The Well-Tempered Ear

Classical music: ECM Records finally streams its entire catalogue of award-winning artists and recordings

November 18, 2017
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By Jacob Stockinger

The critically acclaimed and award-winning independent label ECM (Edition of Contemporary Music) was founded in Munich, Germany, in 1969 by the Grammy-winning producer Manfred Eicher (below).

Known for its penchant for the contemporary and even avant-garde, Eicher’s label was nonetheless a conservative hold-out when it came to the newer technology of digital streaming.

The old technology has its points besides superior sound quality. When you got an ECM CD, you usually also got one of their terrific black-and-white photographs, often a square-format landscape, as a cover. (ECM even published a book of its photographic covers.)

But as of this past Friday, ECM finally gave into the inevitable and streamed its entire catalogue. Its rationale was that it was more important for its music and musicians to be heard than to remain loyal to certain platforms.

ECM also cited the pressure from unauthorized uploads to YouTube and bootleg versions of its recordings as the reason for the decision.

So as of yesterday, ECM, which has won many awards for individual titles and artists, will be available on Apple Music, Spotify, Amazon, Deezer, Tidal and other streaming services.

ECM is known for its popular and critically acclaimed jazz artists including pianist Keith Jarrett (below, of “The Köln Concert” or The Cologne Concert) and saxophonist Jan Garbarek and the Hilliard Ensemble (“Officium”). But it also included classical chamber music groups such as the Keller Quartet, the Trio Medieval, the Danish Quartet and others.

ECM is also known for championing contemporary classical composers (Arvo Pärt, below, who is the most performed contemporary composer, as well as Tigur Mansurian, Lera Auerbach, Gyorgy Kurtag and Valentin Silvestrov among others) and some outstanding crossover classical musicians, including Jarrett, a jazz great who has also recorded Bach, Handel and Shostakovich on both piano and harpsichord.

The Ear especially likes violist Kim Kashkashian and Harvard pianist Robert Levin (a frequent performer at the Token Creek Chamber Music Festival) in sonatas of Brahms. He is also fond of Alexei Lubimov in various piano recitals as well as the many recordings of Bach, Beethoven, Schubert, Janacek and Robert Schumann by the superb pianist Andras Schiff (below). In the YouTube video at the bottom, you can hear Schiff in a live performance of the Gigue from Bach’s Keyboard Partita No. 3.)

And there are many, many more artists and recordings worth your attention. Here is a link to an extensive sampler on YouTube:

https://www.youtube.com/user/ECMRecordsChannel

Who are your favorite ECM artists?

What are your favorite ECM recordings?

What ECM downloads do you recommend?

The Ear wants to hear.

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Classical music: Organist Greg Zelek, of the Madison Symphony Orchestra, will give a FREE celebratory recital at First United Methodist Church this coming Tuesday night

November 10, 2017
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By Jacob Stockinger

The Ear has received the following announcement to post:

“Greg Zelek (below), the new principal organist of the Madison Symphony Orchestra and Curator of the Overture Concert Organ and Series, will present a FREE public organ recital on this coming Tuesday night, Nov. 14, at 7 p.m. at First United Methodist Church, 203 Wisconsin Avenue, in downtown Madison.

“The evening’s program of masterpieces includes: the Toccata and Fugue in D minor, BWV 565, by Johann Sebastian Bach; the Organ Sonata in F minor, Op. 65, No. 1, by Felix Mendelssohn; the Prelude and Fugue in A minor, BWV 543, by J.S. Bach (heard performed by Zelek in the YouTube video at the bottom); and the Organ Sonata in D minor, Op. 42, No. 1, by Alexandre Guilmant.

“A public reception follows the recital where people can share their thoughts about the program and meet the artist.

“Zelek says he relishes the creative aspect of playing the organ. Because no two instruments are alike, every time he sits down at a new console he reinvents the repertoire that he has played thousands of times for that specific instrument and that specific space.

“Zelek adds: “It gives me the opportunity to be as creative as possible when it comes to the selecting of different sounds and colors for each individual instrument and composition.”

“The First Church organ console (below top), as well as the one (below bottom) at the Overture Center, is in front of the audience, offering the organist opportunities to interact and engage with them.

“I speak to the audience in between pieces,” Zelek explains. “Having a greater understanding of the music sheds light onto its immense beauty and enhances the listener’s appreciation of the performance.

