The Well-Tempered Ear
Vivaldi turns 345 today. His irresistable music deserves more live performances
15 Comments
PLEASE HELP THE EAR. IF YOU LIKE A CERTAIN BLOG POST, SPREAD THE WORD. FORWARD A LINK TO IT OR, SHARE IT or TAG IT (not just “Like” it) ON FACEBOOK. Performers can use the extra exposure to draw potential audience members to an event. And you might even attract new readers and subscribers to the blog.
By Jacob Stockinger
Today The Ear wishes Happy Birthday to composer Antonio Vivaldi (below), who was born on this day — March 4 — in 1678 in Venice. (He became famous but died in poverty at age 63 on July 28, 1741, also in Venice.)
The Ear likes Vivaldi and his music deserves many more live performances. Even local early music and modern music groups seems reluctant to program much Vivaldi besides “The Four Seasons,” despite the popularity of his other works. Vivaldi not only composed a lot but he did so for many instruments — strings, brass, winds — and in other genres than concertos including sonatas, choral works and operas.
Listen to Vivaldi in the morning. Who can resist him? The Italian style with its energetic rhythm, songful lyricism and major-key cheerfulness are caffeine for the ears.
There are so many fine groups and soloists who perform Vivaldi. Yet so much of his prolific output remains relatively unknown or unheard.
That’s too bad. Johann Sebastian Bach recognized a good thing when he heard it, so he “borrowed” and transcribed many of Vivaldi’s works. One imagines the Italian taste for transparency and tunes appealed to Bach and helped him leaven the often dense, even pedantic Germanic counterpoint and smothering religiosity. Vivaldi provided a model influence for Bach’s eclectic fusion of styles.
Here is a link to an extended Wikipedia biography of the “Red Priest” (below) — Vivaldi’s nickname, used during his teaching at an all-girls school in Venice and derived from his bright red hair. It holds some surprises including the political controversy that surrounded Vivaldi in his day:
https://en.wikipedia.org/wiki/Antonio_Vivaldi
A lot of modern musicians and music historians seem to hold Vivaldi’s popularity and listener-friendly music against him. Opinions seem divided over who made the snide remark — Igor Stravinsky, Luigi Dallapiccola or both — that Vivaldi rewrote the same concerto 500 times.
Here is an informative takedown of that putdown:
https://notanothermusichistorycliche.blogspot.com/2018/10/did-stravinsky-say-vivaldi-wrote-same.html
In the YouTube video at the bottom is a favorite Vivaldi movement of mine. It helped give me a lifelong unforgettable moment as an accompaniment to viewing NASA’s recently taken moon footage at 37,000 feet in a plane on my way to Hawaii. It is the slow movement of the lute concerto played on the guitar by Julian Bream — and it was perfect for expressing weightlessness and space flight.
That was long ago.
These days for period-instrument performances, I tend to favor The English Concert under Trevor Pinnock , The Academy of Ancient Music under Christopher Hogwood, and the Academy of Ancient Music Berlin — although there are others terrific ensembles including the modern instrument groups I Musici and the Academy of St. Martin in the Fields.
For period string soloists — try the double concertos — look to Simon Standage, Monica Huggett, Andrew Manze and Rachel Podger. For modern instrumentalists, check out Victoria Mullova and especially the Israeli violinist Shlomo Mintz, who uses his own ordering and groupings of concertos. I also like the period cellist Christophe Coin and the modern cellist Jean-Guihen Queyras.
Do you have an opinion about Vivaldi — a like or dislike of his music?
Do you have a favorite Vivaldi work?
Do you have favorite performers of Vivaldi?
The Ear wants to hear.
Tags: #AntonioVivaldi, #BlogPost, #BlogPosting, #FacebookPost, #FacebookPosting, #ItalianBaroque, #TheEar, #YouTubevideo, Academy of Ancient Music, Academy of Ancient Music Berlin, Academy of St Martin in the Fields, Andrew Manze, Antonio Vivaldi, Arts, Baroque, Berlin, birthday, blog, born, brass, British, caffeine, Cello, Chamber music, cheerfulness, choral music, Christophe Coin, Christopher Hogwood, clarity, Classical music, composer, Concert, concerto, counterpoint, Early music, ears, eclectic, energy, English, English Concert, ensemble, express, Facebook, favorite, Four Seasons, fusion, genre, Germany, girls, good, Great Britain, guitar, Happy Birthday, History, I Musici, Igor Stravinsky, influence, Israel, Israeli, Italian, Italy, Jacob Stockinger, Jean-Guihan Queyras, Johann Sebastian Bach, Julian Bream, link, listener-friendly, Luigi Dallapiccola, lute, lyricism, Madison, melody, modern, modernism, Monica Huggett, moon, morning, Music, NASA, opera, opinion, perform, poor, popularity, poverty, priest, program, prolific, putdown, Rachel Podger, Red Priest, Religion, school, share, Shlomo Mintz, Simon Standage, snide, soloist, Sonata, space, strings, style, symphony, tag, takedown, The Ear, The Four Seasons, thing, transparency, Trevor Pinnock, tune, UK, United States, Venice, Victoria Mullova, Viola, Violin, Vivaldi, vocal music, wind music, YouTube
Classical music: The Festival Choir of Madison performs Yiddish music Saturday night. The Wisconsin Chamber Orchestra performs the child-friendly “Beethoven Lives Next Door” for FREE twice on Saturday morning
Leave a Comment
PLEASE HELP THE EAR. IF YOU LIKE A CERTAIN BLOG POST, SPREAD THE WORD. FORWARD A LINK TO IT OR, SHARE IT or TAG IT (not just “Like” it) ON FACEBOOK. Performers can use the extra exposure to draw potential audience members to an event. And you might even attract new readers and subscribers to the blog.
