gloria Chuang & Moravian Philharmonic Orchestra) • Liaisons – Re-Imagining Sondheim From The Piano (Anthony de Mare) • Montage – Great Film Composers & The Piano (Gloria Cheng) • Multitude, Solitude (Momenta Quartet) • Of Color Braided All Desire – Music Of Eric Moe (Christine Brandes, Brentano String Quartet, Dominic Donato, Jessica Meyer, Karen Ouzounian, Manhattan String Quartet & Talujon) • Rzewski: The People United Will Never Be Defeated! (Ursula Oppens) • Sirota: Parting The Veil – Works For Violin & Piano (David Friend, Hyeyung Julie Yoon, Laurie Carney & Soyeon Kate Lee) • Turina: Chamber Music For Strings & Piano (Lincoln Trio)
Janáček: Jenůfa: Donald Runnicles, conductor; Will Hartmann, Michaela Kaune & Jennifer Larmore; Magdalena Herbst, producer (Orchestra Of The Deutsche Oper Berlin; Chorus Of The Deutsche Oper Berlin) Label: Arthaus
Monteverdi: Il Ritorno D’Ulisse In Patria: Martin Pearlman, conductor; Fernando Guimarães & Jennifer Rivera; Thomas C. Moore, producer (Boston Baroque) Label: Linn Records
Mozart: Die Entführung Aus Dem Serail: Yannick Nézet-Séguin, conductor; Diana Damrau, Paul Schweinester & Rolando Villazón; Sid McLauchlan, producer (Chamber Orchestra Of Europe) Label: Deutsche Grammophon
Steffani: Niobe, Regina Di Tebe: Paul O’Dette & Stephen Stubbs, conductors; Karina Gauvin & Philippe Jaroussky; Renate Wolter-Seevers, producer (Boston Early Music Festival Orchestra) Label: Erato
BEST CHORAL PERFORMANCE
Beethoven: Missa Solemnis: Bernard Haitink, conductor; Peter Dijkstra, chorus master (Anton Barachovsky, Genia Kühmeier, Elisabeth Kulman, Hanno Müller-Brachmann & Mark Padmore; Symphonieorchester Des Bayerischen Rundfunks; Chor Des Bayerischen Rundfunks) Label: BR Klassik
Monteverdi: Vespers Of 1610: Harry Christophers, conductor (Jeremy Budd, Grace Davidson, Ben Davies, Mark Dobell, Eamonn Dougan & Charlotte Mobbs; The Sixteen) Label: Coro
Pablo Neruda – The Poet Sings: Craig Hella Johnson, conductor (James K. Bass, Laura Mercado-Wright, Eric Neuville & Lauren Snouffer; Faith DeBow & Stephen Redfield; Conspirare) Label: Harmonia Mundi
Paulus: Far In The Heavens: Eric Holtan, conductor (Sara Fraker, Matthew Goinz, Thea Lobo, Owen McIntosh, Kathryn Mueller & Christine Vivona; True Concord Orchestra; True Concord Voices) Label: Reference Recordings
***Rachmaninoff: All-Night Vigil (below): Charles Bruffy, conductor (Paul Davidson, Frank Fleschner, Toby Vaughn Kidd, Bryan Pinkall, Julia Scozzafava, Bryan Taylor & Joseph Warner; Kansas City Chorale & Phoenix Chorale) Label: Chandos
BEST CHAMBER MUSIC/SMALL ENSEMBLE PERFORMANCE
Brahms: The Piano Trios: Tanja Tetzlaff, Christian Tetzlaff & Lars Vogt. Label: Ondine
***Filament (below and in a YouTube video at the bottom): Eighth Blackbird. Label: Cedille Records
Flaherty: Airdancing For Toy Piano, Piano & Electronics: Nadia Shpachenko & Genevieve Feiwen Lee. Track from: Woman At The New Piano. Label: Reference Recordings
Render: Brad Wells & Roomful Of Teeth. Label: New Amsterdam Records
***Dutilleux: Violin Concerto, L’Arbre Des Songes (below): Augustin Hadelich; Ludovic Morlot, conductor (Seattle Symphony) Track from: Dutilleux: Métaboles; L’Arbre Des Songes; Symphony No. 2, ‘Le Double’ Label: Seattle Symphony Media
Grieg & Moszkowski: Piano Concertos: Joseph Moog; Nicholas Milton, conductor (Deutsche Radio Philharmonie Saarbrücken Kaiserslautern) Label: Onyx Classics
Mozart: Keyboard Music, Vol. 7: Kristian Bezuidenhout. Label: Harmonia Mundi
Rachmaninov Variations: Daniil Trifonov (The Philadelphia Orchestra) Label: Deutsche Grammophon
Rzewski: The People United Will Never Be Defeated! Ursula Oppens (Jerome Lowenthal). Label: Cedille Records
photo
BEST CLASSICAL SOLO VOCAL ALBUM
Beethoven: An Die Ferne Geliebte; Haydn: English Songs; Mozart: Masonic Cantata: Mark Padmore; Kristian Bezuidenhout, accompanist. Label: Harmonia Mundi
***Joyce & Tony – Live From Wigmore Hall: Joyce DiDonato; Antonio Pappano, accompanist. Label: Erato
Nessun Dorma – The Puccini Album. Jonas Kaufmann; Antonio Pappano, conductor (Kristīne Opolais, Antonio Pirozzi & Massimo Simeoli; Coro Dell’Accademia Nazionale Di Santa Cecilia; Orchestra Dell’Accademia Nazionale Di Santa Cecilia) Label: Sony Classical