“The organ is also such a physical instrument. When the audience can see what the organist is doing, it draws everybody in. There is so much going on. It’s not just the hands and the feet, but also the different buttons we’re pushing and sounds we’re generating from the instrument. It is a full body workout when I play! The audience should never be bored.”

“Zelek’s recital is part of the 180th anniversary celebration of First United Methodist Church as well as the 25th anniversary of its Austin organ.

“Admission for the recital is FREE with donation envelopes available to support The Arts program at First Church. The church has a deep tradition in featuring varied musical offerings and provides much needed rehearsal and performing space for local music and performing arts groups.”


Classical music: Master pianist Richard Goode performs music by Bach, Beethoven, Chopin and Alban Berg in a MUST-HEAR recital this Saturday night at the Wisconsin Union Theater

November 1, 2017
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By Jacob Stockinger

He may not have the instant worldwide name recognition and box-office appeal of, say, Lang-Lang or Martha Argerich.

But in The Ear’s book American pianist Richard Goode (below) is nonetheless a superstar.

That is because Goode is a chameleon in the best sense.

Whatever he plays — live or on recordings — feels as if someone with a deep understanding and a natural affinity for the unique qualities of that specific composer and work is at the keyboard.

His Bach always sounds so Bachian. His Mozart always sounds so Mozartean. His Beethoven always sounds so Beethovenian. His Schubert always sounds so Schubertian. And his Brahms – for which he won a Grammy – always sounds so Brahmsian. (In the YouTube video at the bottom, you can hear Goode discuss how he deliberately chooses a selective repertoire that he can return to again and again.)

Whenever you hear Goode, you come away thinking, “Now that is  how the composer meant his music to sound.” Goode just disappears into the music.

Goode, who co-directed the venerable summertime Marlboro Music Festival for 14 years until 2013, always puts himself at the service of the music, never the other way around as so many other firebrand virtuosos do.

Goode, a shy man who collects books and fine art, is not given to flamboyance or theatrics. His interpretations always seem exactly right, never exaggerated and weird but both beautiful and emotionally convincing. He is, in short, a complete musician — recitalist, soloist in concertos and chamber music partner — and not just a great pianist. His is a quiet, self-effacing virtuosity.

You get the idea.

And you can sample such superlative musicianship for yourself this Saturday night at 7:30 p.m. when Goode returns to perform a varied recital in Shannon Hall at the Wisconsin Union Theater.

This is a performer and a program that no serious fan of the piano – professional or amateur, teacher or student — should miss.

On the program of music from the 18th, 19th and 20th centuries, are: a selection of Preludes and Fugues from The Well-Tempered Clavier, Book 2, by Johann Sebastian Bach; Alban Berg’s Sonata No. 1; Beethoven’s Piano Sonata No. 28 in A Major, Op. 101, which Goode, who has recorded all 32 Beethoven piano sonatas, says is his favorite; the Nocturne in B Major, Op. 62, No. 1, and the Mazurka in C-sharp Minor, Op. 50, No. 3, by Chopin.

Wisconsin Public Radio host Norman Gilliland (below) will deliver a free pre-concert lecture at 6 p.m.

Tickets run from $20 to $47.

Here is a link to more background and information about obtaining tickets:

https://union.wisc.edu/events-and-activities/event-calendar/event/richard-goode-piano/


Classical music: Despite some flawed comparisons, the Madison Bach Musicians turn in brilliant performances in a concept program of “imitations” by Bach and Vivaldi

September 26, 2017
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By Jacob Stockinger

Here is a special posting, a review written by frequent guest critic and writer for this blog, John W. Barker. Barker (below) is an emeritus professor of Medieval history at the University of Wisconsin-Madison. He also is a well-known classical music critic who writes for Isthmus and the American Record Guide, and who hosts an early music show once a month on Sunday morning on WORT-FM 89.9 FM. For years, he served on the Board of Advisors for the Madison Early Music Festival and frequently gives pre-concert lectures in Madison.

By John W. Barker

An unusual program opened the 14th season of Trevor Stephenson’s Madison Bach Musicians (below) at the First Unitarian Society of Madison on Saturday night, and was repeated on Sunday afternoon at Holy Wisdom Monastery in Middleton.

Instead of a string of compositions with few or no connections, there was a cumulative assemblage illustrating an overriding theme, as summed up in the title of “Imitation.”