ALERT: Do you have children or grandchildren you want to introduce to classical music? This Saturday morning, March 14, at 9:15 and 11:15 a.m. in the Goodman Community Center, at 149 Waubesa Street on Madison’s near east side, the Wisconsin Chamber Orchestra will give two FREE public performances of “Beethoven Lives Next Door.” The interactive, multi-media event includes live music and story-telling, and is designed for children age 4-10 and their families. Because space is limited, advance registration is strongly recommended. You can register for one of the performances by going to: https://wisconsinchamberorchestra.org/performances
By Jacob Stockinger
The Festival Choir of Madison will present its second concert of the season, “Ner Tamid: Eternal Flame,” on this Saturday night, March 14, at 8 p.m. at the First Unitarian Society of Madison at 900 University Bay Drive.
The choir (below), under the artistic direction of Edgewood College professor Sergei Pavlov (below, front right) will perform songs drawing on Yiddish folklore, Klezmer innovations, the pain and cultural fusion of the diaspora, and the poignancy of love in the Holocaust.
Spanning geography and time, this array of Sephardic folk songs, Middle Eastern melodies, the high European tradition of the late 19th century, and contemporary settings of ancient texts paints a rich picture of the breadth of Jewish musical tradition.
The performance includes works by Gustav Mahler, Jacob Weinberg (below top) and Alberto Guidobaldi (below bottom) for classical composers, as well as Paul Ben Haim and Josef Hadar, who are more contemporary Israeli and Jewish composers, respectively.
The Festival Choir of Madison (FCM) is an auditioned, mixed-voice volunteer choir of over 50 experienced singers. FCM performs thematic concerts of artistically challenging choral music from around the world for listeners who enjoy traditional, modern, and eclectic works, and for singers who enjoy developing their talents with others.
The choir performs three thematic concerts annually in November, March and May. It also serves as the core choir for the Wisconsin Chamber Orchestra’s annual “Messiah” concert. (In the YouTube video at the bottom, you can hear the Festival Choir of Madison perform “The West Lake” by Chinese composer Chen Yi in 2019.)
Concert admission — general seating — is $10 for students, $15 for senior citizens, and $20 for adults, with tickets available at the door the day of the concert. Tickets can also be purchased online at: https://www.brownpapertickets.com/event/4383496
To learn more about the choir and see details about its May 16 performance of Mozart’s Requiem, visit: www.festivalchoirmadison.org
Tags: #19thCentury, #AlbertoGuidobaldi, #ArtisticDirector, #BeethovenLivesNextDoor, #BlogPost, #BlogPosting, #BrownPaperTickets, #ChenYi, #Chinesecomposer, #ChoralMusic, #ContemporaryMusic, #EclecticMusic, #EdgewoodCollege, #FacebookPost, #FacebookPosting, #FacultyMember, #FamilyFriendly, #FestivalChoir, #FestivalChoirofMadison, #FirstUnitarianSocietyofMadison, #FolkMusic, #folksongs, #GeorgeFridericHandel, #GoodmanCommunityCenter, #GustavMahle, #Handel'sMessiah, #IsraeliComposer, #IsraeliMusician, #JacobWeinberg, #JewishComposer, #JewishComposers, #JewishMusic, #Jewishmusician, #JewishReligion, #JosefHadar, #KlezmerMusic, #LiveConcert, #LiveMusic, #LudwigVanBeethoven, #MessiahOratorio, #MIddleEast, #MiddleEastern, #Musicfaculty, #NerTermid, #PaulBenHaim, #SaturdayMorning, #SaturdayNight, #SeniorCitizen, #SergeiPavlov, #TheHolocaust, #TheWestLake, #VocalMusic, #WisconsinChamberOrchestra, #WolfgangAmadeusMozart, #YiddishMusic, #YouTubevideo, 19th century, 2019, 2020, Alberto Guidobaldi, alto, ancient, Artistic director, Arts, audience, audition, available, bass, Beethoven, Beethoven Lives Next Door, blog, Brown Paper Tickets, Chen Yi, Child, children, China, Chinese, Chinese composer, choral music, Classical music, classicalmusic, community, composer, Concert, conductor, contemporary music, core, cultural, culture, diaspora, door, eclectic, Edgewood College, eternal, eternal flame, Europe, European, event, experience, Facebook, faculty, families, Family, Festival Choir, Festival Choir of Madison, First Unitarian Society of Madison, flame, folk, folklore, forward, friend, friendly, fusion, future, geography, George Frideric Handel, Goodman, Goodman Community Center, Gustav Mahler, Handel, Holocaust, innovation, interactive, Israel, Israeli, Jacob Stockinger, Jacob Weinberg, Jewish, Jewish composer, Josef Hadar, klezmer, like, limited, link, live music, Love, Ludwig van Beethoven, Madison, Mahler, march, May, melodies, melody, Messiah, Middle East, Middle Eastern, mixed, mixed-voice, modern, morning, Mozart, multi-media, Music, Ner Tamid, night, online, Orchestra, pain, paint, Paul Ben Haim, performance, performer, poignancy, post, posting, professor, recommend, registration, Religion, Requiem, rich, Saturday, Season, seating, senior, Sephardic, Sergei Pavlov, setting, share, sing, singer, song, songs, soprano, space, story-telling, Student, symphony, tag, tenor, texts, thematic, theme, time, tradition, traditional, Unitarian, United States, Viola, Violin, vocal music, voice, volunteer, Weinberg, west lake, Wisconsin, Wisconsin Chamber Orchestra, Wolfgang Amadeus Mozart, works, Yiddish, Yiddish music, YouTube
Classical music: The Madison Bach Musicians will perform its ninth annual Baroque Holiday Concert this coming Saturday night
Leave a Comment
PLEASE HELP THE EAR. IF YOU LIKE A CERTAIN BLOG POST, SPREAD THE WORD. FORWARD A LINK TO IT OR, SHARE IT or TAG IT (not just “Like” it) ON FACEBOOK. Performers can use the extra exposure to draw potential audience members to an event. And you might even attract new readers and subscribers to the blog.