Rouse: Seeing; Kabir Padavali: Talise Trevigne; David Alan Miller, conductor (Orion Weiss; Albany Symphony) Label: Naxos
St. Petersburg: Cecilia Bartoli; Diego Fasolis, conductor (I Barocchisti) Label: Decca
BEST CLASSICAL COMPENDIUM
As Dreams Fall Apart – The Golden Age Of Jewish Stage And Film Music (1925-1955): New Budapest Orpheum Society; Jim Ginsburg, producer. Label: Cedille Records
Ask Your Mama: George Manahan, conductor; Judith Sherman, producer. Label: Avie Records
Handel: L’Allegro, Il Penseroso Ed Il Moderato, 1740: Paul McCreesh, conductor; Nicholas Parker, producer. Label: Signum Classics
***Paulus: Three Places Of Enlightenment; Veil Of Tears & Grand Concerto (below): Giancarlo Guerrero, conductor; Tim Handley, producer. Label: Naxos
Woman At The New Piano: Nadia Shpachenko; Marina A. Ledin & Victor Ledin, producers. Label: Reference Recordings
BEST CONTEMPORARY CLASSICAL COMPOSITION
Barry: The Importance Of Being Earnest: Gerald Barry, composer (Thomas Adès, Barbara Hannigan, Katalin Károlyi, Hilary Summers, Peter Tantsits & Birmingham Contemporary Music Group) Label: NMC Recordings
Norman: Play: Andrew Norman, composer (Gil Rose & Boston Modern Orchestra Project) Track from: Norman: Play. Label: BMOP/Sound
***Paulus: Prayers & Remembrances (below): Stephen Paulus, composer (Eric Holtan, True Concord Voices & Orchestra). Track from: Paulus: Far In The Heavens. Label: Reference Recordings
Then there are the ongoing truth-telling problems of NBC’s top-rated anchor Brian Williams. And comedian-host Jon Stewart is leaving The Daily Show.
The same seems to go for orchestral conductors.
ITEM: Edo DeWaart will step down at the Milwaukee Symphony Orchestra after the 2016-17 season. It is a major loss for the orchestra that many critics say has never sounded better.
ITEM: Alan Gilbert will step down from The New York Philharmonic after only eight seasons, after the 2016-17 season. He has his reasons for leaving such a prestigious post, especially after all the praise he has earned for programming and performing during his tenure.
ITEM: The conductor Israel Yinon – known for exploring neglected repertoire — has died at the age of 58, during a performance in Lucerne, Switzerland of Richard Strauss’ “An Alpine Symphony.”
On the other hand, the acclaimed Yannick Nézet-Séguin -– the openly gay French-Canadian maestro — has just extended his contract with the Philadelphia Orchestra through 2022.
This past week witnessed the fifth in the projected six events in the centennial celebration for the Pro Arte Quartet (below, in a photo by Rick Langer; event photos are by The Ear), which has served as artists-in-residence at the University of Wisconsin-Madison since 1940, when its members were stranded here by World War II and Adolf Hitler’s Nazi invasion of their homeland Belgium. For me, it proved the most satisfying centennial event yet.
Here full disclosure is necessary. I am a member of the committee that has been planning all of these celebrations, under the diligent leadership of Sarah Schaffer. Accordingly, the piece that follows has more of a personal reminiscence than an objective distance.
Each of the events is focused on a composer who has been commissioned to write a piece for the Pro Arte Quartet. The first four resulting works were given their premieres, under the supervision of the individual composers, during the course of the 2011-12 season. (The PAQ performances of these four works have now appeared in a 2-CD set from the Albany label.) The fifth premiere had to be deferred from last autumn, and finally came about on Saturday night in Mills Hall.
Whereas the previous four composers were all Americans, it was felt that the remaining ones should have Belgian connections, in view of the initial PAQ’s origins in that country. After much scouting, the choice was given to Benoit Mernier (below, in a photo by Bernard Coutant), who is a member of the Royal Academy of Belgium.