To be sure, only two composers were involved: Antonio Vivaldi and Johann Sebastian Bach. The focus was on their uses of imitative textures, including canon and fugue. There were 11 pieces in all, mostly — although not entirely — grouped in pairs, Vivaldi leading each.

The organization was fugue-like, too, beginning with two-part textures and culminating in nine parts. Thus, the nine players (four violins, two violas, two cellos and a harpsichord) were gradually built into the full company by the end.

The pairings did not evoke any direct parallelisms between Vivaldi (below top) and Bach (below bottom), though the former’s experimental and extroverted Italian style stood in regular contrast with Bach’s Germanic seriousness, even as each explored similar contrapuntal possibilities.

The entire concept of the program was intriguing. I did, however, find that two specific selections, both by Bach, did not fit well. They were given in transcriptions rather than as the composer intended. Thus, a fugue from The Well-Tempered Clavier was delivered not on the keyboard, but by five string players.

To be sure, that transformation allowed the three-voice counterpoint to be heard more distinctly, but the fact remains that it was written for keyboard and Bach’s part writing deserved to be heard as he intended.

A more serious instance was the tantalizing idea of hearing Bach’s own transcription of a work by Vivaldi. The original was the Concerto in D minor, Op. 3, No. 11, a true concerto grosso, matching a concertino of two violins and cello against a full four-part string ensemble.

Now, Bach made transcriptions of a number of Vivaldi concertos, but presenting any of them in this context posed practical concerns for these players. In this case, Bach’s adaptation was for solo organ. Instead, we heard it with Bach’s organ transcription transcribed, in turn, into a concerto for nine players by one of the group’s violists, Micah Behr.

(You can compare Vivaldi’s Concerto for Four Violins to Bach’s reworking of the same concerto for four harpsichords in the YouTube video at bottom.)

Again, this third-hand edition allowed for contrapuntal clarity, but it totally distorted Bach’s intentions as a transcriber himself.

That said, the performances were all brilliant. Visiting Baroque cellist Steuart Pincombe (below) was something of a star, but all musicians played wonderfully, sitting in a circle for closest interaction and without an intermission.

Still, reservations about this program aside, this concept or idea concert is worth trying again.


Classical music: The Madison Bach Musicians perform “imitative” works by Bach and Vivaldi this coming Saturday night and Sunday afternoon

September 19, 2017
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By Jacob Stockinger

In an original program that is organized much like the music it features, the early music group Madison Bach Musicians (below) will open their new season this weekend with a concert that offers a counterpoint of music by Johann Sebastian Bach and Antonio Vivaldi — all done with period instrument and historically informed performance practices.

The two concerts are:

This coming Saturday night, Sept. 23, with a 6:45 p.m. pre-concert lecture by MBM founder, artistic director and keyboardist Trevor Stephenson (below), and a 7:30 p.m. concert at the First Unitarian Society of Madison, 900 University Bay Drive in Madison.

This coming Sunday afternoon, Sept. 24, with 2:45 p.m. pre-concert lecture and a 3:30 p.m. concert at Holy Wisdom Monastery, 4200 County Road M, in Middleton.

The guest soloist is Steuart Pincombe (below, in a photo by Ryan West), who plays the baroque cello. He will join the Madison Bach Musicians for this innovative concert – an dual exploration of fugues and imitation from the German Bach and the Italian Vivaldi — two masters of the Baroque.

The concert itself is structured much like a fugue. Starting from a single voice, selections alternate between pieces by Vivaldi (below top) and by Bach (below bottom) ―with each new section of the concert requiring an additional performer. (Sorry, no word on specific works except for the finale.)

The program culminates with the entire ensemble performing Vivaldi’s D minor Concerto Grosso alongside a string arrangement of Bach’s own transcription of the same piece. (You can hear the original by Vivaldi in the YouTube video at the bottom.) 

Advance-sale discount tickets cost $30 for general admission and at available at Orange Tree Imports and Willy Street Co-op, East and West.

Advance sale online tickets can be found at: www.madisonbachmusicians.org

Tickets at the door are $33 for the general public, and $30 for seniors 65-plus with Student Rush tickets costing $10 and going on sale 30 minutes before the pre-concert lecture.


Classical music: This weekend the Madison Symphony Orchestra opens its new season with Mendelssohn’s “Reformation” Symphony and music by Bach. It also highlights principal violist in music by Berlioz

September 13, 2017
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By Jacob Stockinger

This coming weekend, the Madison Symphony Orchestra (MSO, below in a photo by Peter Rodgers), with music director John DeMain conducting, opens its 92nd season with a celebration of the 500th anniversary of the Lutheran Reformation.