By Jacob Stockinger
On this coming Saturday night, Dec. 7, the Madison Bach Musicians will present its ninth annual Baroque Holiday Concert (below, in 2014, in a photo by Kent Sweitzer).
The concert, using period instruments and historically informed performance practices, is again at the First Congregational United Church of Christ, 1609 University Ave., near Camp Randall Stadium. A pre-concert lecture by MBM founder and director Trevor Stephenson is at 7:15 p.m. followed by the concert at 8 p.m.
Advance-sale tickets are $35 at Orange Tree Imports and the Willy St. Co-op (East and West). Online advance-sale tickets are available at https://madisonbachmusicians.org. Tickets at the door at $38 for general admission and $35 for seniors. Student Rush tickets are $10 at the door and go on sale 30 minutes before the lecture.
The program features masterworks by Bach, Handel, Purcell and Torelli which, in their appealing Baroque way, explore the fusion of celebration, reflection and ultimate renewal often felt as the year’s end approaches.
MBM welcomes baroque trumpet virtuoso Kathryn Adduci (below), who will show how wonderfully vintage brass resounds in the magnificent Old World acoustics of the church.
Other performers are: Ariadne Lih, soprano (below); Lindsey Meekhof, alto; Ryan Townsend Strand, tenor; Michael Hawes, bass; Christine Hauptly Annin and Nathan Giglierano, violins; Micah Behr, viola; James Waldo, cello; and Trevor Stephenson, harpsichord.
Here are a couple of fun facts, provided by Stephenson, about each piece on the program.
Sound the Trumpet, by Henry Purcell (1659−1695, below)
1. This piece was composed in 1694, the year before Purcell died at the age of just 36. It is part of a birthday ode — Come Ye Sons of Art, Away! — for Queen Mary II of England, wife of King James II.
2. There is no trumpet in it at all, but the two voices implore the trumpet to play and they emulate trumpet-style writing with long, swelling notes mixed in with brilliant decorative flourishes.
Trumpet Concert in D major by Giuseppe Torelli (1658−1709, below)
1. Torelli was one of the most prolific trumpet composers of all time.
2. The baroque trumpet has no valves and is designed to play in one tonality at a time. Favorite baroque keys were D major and C major.
Comfort Ye and Every Valley from Messiah, by George Frideric Handel (1685−1759, below)
1. After the instrumental Overture to Messiah, this Recitative and Aria are the work’s first sung pieces.
2. Handel was 56 years old when he composed Messiah in 1741 in London; the work was premiered, however, in Dublin in 1742, much to the chagrin of Handel’s librettist Charles Jennens.
Cantata BWV 51, Jauchzet Gott in allen Landen (Exult in God in Every Land), by Johann Sebastian Bach (1685−1750, below)
1. Composed around 1730, this is one of the very few Bach cantatas requiring only one singer.
2. In Bach’s Leipzig church, where the work was probably first heard, the soloist would have been either a male falsettist (or castrato) or an exceptionally skilled boy soprano.
Contrapunctus XIX and Vor deinen Thron tret ich hiermit (Before Thy throne I stand), from The Art of Fugue, BWV 1080, by J.S. Bach
1. According to Bach’s son Carl Philipp Emanuel (CPE), this fugue is the last piece his father wrote — though scholars hotly contest this claim.
2. In measure 195, Bach’s own name appears suddenly as a musical motive: B (B-flat in the German scale) – A – C – H (B natural) and the fugue has no ending but simply trails off in measure 239.
Grosser Herr, o starker König (Great Lord, O Powerful King) from Christmas Oratorio,BWV 248, by J.S. Bach
1. It features dance-like melodic figures in dialogue between trumpet and solo bass voice. (Heard in the YouTube video at the bottom.)
2. Text celebrates the birth of the savior, which makes the powers of the Earth irrelevant.
Cantata BWV 196, Der Herr denket an uns (The Lord thinks of us),by J.S. Bach
1. With its textual focus on blessings (from Psalm 115), the work is likely a wedding cantata.
2. Written probably when Bach was only 22 years old, the work is absolutely perfect in its structure and easy concision; its high-energy but quiet final cadence has a curiously modern, neo-Classical charm that might have made Stravinsky smile.
Chorale: Wohl mir, dass ich Jesum habe (What joy for me that I have Jesus),from Cantata, BWV 147, Herz und Mund und Tat und Leben (Heart and Mouth and Deed and Life), by J.S. Bach
1. The famous opening figure in the strings is really just Bach’s ingenious obligato lead-in to a chorale tune that parishioners in his church would have instantly recognized.
2. This work has enjoyed tremendous popularity as “Jesu, Joy of Man’s Desiring” since it was arranged for one and then two pianos in 1926 and 1934 respectively by English pianist Myra Hess. It has since been arranged for myriad combinations of instruments and voices.