Born in 1964, Mernier has rapidly emerged as one of the pre-eminent composers in Belgium today, perhaps the leading one. The hallmark of his output as a composer is his range and versatility. He has composed three operas — a scene of his opera “La Dispute,” based on a play by Pierre de Marivaux, is in a YouTube video at bottom — and he says he loves writing for voices in settings of poetry. He has also written widely for choral, chamber and orchestral media. He studied both organ and harpsichord, and is himself an accomplished performing organist, composing extensively for the instrument.
His commission, funded by both the Pro Arte Quartet and the Serge Koussevitzky Music Foundation, has resulted in his String Quartet No. 3, completed last year. He arrived in Madison early last week, flying directly from Belgium, to supervise the work’s premiere. He established an immediate and cordial rapport with his hosts here. He had warned that his command of English was poor, but he soon disproved that in quite workable facility (with occasional help from local Francophones).
Above all, he plunged into work with the PAQ with zest. The group had been working on his score for weeks before, by contrast with some groups with which he has worked, groups still struggling to master his music. As a result, our four players were fully in command of the quartet, so that Mernier (below) could move beyond technical drilling and concentrate on their expression of his ideas.
I sat in on a three-hour “public” rehearsal in Mills Hall on Thursday, Feb. 27, and was fascinated to see Mernier bustle about in constant consultation with the players as he polished their mastery of the work. Lithe, energetic, spontaneous, he is a bundle of energy and insight.
In addition, he has an open, unforced, and vivacious personality that makes working with him a great delight. In numerous social and planning contacts, he was bubbly, engaged company. Indeed, my perception was that he conveyed to all of us not only his music but also that very outgoing personality itself
Mernier had a chance to go along with the quartet members for an “out-of-town tryout”, a so-called “pre-premiere” of his quartet as part of a full concert in Prairie du Sac last Friday evening. Then, the next evening its program was given for the official world premiere.
It was a truly rich menu, beginning with Haydn’s early Quartet, Op. 20, No. 4, a little microcosm all its own; then came the new Mernier Quartet; and, finally, Anton Bruckner’s expansive String Quintet.
So, how was the new Mernier work? Well, it seems perhaps thorny music at first encounter, although it did receive a prolonged standing ovation (below, with members of the quartet and the composer standing second from right ). Long gone are traditional structural forms and lush melodies. But it is a very thoughtfully and skillfully composed piece of about 25 minutes in length. It is cast in nine movements of varying length, interrelated in ideas and ultimately cohering into a comprehensive structure.
Before the concert, in a “conversation” onstage (below, which—full disclosure again — I moderated) Mernier discussed the sonic elements, the “signposts” that he used recurrently in putting together the whole piece.
Met honestly, the score has a logic and even power to it that one might compare to Bela Bartók’s quartets — and we have all caught up with those by now, haven’t we? I had worried that the latest blizzard that day would result in an empty house. But Mills was packed with people, and they gave an enthusiastic, and justified, standing ovation to Mernier and the PAQ players.
For my part, I think I have found this Mernier Quartet the most musically satisfying of all the commissioned works presented so far.
The concert program, minus the Haydn, was repeated the following day at the midday presentation of “Sunday Afternoon Live From the Chazen,” a concert open to the public and broadcast live on Wisconsin Public Radio.
But, if as an epilogue, I must point out the performance of the work by Bruckner (below) was an event in itself. This involves one of only two substantial chamber works composed by Bruckner, better known for massive and grandly architectural symphonies for large orchestra.
Completed in 1879, between his Fifth and Sixth Symphonies, this is an extensive (one should not say “sprawling”) work, calling for a second viola as the fifth instrument. Composed in the same format and style as symphonic works of Bruckner (below), this score might almost be understood as the blueprint for a kind of mini-symphony by the composer.
The performance by the PAQ, their first address to it, was for me another reminder of the value of experiencing in a “live performance” a work I have known only from recordings.
Being able to watch the players in action helps to understand the writing. I realized for the first time, for example, just how much of a prominent role is accorded to the first viola in the string texture here. And in this performance, that role was vividly fulfilled by a guest player, Samuel Rhodes (below) of the Juilliard School , who recently retired from the Juilliard String Quartet and remains one of the country’s leading violists, and a good friend of many of the PAQ players.
Also, I could observe clearly how Bruckner, in this chamber writing, treated the two violins and the two violas (below, Sally Chisholm on the left and Samuel Rhodes on the right) as distinct entities, variously using them in either interplay or opposition, while the cello receded to pizzicato rhythms, or dropped out entirely. Such are the revelations that direct personal experience of performances allow!
In all, then, a truly wonderful event this centennial concert proved to be a truly wonderful event. And there is still one more, with the world premiere of a Clarinet Quintet by French-Canadian composer Pierre Jalbert (below) next September, with another delightful pre-concert dinner (below) and art tour in the new wing of the Chazen Museum of Art scheduled to take place.