The season-opening concert also showcases the Madison Symphony Orchestra as an ensemble with no guest soloist. The MSO’s Principal Violist Chris Dozoryst (below) will solo in Hector Berlioz’sHarold in Italy.”

Also featured is Leopold Stokowski’s famous orchestral arrangement of Johann Sebastian Bach’s Toccata and Fugue in D Minor, and the 500th anniversary of the Lutheran Reformation will be honored with Felix Mendelssohn’s “Reformation” Symphony.

The concerts in Overture Hall of the Overture Center, 201 State Street, are on Friday night, Sept. 15, at 7:30 p.m.; Saturday night, Sept. 16, at 8 p.m., and Sunday afternoon, Sept. 17, at 2:30 p.m.

Ticket information is below.

According to the MSO press release: “The concerts present the music of two composers who shared a deeply spiritual relationship with the Lutheran faith, and passion for music. It is said that Johann Sebastian Bach set faith to music, and Felix Mendelssohn clarified faith for all to hear.

MSO Music Director John DeMain (below, in a photo by Greg Anderson) chose to pair Bach and Mendelssohn specifically for this program.

“Both Bach (below top) and Mendelssohn (below bottom) were devout Lutherans, Mendelssohn having converted from Judaism when he was 12 years old,” DeMain says.

“I decided to open the season with Leopold Stokowski’s great transcription of Bach’s Toccata and Fugue in D Minor for organ, and then give the first performance by the MSO of Mendelssohn’s Symphony No. 5, subtitled the Reformation. Indeed, this symphony quotes extensively from one of the greatest Christian hymns of all time — “A Mighty Fortress Is Our God.””

Bach’s Toccata and Fugue in D minor is a transcription for orchestra by Leopold Stokowski (below) and became well-known after its inclusion in Disney’s film Fantasia. The piece was originally cut from the theatrical release of the film, but was later added back in a 1946 re-release and included Stokowski directing the orchestra at the beginning of the piece. (You can hear the original version for organ, with an unusual graphic display, in the YouTube video at the bottom.)

Hector Berlioz’sHarold in Italy” is considered an autobiographical vignette recounting the composer’s Italian experience. The piece is filled with youthful vitality, tinged with an appealing Romantic sensibility that Berlioz (below)  borrowed freely from literature, most specifically Lord Byron’s poem “Childe Harold’s Pilgrimage.” Playing the solo viola part is MSO’s Principal Violist Chris Dozoryst.

The 2017–18 season will mark Christopher Dozoryst’s 10th season as principal viola with the Madison Symphony Orchestra. In addition to his orchestral duties, Chris also performs with the MSO’s HeartStrings Program as violist with the Rhapsodie Quartet. He also performs and records, working locally and regionally in Madison and Chicago. He has performed numerous engagements with well-known musicians including Tony Bennett, Ray Charles, and Smokey Robinson.

Originally commissioned in 1830 for a celebration of the 300th anniversary of the Augsburg Confession, Mendelssohn honors Martin Luther (below) in his Symphony No. 5Reformation” by including in the finale the beloved hymn Ein’ feste Burg is unser Gott (A Mighty Fortress Is Our God) that Luther had written while the Augsburg Confession was in session. This year marks the 500th anniversary of Luther’s Ninety-Five Theses and the establishment of the Lutheran Church.

One hour before each performance, Amy Hartsough (below), acting director of music at Bethel Lutheran Church, will lead a FREE 30-minute Prelude Discussion in Overture Hall to enhance concertgoers’ understanding and listening experience.

For more background on the music, please read the Program Notes by MSO trombonist and UW-Whitewater professor Michael Allsen at: http://www.allsenmusic.com/NOTES/1718/1.Sep17.html.

The MSO recommends that concert attendees arrive early for each performance to make sure they have time to pass through Overture Center’s security stations, and so they can experience the pre-concert talk (free for all ticket-holders).

Single Tickets are $18-$90 each and are on sale now at https://www.madisonsymphony.org/singletickets, through the Overture Center Box Office at 201 State Street, or by calling the Box Office at (608) 258-4141.

Groups of 15 or more can save 25% by calling the MSO office at (608) 257-3734. For more information, go to: https://www.madisonsymphony.org/groups.