Tags: #AltoSinger, #AriadneLih, #ArtofFugue, #BachCantata, #BaroqueMusic, #BaroqueOratorio, #BassSinger, #BlogPost, #BlogPosting, #BoySoprano, #BrassMusic, #CampRandall, #CampRandallStadium, #CarlPhilippEmanuelBach, #CharlesJennens, #CharlesJennins, #ChoralMusic, #ChristianChurch, #ChristianReligion, #ChristmasHoliday, #ChristmasOratorio, #CPEBach, #DublinIreland, #FacebookPost, #FacebookPosting, #FirstCongregationalUnitedChurchofChrist, #FourSeasonsofBuenosAires, #GeorgeFridericHandel, #GermanComposer, #GermanLanguage, #GiuseppeTorelli, #GuestArtist, #HenryPurcell, #HistoricallyInformedPerformancePractices, #HolidayConcert, #HolidayMusic, #HolidaySeason, #IgorStravinsky, #InstrumentalMusic, #italianComposer, #James Waldo, #JamesGiles, #JamesWaldo, #JesuJoyofMan'sDesiring, #JesusChrist, #JohannSebastianBach, #KathrynAdduci, #KingJames, #KingofEngland, #LeipzigGermany, #LondonEngland, #MadisonBaroqueMusicians, #MeadWitterSchoolofMusic, #MicahBehr, #MyraHess, #NathanGiglierano, #OldWorld, #PeriodInstruments, #QueenMary, #SeniorCitizen, #SopranoSinger, #TenorSinger, #TheEar, #TheLord, #TrevorStephenson, #TrumpetConcerto, #TrumpetMusic, #UniversityofWisconsin-Madison, #VocalMusic, #WillySt.Coop, #WillySt.CoopWest, #WillyStreetCo-op, #WillyStreetCoopEast, #YouTubevideo, acoustics, alto, appealing, aria, Ariadne Lih, arrangement, Art of Fugue, Arts, Bach, Bach cantata, Baroque, Baroque music, bass, biirth, birthday, blog, boy, boy soprano, brass, brass music, brilliant, British, Camp Randall, Camp Randall Stadium, Cantata, Carl Philipp Emanuel Bach, castrato, celebration, cellist, Cello, Charles Jennens, charm, choral music, Chorale, Christ, Christmas, Christmas Oratorio, church, claim, Classical music, composer, Concert, concerto, concise, conductor, contest, counterpoint, CPE Bach, decorative, deed, dialogue, director, Dublin, Early music, Earth, east, end, ending, energy, England, English, explore, Facebook, fact, falsetto, father, figure, First Congregational United Church of Christ, flourishes, forward, founder, fugue, fusion, George Frideric Handel, German, Giuseppe Torelli, God, guest artist, Handel, harpsichord, heart, Henry Purcell, historically informed performance practices, Holiday, holiday concert, Igor Stravinsky, ingenious, instrument, instrumental, instruments, Italian, Italy, J.S. Bach, Jacob Stockinger, James, Jesu Joy of Man's Desiring, Jesus Christ, Johann Sebastian Bach, Kathryn Adduci, key, keys, King, last, lecture, Leipzig, librettist, life, like, link, London, long, Lord, Madison, Madison Baroque Musicians, magnificent, male, Mary, masterwork, Mead Witter School of Music, Messiah, Micah Behr, modern, motive, mouth, Music, musical, Myra Hess, Nathan Giglierano, neo-Classical, notes, ode, Old World, online, opening, oratorio, Orchestra, Overture, parishioners, perfect, period instruments, Pianist, Piano, Pianos, play, popularity, post, posting, premiere, program, prolific, queen, Queen Mary, recitative, reflection, Religion, renewal, resound, rush, savior, scholar, Season, senior, senior citizen, share, singer, skill, smile, solo, soloist, son, soprano, Sound, Stravinsky, structure, Student, swelling, tag, tenor, text, The Ear, throne, ticket, tonality, Torelli, Trevor Stephenson, Trumpet, trumpet concerto, tune, United States, University of Wisconsin-Madison School of Music, University of Wisconsin–Madison, UW-Madison, valve, valveless, vintage, Viola, Violin, violinist, violist, virtuoso, vocal music, voice, websote, wedding, west, Willy Street Co-op, Willy Street Coop, Willy Street Coop East, Willy Street Coop West, Wisconsin, wrote, year, YouTube
Classical music: The eclectic fusion group Mr. Chair plays music by Stravinsky, Satie and others on Monday night in Spring Green
Leave a Comment
IF YOU LIKE A CERTAIN BLOG POST, PLEASE SPREAD THE WORD. FORWARD A LINK TO IT OR, SHARE IT or TAG IT (not just “Like” it) ON FACEBOOK. Performers can use the extra exposure to draw potential audience members to an event. And you might even attract new readers and subscribers to the blog.
By Jacob Stockinger
The Ear has received the following announcement from the Rural Musicians Forum:
Mr. Chair looks like a jazz quartet, sounds sometimes like a rock band, but in actuality is a contemporary classical music group in the guise of a modern band.
Classically trained musicians who are well versed in jazz, the players in Mr. Chair create a new sound using both acoustic and electric instruments.(You can hear Mr. Chair perform the original composition “Freed” in the the YouTube video at the bottom.)
The Rural Musicians Forum audience will have the chance to enjoy the soundscapes of this fascinating eclectic fusion group on this coming Monday night, Aug. 19, at 7:30 p.m. at Taliesin’s Hillside Theater (below) in Spring Green.
Members of Mr. Chair (below) are Professor Mark Hetzler, trombone and electronics; Jason Kutz, piano and keyboards; Ben Ferris, acoustic and electric bass; and Mike Koszewski, drums and percussion. All have close ties to the University of Wisconsin-Madison’s Mead Witter School of Music, where they also perform as an ensemble.
Mr. Chair’s compositions are long-form journeys, telling stories through sound by using and exploring the three pillars of music: melody, harmony and rhythm. Think cinematic, orchestral, surreal, romantic, emotional and gripping, and always equal parts dissonant and consonant. Their influences are far-reaching from classical, blues and rock to soul, funk, jazz and beyond.
For this concert, Mr. Chair will perform re-imagined excerpts from Igor Stravinsky’s Neo-Classical ballet masterpiece Pulcinella as well as music by Erik Satie and selections from their debut album, NEBULEBULA, which will be released on Thursday, Sept. 5, on vinyl, CD and digital streaming platforms.