Student rush tickets can be purchased in person on the day of the concert at the Overture Center Box Office at 201 State Street. Students must show a valid student ID and can receive up to two $12 or $18 tickets.

More information is at: https://www.madisonsymphony.org/studentrush

Seniors age 62 and up receive 20% savings on advance and day-of-concert ticket purchases in select areas of the hall.

Discounted seats are subject to availability, and discounts may not be combined.  

Major funding for the September concerts is provided by: the Wisconsin State Journal and Madison.com, Rosemarie and Fred Blancke, Capitol Lakes, The Gialamas Company, Inc., Marvin J. Levy, Nancy Mohs, and Peggy and Tom Pyle. Additional funding is provided by: DeWitt Ross & Stevens S.C., Forte Research Systems and Nimblify, the Wisconsin Arts Board with funds from the State of Wisconsin, and the federal National Endowment for the Arts.


Classical music: The Oakwood Chamber Players open their new season with three concerts this weekend that feature music by Chick Corea, Bruce Broughton, Alexander Arutiunian and others

September 5, 2017
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By Jacob Stockinger

The Oakwood Chamber Players (below) officially begin their 2017-2018 season series with the theme “Journey” this coming weekend with a concert titled Departure on Saturday, Sept. 9, at 7 p.m. and Sunday, Sept. 10, at 2 p.m.

However, the Oakwood Chamber Players will also present a special performance at Bos Meadery (below), 849 E. Washington Ave., on this Friday night, Sept. 8, from 7 to 8:30 p.m. in a range of music choices that will include excerpts from the Departure concert along with a breadth of other styles of music. Donations will be accepted.

The two full-length concerts will both be held at the Oakwood Center for Arts and Education, 6209 Mineral Point Road, on the far west side of Madison near the West Towne Mall.

Guest artists pianist Joseph Ross, violist Sharon Tenhundfeld (below top) and violinist Maureen McCarty (below bottom) will join members of the Oakwood Chamber Players to launch their season.

Tickets can be purchased with cash or personal checks (no credit cards) at the door: $25 general admission, $20 seniors and $5 students.

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

According to a press release, “Departure will explore composers’ musical journeys as influenced by shifts in their artistic lives.

“Just two years after the start of his huge success in the expanding world of jazz-fusion, with renowned hits such as “Spain,” American composer and pianist Chick Corea (below) wrote his Trio for flute, bassoon and piano in 1973.

“He created a fascinating blend — a classical style that both reflects his personal jazz-like fluidity at the keyboard but also transfers the sense of conversational-like interactions that occurs between players. (You can hear Chick Corea’s Trio in the YouTube video at the bottom.)

“This succinct piece is infused with the composer’s essential and recognizable artistic voice. Corea bridges the boundary between genres in an artful and engaging way, creating a brief snapshot of two artistic worlds joined through the piece’s synergy.

“Academy Award-winning and Emmy award-winning film composer Bruce Broughton (below) has consistently contributed to the world of chamber music literature. Broughton’s successes in the film industry include Young Sherlock Holmes, Silverado and The Rescuers Down Under.

“His Primer for Malachi, for flute, clarinet, cello and piano, was written in anticipation of the birth of a grandchild in 1997. Through its five short movements the piece creates a programmatic feel. It begins with quiet introspection, progressing through each movement with increasing rhythmic and melodic intensity, peaking with an action-packed instrumental musical tag, and concluding by musically catching its breath, slowing in the final movement to calm and flowing lines, mirroring the opening effect.

“Known for his emotive melodies Armenian-Soviet pianist and composer Alexander Arutiunian wrote prolifically for orchestra, chamber music and film.

“Written in Armenia after spending several years in Moscow, the Concert Waltz for winds and piano is taken from his 1958 film score for the movie “About My Friend.” It is a wry waltz set in a minor key, and the composer infuses the familiar waltz dance form with a tongue-in-cheek sense of being on a slightly careening carousel. The piece sparkles with Armenian folk flavor and the energy is captivating.

“The Kaiserwaltz by Viennese composer Johann Strauss musically conjures up the grandeur of the ballroom. The piece was intended to symbolize ‘a toast of friendship’ between Germany and Austria. The waltz is full of upbeat musical declarations and graceful melodies.

“The Oakwood Chamber Players were pleased to discover that the piece had been reimagined from its full orchestral orchestration, written in 1889, to this delightful version, arranged in 1925 for chamber ensemble by Arnold Schoenberg (below). The grace of this music is refined and enduring.

“German composer and organist Max Reger’s perspective on compositional artistry was informed by the masters who came before him.

“However, perpetually fascinated by fugues, Reger (below) often wrote pieces that were very abstract. He worried about the lasting reputation of penning these kinds of ultra-academic compositions. He was an ardent admirer of Bach, Brahms and Beethoven and was very capable of writing a range of styles that were both accessible and rooted in the historic perspectives.

“In his Serenade for flute, violin, and viola, written just a year before his death, he sought to show the range of his compositional capabilities and to silence critics by leaving more approachable music for posterity. At this pivotal time he reached his goal ably, giving the performers an outstanding piece with nimble rhythms, memorable melodies, and the bright voicing of an upbeat sound palette.”

This is the first of five concerts in the Oakwood Chamber Players’ 2017-2018 season series entitled Journey. Remaining concerts will take place on Nov. 26; Jan. 13 and 14; March 10 and 11; and May 19 and 20.

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


Classical music: Composer-performer John Harbison explains why the Token Creek Chamber Music Festival is revisiting “The Musical Offering” by Johann Sebastian Bach for a third time

August 25, 2017
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By Jacob Stockinger

If you have ever attended a concert at the Token Creek Chamber Music Festival (below), which opens this Saturday night at 8 p.m. and Sunday afternoon at 4 p.m., you know how insightful the short commentaries by John Harbison invariably are.

Perhaps that should come as no surprise. Harbison (below), the co-founder and co-artistic director with his violinist wife Rose Mary Harbison, has been awarded a MacArthur ‘genius grant” and won a Pulitzer Prize, all while teaching at MIT.

The concerts this weekend focus on Johann Sebastian Bach’s incredible “Musical Offering,” part of which you can hear in the YouTube video at the bottom.

Here is a program note by composer-pianist Harbison, which will probably be complemented by some additional remarks:

”Every musician has the experience of understanding a piece better after they have performed it. A few have careers which welcome (sometimes to a fault) chances to re-perform, hopefully with greater insight, a piece they wish to carry with them and continue to share with colleagues and listeners.

“We have performed two complete Musical Offerings by Bach (below) at Token Creek. Why are we going back to its Trio Sonata? Because it has become necessary, for the fullness of our encounter, to present what is a revision, a reconsideration, a reinforcement of vows, regarding a masterpiece whose carrot remains forever on the stick.

“Such could be said about other elements on this program. One of the subtexts is about the fascinating issue of continuo realization — the piano or harpsichord part — the strange language in which harmonic structure is described to the player in cipher.

“In pieces by Bach this language is strained to the breaking point in works such as The Musical Offering and the E minor sonata for violin and continuo; it is in fact about to disappear, replaced by the explicit writing out, in pitches, all the musical information. Living in the world before and after this decision was taken is one of the preoccupations of this concert.

“In a concert dominated by Bach, the requirement of the other pieces (by Haydn and Harbison) is really sufficient originality and integrity not to be dwarfed or rendered ephemeral by his authority, a high bar, considered carefully by the management.”

For more information about the five concerts of three different programs, including ticket information, go to: http://tokencreekfestival.org


Classical music: This year’s Token Creek Chamber Music Festival will explore “Necessary Music” by Bach, Schubert, Schumann, Ravel, Harbison and other composers from Aug. 26 through Sept 3

August 17, 2017
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 By Jacob Stockinger

The Ear has received the following announcement to post about an annual event that puts on a lot of MUST-HEAR programs:

TOKEN CREEK, WIS. –    In what way, and for whom, is a certain kind of music necessary?

Certainly the presenters of a chamber music festival would be presumptuous to offer a program as a sort of prescription for listeners. And at Token Creek we won’t.

So often the music we need arrives by chance, and we did not even know we needed it until it appears. And other times we know exactly what we are missing. And so we offer this year’s programs of pieces that feed the soul.

Saturday, Aug. 26, at 8 p.m. and Sunday, Aug. 27, at 4 p.m., Program I: Continuo

Some works of art are so rich that they sustain a lifetime of inquiry and encounters, each time revealing fresh new insights only possible through sustained engagement, pieces so resilient they admit multiple interpretations, approaches, nuances, shadings.

We open the season with music of Johann Sebastian Bach (below), pieces we’ve played before and some we have not, music that continues to compel for the very reason that it can never be fully plumbed, music that rewards over and over again. In a concert dominated by Bach, the requirement of the other pieces is really only that they offer sufficient originality and integrity not to be dwarfed or rendered ephemeral by his authority.