The genre-bending quartet will perform in the beautiful Hillside Theater designed by Frank Lloyd Wright as part of his Taliesin compound. It is located at 6604 State Highway 23, about five miles south of Spring Green.
Admission is by free will offering, with a suggested donation of $15.
Tags: #BalletMusic, #BalletScore, #BenFerris, #BlogPost, #BlogPosting, #BluesMusic, #ChamberMusic, #ChamberMusician, #CompactDisc, #ContemporaryMusic, #DrumMusic, #EqualParts, #ErikSatie, #FacebookPost, #FacebookPosting, #FrankLloydWright, #FreewillOffering, #FunkMusic, #HillsideTheater, #IgorStravinsky, #JasonKutz, #JazzMusic, #MarkHetzler, #MeadWitterSchoolofMusic, #MikeKoszewski, #Mondaynight, #NewMusic, #PercussionMusic, #PulcinellaSuite, #RockandRoll, #RockBand, #RockMusic, #RuralMusiciansForum, #SoulMusic, #SpringGreen, #TheBlues, #TheEar, #TromboneMusic, #UniversityofWisconsin-Madison, #YouTubevideo, acoustic, admission, Album, Arts, audience, ballet, band, Baroque, Ben Ferris, blog, blues, CD, Chamber music, chance, cinematic, Classical, Classical music, classicalmusic, close, Compact Disc, composer, Composition, compound, Concert, consonance, consonant, contemporary, create, debut, design, digital, dissonance, dissonant, drum, eclectic, electric, electronics, emotional, ensemble, equal, equal parts, Erik Satie, explore, Facebook, fascinating, forum, forward, Frank Lloyd Wright, freed, funk, fusion, gripping, group, guise, harmony, highway, Hillside Theater, Igor Stravinsky, imagine, influence, instrument, Jacob Stockinger, Jason Kutz, Jazz, Keyboard, like, link, long-form, Madison, Mark Hetzler, masterpiece, Mead Witter School of Music, melody, member, Mike Koszewski, modern, Monday, Mr Chair, Music, Musician, neo-Classical, new, New Music, night, offering, orchestral, original, part, percussion, performer, Pianist, Piano, pillar, platform, players, post, posting, Pulcinella, Pulcinella Suite, Quartet, rhythm, Rock, rock and roll, rock band, Romantic, rual, rural, Rural Musicians Forum, share, soul, Sound, soundscape, Spring Green, state, stories, story, streaming, subscriber, surreal, tag, Taliesin, The Ear, tie, Trombone, United States, University of Wisconsin-Madison School of Music, University of Wisconsin–Madison, use, UW-Madison, vinyl, word, YouTube
Classical music: On Saturday night and Sunday afternoon, the Madison Bach Musicians explore the miracle of Mozart across his lifetime and across different genres
1 Comment
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
The Madison Bach Musicians concludes its 15th season on this coming Saturday night, April 6, at 8 p.m. and Sunday afternoon, April 7, at 3:30 p.m. with The Mozart Miracle .
The program features performances of beloved music by Wolfgang Amadeus Mozart (1756-1791, below) with an all period-instrument chamber orchestra in the magnificent acoustic setting of the First Congregational United Church of Christ (below), 1609 University Avenue, near Camp Randall Stadium.
Period-instrument specialists hailing from Madison, Milwaukee, Chicago, Omaha, Seattle, Philadelphia and New York City will perform on natural or valveless horns, classical oboes, gut-strung violins, violas, cellos and a double bass played with 18th-century transitional bows.
Early music specialist and bassoon professor Marc Vallon (below to, in a photo by James Gill) of UW-Madison Mead Witter School of Music will lead the orchestra (below bottom, in a performance last year at the First Unitarian Society of Madison).
Internationally acclaimed soprano Ariadne Lih (below), from Montreal, Canada, will join the ensemble for Exsultate Jubilate — a ringing example of how Mozart could seamlessly fuse religious zeal with vocal pyrotechnics. (You can hear Renée Fleming sing “Exsultate Jubilate” in the YouTube video at the bottom.)
The program also features dance sequences, choreographed by Karen McShane Hellenbrand (below) of the UW-Madison, from Mozart’s ballet Les Petits Riens (The Little Nothings).
Also included are pre-concert lectures: On Saturday, April 6, at 7:15 p.m. there is a lecture by MBM artistic director Trevor Stephenson with an 8 p.m. concert . On Sunday, April 7, his lecture is at 2:45 p.m. with the concert at 3:30 p.m.
Advance-sale discounted tickets are $35 for general admission.
Tickets are available at Orange Tree Imports and Willy Street Coop (East and West). You can also buy advance tickets online at www.madisonbachmusicians.org
Tickets at the door are: $38 general for adults, $35 for seniors 65-plus, and student rush for $10, on sale 30 minutes before lecture.
MBM artistic director Stephenson (below) sent the following remarks to The Ear:
Here are two fantastic quotations about Mozart:
“Together with the puzzle he gives you the solution.” Ferrucio Busoni on Mozart
“It may be that when the angels go about their task of praising God, they play only Bach. I am sure, however, that when they are together as a family, they play Mozart…” Karl Barth
Both quotes underline, I believe, Mozart’s charismatic generosity of spirit, his sense of play and camaraderie. We’re all in this together! Mozart’s music is a perfect fusion of melodic inspiration — tunes so good they can stay in your head for joyous weeks at a time, or even a lifetime — and structural clarity.
His sense of proportion — when to display 18th-century balance and when to step outside the frame — is uncanny and always a delight. And for me, as a five-year-old-boy, dancing about the living room to the old LP vinyl — dancing lightly, though, so the record wouldn’t skip — it was Mozart’s boundless energy and joy, pouring out of the speakers, that really revved me up.