Flutist Dawn Lawler (below top), cellist Sara Sitzer (below second) and pianist Jeffrey Stanek (below third join the artistic directors composer-pianist John and violinist Rose Mary Harbison (below bottom) for this opening program.

Works:
BACH Sonata in E minor for violin and continuo, BWV 1023

HAYDN    Trio in F major for flute, cello and piano XV:17

BACH   Two Fugues, from The Art of Fugue, BWV 1080

HARBISON    Mark the Date, for flute and piano (pre-premiere)

BACH Sonata in G major for violin and continuo, BWV 1021

BACH Three-Voice Ricercar, from The Musical Offering, BWV 1079

BACH Sonata in C minor, from The Musical Offering, BWV 1079

Wednesday, Aug. 30, at 7:30 p.m. Program II: Schubert

A sequel to last year’s all-Schubert program, which offered Die Schöne Müllerin and the “Trout” Quintet, this season we offer two late masterworks by  Schubert (below): the song cycle Schwanengesang (Swan Song) and the solo piano set of six Moments Musicaux (Musical Moments).

In structure, ingenuity and invention these two large works offer an eloquent counterpoint and complement to one another. We are pleased to welcome back pianist Ya-Fei Chuang (below top), and to introduce tenor Charles Blandy (below middle) with pianist Linda Osborn (below bottom).

Works:

SCHUBERT      Andante, from Sonata in C for Piano Four Hands (“Grand Duo”),  D.812

SCHUBERT     Moments Musicaux, D.780

SCHUBERT      Schwanengesang, D.957

Saturday, Sept. 2, at 8 p.m. and Sunday, Sept. 3, at 4 p.m. Program III: Waltz

This program explores the familiar form of the waltz as an unexpectedly flexible and diverse musical type, with uncommon approaches from a wide variety of composers from Schubert through Sur.

We conclude the season with Schumann’s splendid Piano Quartet, whose third movement offers one of the greatest of slow waltzes of all time. (You can hear it performed by the Faure Quartet in the YouTube video at the bottom.)

We are pleased to introduce violist Becky Menghini (below top) and cellist Kyle Price (below bottom).

Works:

FRITZ KREISLER   Three Old Viennese Melodies for Violin and  Piano

DONALD SUR        Berceuse for Violin and Piano

SCHUBERT      Waltz Sequence

RAVEL     Valses nobles et sentimentales

GEORGE CRUMB    Sonata for Solo Cello

SCHUMANN     Quartet in E-flat for Piano and Strings, Op.   47

The Token Creek Festival has been called a gem, a treasure nestled in the heart of Wisconsin cornfields, a late-summer fixture just outside of Madison.

Now in its 28th season, the Festival has become known for its artistic excellence, diverse and imaginative programming, a deep engagement with the audience, and a surprising, enchanting and intimate performance venue in a comfortable refurbished barn.

The 2017 festival offers five events to close the summer concert season, Aug. 26–Sept. 3.

Performances take place at the Festival Barn (below), on Highway 19 near the hamlet of Token Creek (10 minutes north of Madison, near Sun Prairie) with ample parking available.

The charmingly rustic venue—indoors and air-conditioned with modern comforts—is invitingly small, and early reservations are recommended.

Concert tickets are $32 (students $12). Reservations can be secured in several ways:

More information about the Token Creek Festival and all events and artists can be found at the website, www.tokencreekfestival.org or by calling 608-241-2525.


Classical music: Madison Bach Musicians announces its 14th season with music by Vivaldi, Bach and Purcell

July 7, 2017
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By Jacob Stockinger

The Ear has received the following announcement from founder, artistic director and keyboardist Trevor Stephenson about the upcoming season of the Madison Bach Musicians (below):

“This season we are thrilled to present three wonderfully diverse programs of baroque masterworks.

“We’ll start in September with Imitation, exploring the Baroque fugal art of Antonio Vivaldi (below top) and Johann Sebastian Bach (below bottom) — with guest cellist Steuart Pincombe.

“December marks MBM’s seventh annual Baroque Holiday Concert (below, in a photo by Kent Sweitzer). This year we’ll feature Johann Sebastian Bach’s elegant Cantata 32 plus Vivaldi’s dramatic Winter from the Four Seasons.