The Madison Bach Musicians program on this coming Saturday and Sunday will explore several sides of Mozart’s genius: master orchestrator and symphonist; aficionado of fugues; virtuoso keyboard player and mesmerizing improviser; ballet composer; and the greatest fashioner of material for the soprano voice.
MBM has assembled a Classical-period chamber orchestra, replete with gut strings and transitional bows, natural horns, and classical oboes. To this we’ll add: a fortepiano — the type of instrument Mozart toured with; an elegant dancer — for dance was an integral part of 18th-century living; and a magnificent soprano — Mozart was virtually besotted with the magic of the high female voice, and he wrote for it throughout his life with imagination and a sense of thrilling experiment that has never been equaled before or since.
Here is a bit about each selection:
Symphony No. 1 in E-flat major – Composed 1764 when Mozart was just eight years old (below), during an extended stay in London with his father Leopold and sister Nannerl. Strongly influenced by the symphonies of C. F. Abel and J. C. Bach (The London Bach, youngest son of Johann Sebastian).
Symphony No. 29 in A major – Composed 1774 when Mozart was 18 years old (below). It is often considered the pinnacle of his early symphonic writing.
Exsultate Jubilate for soprano and orchestra – Written 1773 in Milan for the castrato, or male soprano, Venanzio Rauzzini, it is an elegant fusion of rapturous melodies and vocal display.
Adagio & Fugue in C minor for strings – Composed in 1788, certainly the latest Mozart work on the program when the composer was 32. Mozart had by this time — largely through the Sunday soirees at Baron van Swieten’s—been studying Bach’s fugues closely for several years. This fugue is an arrangement of a work for two fortepianos, K. 426, which Mozart had composed five years earlier in 1783. Mozart added the opening Adagio for the strings version.
Fantasy in D minor for fortepiano – Mozart improvised frequently as part of both private and public performance. This Fantasy, with its dark distinctive opening which explores the fantastical low register of the fortepiano, may give us a good idea of what Mozart might have done one night just sitting down to “jam” for his friends.
Two French Songs for soprano and fortepiano — Birds follow the warm weather, so they never cease their courtship. And in the woods one day the protagonist foolishly rouses a sleeping Cupid — and pays a terrible price.
Ballet excerpts from Les Petit Riens – literally The Little Nothings. Mozart composed most, but not all, of this ballet in Paris 1778 for Jean-Georges Noverre, ballet master of the Paris Opera. The work served as an interlude to an opera by Niccolo Piccinni that closed after just four performances.
For more information, go to: www.madisonbachmusicians.org
Tags: #AriadneLih, #ArtisticDirector, #BalletMusic, #BaronvanSwieten, #BBCProms, #BlogPost, #BlogPosting, #CampRandallStadium, #ChamberOrchestra, #ChicagoIllinois, #ChristianChurch, #ChristianReligion, #Classicalera, #CriticallyAcclaimed, #ExsultateJubilate, #FacebookPost, #FacebookPosting, #FerruccioBusoni, #FirstCongregationalUnitedChurchofChrist, #FirstUnitarianSocietyofMadison, #FrenchSong, #HistoricallyInformedPerformancePractices, #JesusChrist, #JohannChristophBach, #JohannSebastianBach, #KarlBarth, #LeopoldMozart, #LondonEngland, #MadisonBach Musicians, #MaleSoprano, #MarcVallon, #MeadWitterSchoolofMusic, #MelodicMusic, #MilanItaly, #MilwaukeeWisconsin, #MontrealCanada, #MusicalExcerpt, #NannerlMozart, #NewYorkCity, #NiccoloPiccinni, #OboeMusic, #OmahaNebraska, #OperaMusic, #OrangeTreeImports, #ParisFrance, #ParisOpera, #PeriodInstruments, #PhiladelphiaPennsylvania, #RenéeFleming, #SeattleWashington, #SeniorCitizen, #SopranoSinger, #TheLondonBach, #TrevorStephenson, #UniversityofWisconsin-Madison, #VocalMusic, #WillyStreetCoopEast, #WillyStreetCoopWest, #WolfgangAmadeusMozart, 18th century, acoustic, adult, angels, Ariadne Lih, Artistic director, Arts, Bach, balance, ballet, ballet music, Baron van Swieten, Baroque, basson, BBC Proms, bird, birds, blog, bow, bows, boy, Busoni, C.F. Abel, camaraderie, Camp Randall Stadium, Canada, castrato, Cello, Chamber music, chamber orchestra, charisma, Chicago, Christ, church, clarity, Classical, Classical music, closed, compose, composer, conductor, counterpoint, courtship, critically acclaimed, cupid, dance, dancer, dark, delight, discount, display, door, double bass, Early music, energy, era, excerpt, experiment, Exsultate Jubilate, Facebook, Family, fantasy, father, Ferruccio Busoni, First Congregational United Church of Christ, First Unitarian Society of Madison, fortepiano, French, fugue, fusion, generosity, genius, God, gut, head, historically informed performance practices, horns, imagination, improvisation, improviser, interlude, international, Jacob Stockinger, jam, Jesus, Johann Christoph Bach, Johann Sebastian Bach, Joy, Karl Barth, Keyboard, lecture, Leopold Mozart, lifetime, London, LP, Madison, Madison Bach Musicians, Marc Vallon, Mead Witter School of Music, melody, Milan, Milwaukee, miracle, Montreal, Mozart, Music, natural, New York City, Niccolo Piccinni, Nonnerl Mozart, Oboe, Omaha, online, opera, Orange Tree Imports, Orchestra, orchestrator, Paris, Paris Opera, period instruments, Philadelphia, play, player, price, private, professor, Proms, proportion, protagonist, public, pyrotechnics, quotation, quote, rapture, Religion, religious, Renée Fleming, ringing, Saturday, Seattle, senior citizen, sense, sequence, setting, sing, singer, sister, soprano, speaker, specialist, spirit, strings, structure, Student, Sunday, symphony, terrible, The London Bach, thrill, thrilling, ticket, transitional, Trevor Stephenson, tune, United States, University of Wisconsin-Madison School of Music, University of Wisconsin–Madison, UW-Madison, valveless, vinyl, Viola, Violin, virtuoso, vocal, vocal music, voice, weeks, Willy Street Coop East, Willy Street Coop West, Wisconsin, Wolfgang Amadeus Mozart, Woods, YouTube, zeal
Classical music: The Madison Bach Musicians will give their eighth annual Baroque Holiday Concert this Saturday night
2 Comments
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
The Madison Bach Musicians will give their eighth annual Baroque Holiday Concert (below in a 2014 photo by Kent Sweitzer) on this coming Saturday night, Dec. 8, at the First Congregational United Church of Christ, 1609 University Avenue, near Camp Randall Stadium.