“To cap it all off in April, we’ll test the limits of comic-tragic juxtaposition with a double-billing: Bach’s highly-caffeinated Coffee Cantata paired with the heart-rending operatic masterpiece Dido and Aeneas by Henry Purcell (below).

“Please join us as we explore this wonderful repertoire on period instruments in acoustically magnificent settings reminiscent of Baroque performance spaces.

“We invite you to become a Madison Bach Musicians season subscriber. As a subscriber, you will receive the largest savings on ticket prices, preferred seating, and easy online ordering. And this year we’re offering some exciting new subscription options, including a 2-concert package ($62, $55 for seniors 65 and over, $32 for students with ID) or 3-concert package ($90, $80 for seniors 65 plus, $45 for students with ID), and a very economical student subscription rate.

“Ticket sales make up our most reliable and vital funding source. Your support through season subscriptions gives us the financial security to produce these creative and artistically ambitious programs. I hope you will consider subscribing to this series of outstanding musical events.

“Thanks for supporting baroque music in Madison.

See you at the concerts!
Trevor Stephenson, Artist Director (below)”

September 23 and 24 

Bach and Vivaldi: Imitation; with soloist Steuart Pincombe, baroque cello

Saturday, September 23, 2017; 6:45 p.m. lecture, 7:30 p.m. concert;
First Unitarian Society of Madison–Atrium Auditorium

Sunday, September 24, 2017; 2:45 p.m. lecture, 3:30 p.m. concert; Holy Wisdom Monastery in Middleton

Join us in this exploration of fugues and imitation from Bach and Vivaldi–two masters of the Baroque! Fugues are created when a musical line is introduced by one voice and then repeated with slight variations by any number of other voices. It’s always an amazing experience for audiences to hear and see how the different voices interact. Vivaldi has simplicity and Bach the complexity, but both play the fugue game with equal vigor.

Madison Bach Musicians is thrilled to have cellist Steuart Pincombe (below) returning for this season’s opening concert. Steuart can be heard in concert venues across Europe and quite possibly around the corner in your local brewery or cafe. Wherever he performs, Steuart aims to engage with his audience through creative presentations of the classical repertoire. Don’t miss this spectacular season opener.

December 9 

Baroque Holiday Concert; Saturday, December 9, 2017; 7:15 p.m. lecture, 8 p.m. concert; First Congregational United Church of Christ

Our seventh annual Baroque Holiday Concert will once again be held in the beautiful and sonorous sanctuary of the First Congregational Church.

Soprano soloist Alisa Jordheim (below top) will be joined by oboist Aaron Hill and a baroque string ensemble in Bach’s lyrical masterpiece Cantata BWV 32 Liebster Jesu, mein Verlangen. And MBM concertmaster Kangwon Kim (below bottom) will be the featured violin soloist in Winter from Vivaldi’s Four Seasons.

April 7 & 8 

Purcell’s Dido & Aeneas and Bach’s Coffee Cantata, BWV 211

Saturday, April 7, 2018; 6:45 p.m. lecture, 7:30 p.m. concert

Sunday, April 8, 2018; 2:45 p.m. lecture, 3:30 p.m. concert

First Unitarian Society Atrium Auditorium (below, in a photo by Zane Williams)

MBM will conclude the season with period performances of the tragic operatic masterpiece, Dido & Aeneas, by Henry Purcell (below) paired in a double-billing with one of J. S. Bach’s rare comic outings, the mischievous Coffee Cantata―where substance-preoccupation (coffee, no less) and family dynamics collide.

We are pleased to offer the production of Dido and Aeneas as a semi-staged baroque opera featuring outstanding soloists, a full baroque orchestra, and beautiful dancing sequences ―thanks to the collaboration of director David Ronis (below top, in a photo by like Delalio) artistic director of the University Opera), Karen McShane–Hellenbrand (UW-Madison Dance Department), and baroque-performance specialist conductor and UW-Madison bassoon professor Marc Vallon (below bottom, in a photo by James Gill).

Come hear spectacular vocal soloists, a sumptuous chorus, gut-strung violins, violas and cellos, viola da gamba, lute, harpsichord, baroque flute―and an amazing wind machine. (You can hear “Dido’s Lament” in the YouTube video at the bottom.)

For more information and to see the season brochure, go to:

https://drive.google.com/file/d/0B1nPBhC1sb3WWDZ5RG9CQ3VpSlNkVFM2d3AxQ3JiZmthQlNZ/view


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