The critically acclaimed and well attended annual concert will follow the usual format with a 7:15 p.m. lecture by founder, artistic director and keyboardist Trevor Stephenson (below) followed by the concert at 8 p.m.
A critically acclaimed chamber ensemble of voices and period instruments will perform masterworks from the 16th, 17th and 18th centuries.
Performers include: Hannah De Priest, soprano; Margaret Fox, mezzo-soprano; Ryan Townsend Strand, tenor; Matthew Chastain, bass-baritone; Arash Noori, theorbo; Katherine Shuldiner, viola da gamba; and Trevor Stephenson, harpsichord.
The Ear asked Stephenson: Why are vocal music and Baroque music both so popular during the holiday season?
He answered: “Many holiday traditions focus on soulfulness and reflection. So, as my great-grandmother used to say, “Pay attention to the singing, it is closest to the soul.””
“On top of this, Baroque music—as one of the great achievements of Western culture—is a natural when reflecting upon the past,” Stephenson adds. “Baroque music is also festive and uplifting, and there is, I believe, some message within its intricacies and design that suggests that there is “a beautiful crystalline structure within which we all live.” (These words come from my colleague Norman Sheppard.)
“This concert marks the Madison Bach Musicians’ eighth consecutive year in the magnificent setting of the First Congregational Church. I simply cannot imagine a better acoustic and spiritual ambiance for this music. (Below is a performance from the 2016 concert in the same church.)
“The program will progress in chronological order from the very early 16th century up to the middle 18th century, from Josquin des Prez to Johann Sebastian Bach.
“We’ll start with the Kyrie and Gloria movements from one of Josquin’s last completed masterworks, the Missa Pange Lingua (c. 1515). Martin Luther’s praise for Josquin’s compositional genius was boundless: “Joaquin (below) is the master of the notes. The notes must do as he wills; as for other composers, they have to do as the notes will.”
“MBM is thrilled that virtuoso lutenist Arash Noori (below) from New York City will join us for this concert; second on the program, Noori will perform (on theorbo, which is a mega-lute) Niccolo Piccinni’s sparkling Toccata Chromatic and Gagliarda Prima published in the early 17th century.
“We’ll follow this with three musical gems for vocal quartet and continuo from the Kleine geistliche Konzerte (Short Spiritual Concerts, 1636−1639) that Heinrich Schütz (below) composed specifically for small ensembles, which were all that were available during the devastation of the Thirty Years’ War (1618−1648).
“The second half of the program is devoted to works by Bach. We’ll start with the exquisite Sonata in G major for Viola da Gamba and Harpsichord; gambist extraordinaire Kate Shuldiner (below) from Chicago will be featured and I’ll accompany her at the harpsichord.
“We’ll follow this with two Christmas songs from the Schemelli Songbook—a collection published in 1736 of more than 60 spiritual songs for which Bach wrote most of the harmonizations and contributed several great original tunes to boot.
“Soprano Hannah De Priest (below top) and mezzo-soprano Margaret Fox (below bottom) will be featured in the bouncy and charming duet, Wir eilen mit schwachen, doch emsigen Schritten (from Cantata 78, “We hasten, with weak, yet eager steps, O Jesus, O Master, to You, for help!”), which you can hear in the YouTube video at the bottom.) Bach not only worshipped God, but also felt comfortable enough in the relationship to occasionally party; this work is an ingenious fusion of high art and polka romp!
“The concert will conclude with Bach’s glorious motet, Lobet den Herrn, alle Heiden (Praise the Lord, All Ye Nations). It was Mozart who — when he journeyed to Leipzig in 1789, or 39 years after Bach’s death, and heard the Thomaskirche choir perform a Bach motet, from memory, no less — exclaimed, “Now here is something one can learn from!””
TICKET INFORMATION
Advance-sale discount tickets are $30 general admission.
Tickets are also available at Orange Tree Imports and the Willy Street Coop East and West.
You can also purchase advance tickets online: www.madisonbachmusicians.org
Tickets at the door are $33 for general admission, $30 for seniors 65 and over. Student Rush tickets are $10 and will be on sale 30 minutes before the 7:30 p.m. lecture.
For more information, go to: www.madisonbachmusicians.org
Tags: #ArashNoori, #ArtisticDirector, #BachCantata, #BaroqueMusic, #BlogPost, #BlogPosting, #CampRandallStadium, #ChamberMusic, #ChoralMusic, #ChristianChurch, #ChristianReligion, #ChristmasSong, #CriticallyAcclaimed, #FacebookPost, #FacebookPosting, #FirstCongregationalUnitedChurchofChrist, #Great-Grandmother, #HarpsichordContinuo, #HeinrichSchütz, #HighArt, #HolidayConcert, #HolidayMusic, #HolidaySeason, #JesusChrist, #JohannSebastianBach, #JosquindesPrez, #LeipzigGermany, #MadisonBachMusicians, #MartinLuther, #Mezzo-sopranoSinger, #NewYorkCity, #NiccoloPiccinni, #OrangeTreeImports, #PeriodInstruments, #SeniorCitizen, #SopranoSinger, #SpiritualMusic, #StudentRush, #TenorSinger, #TheLord, #ThirtyYearsWar, #ThomasKirche, #TrevorStephenson, #VioladaGamba, #VocalMusic, #WillySt.Coop, #WillyStreetCo-op, #WolfgangAmadeusMozart, #YouTubevideo, acclaimed, accompany, acoustics, adult, ambiance, Arash Noori, Artistic director, Arts, Bach, Baroque, Baroque music, bass-baritone, beautiful, blog, Camp Randall Stadium, Cantata, Chamber music, Chicago, choral music, Christian, Christian religion, Christmas, chromatic, church, Classical music, composer, Concert, continuo, critically, death, design, devastation, Early music, Facebook, festive, First Congregational United Church of Christ, forward, founder, fusion, gem, genius, Germany, Gloria, harmony, harpsichord, Heinrich Schütz, Holiday, Jacob Stockinger, Jesus Christ, Johann Sebastian Bach, Josquin Des Prez, Kyrie, learn, Leipzig, link, live, Lord, lute, Madison, Madison Bach Musicians, Martin Luther, mass, Master, masterwork, message, Mezzo-soprano, motet, Mozart, Music, New York City, notes, Orange Tree Imports, period-instrument, Piccinni, polka, praise, Quartet, reflection, Religion, romp, Season, senior, share, singbook, Singing, Sonata, soprano, soul, soulfulness, spiritual, structure, Student, tag, tenor, theorbo, Thirty Years War, Thomas Kirche, ticket, toccata, tradition, Trevor Stephenson, tune, United States, University of Wisconsin-Madison School of Music, University of Wisconsin–Madison, uplifting, viola da gamba, vocal music, war, Wisconsin, Wolfgang Amadeus Mozart, word, YouTube
Classical music: NPR explores the music soundtracks for movies that nominated for Academy Awards and could receive an Oscar at tonight’s ceremonies airing on ABC-TV.
4 Comments
By Jacob Stockinger
Oscar would no doubt say that movie soundtracks deserve special attention and serious consideration as art music.
Of course purists will probably argue that movie soundtracks are not really classical music – except in certain cases like Roman Polanski’s “The Pianist,” “Shine,” “Amadeus” and such obvious fare.
And it would be hard to disagree with them.
Perhaps some would say that movies are the real operas of our day, except that the music plays a secondary or tertiary role.
Besides, more and more symphony orchestras are turning to concert programs that feature movie soundtracks, perhaps to attract new and younger audiences.
And radio stations seem to be mixing in and playing more and more movie music on their classical programs.
And more and more composers who aspired to be classical composers but who were forced earn a living in Hollywood –- Erich Wolfgang Korngold (below) comes immediately to mind –- are being increasingly programmed for their classical fare as well as their commercial Hollywood work.
Besides, “crossover” and “fusion” are the key words of the day in the classical music scene, as you can see with the success of Yo-Yo Ma’s Silk Road Project (below top) and the “new tangos” by Astor Piazzolla (below bottom), to name but two examples.
So perhaps it is only natural that, in the run-up to the Academy Awards tonight, NPR and its terrific blog “Deceptive Cadence’ have featured several posts about the music that is featured in nominated movies, especially the story of Alice Herz-Sommer, the late 110-year-old pianist (below, in photo by Yuri Dojc) who survived Auschwitz by playing music, especially the etudes of Frederic Chopin -– and who just died last week. (You can hear her speak and play the piano at the bottom in a popular YouTube video that has almost a million hits.)
The Ear suspects her story, “The Lady in Number 6,” will win the Oscar for short documentary because she was the oldest survivor of the Holocaust and was a testament to the power of music, and therefore of all art and beauty, over evil and adversity. She embodied hope — a cherished value.
Here is a link to her fascinating and detailed obituary in The New York Times:
So as you prepare to watch the live broadcast on ABC-TV tonight starting at 6 p.m. CST (it will also be streamed live), here are links to consider when you think about music and films.
Here is the link to a story about music and documentaries:
http://www.npr.org/2014/02/28/283072030/music-takes-center-stage-in-oscar-nominated-documentaries
Here is an overview of several nominees, including William Butler (below) of Arcade Fire, for Best Score:
http://www.npr.org/2014/02/26/283026146/and-the-oscar-goes-to-mr-star-wars-or-arcade-fire
And here is a link to another story about quiet music — specifically, composer Alexandre Desplat and his score for “Philomena” starring Judi Dench (below) — and how hard it is to compose and perform:
Tags: Academy Award, Alexandre Desplat, Alice Herz Sommer, Arts, Auschwitz, Ástor Piazzolla, Chopin, Classical music, concentration camps, crossover, Dachau, documentary, Erich Wolfgang Korngold, etude, fims, Frédéric Chopin, fusion, Hollywood, Holocaust, Jacob Stockinger, Judi Dench, Movies, Nazi, New York Times, NPR, opera, Orchestra, Oscar, Philomena, Pianist, Piano, Poland, Roman Polanski, Silk Road Ensemble, Silk Road Project, soundtracks, symphony orchestra, Theresienstadt, Yo-Yo Ma, YouTube, Yuri Dojc
Recent Comments
 | samanthacrownoversbc… on How do post-pandemic concert a… |
 | Ronnie on How do post-pandemic concert a… |
 | welltemperedear on How do post-pandemic concert a… |
 | Polly Kuelbs on How do post-pandemic concert a… |
| welltemperedear on How do post-pandemic concert a… |
The Well-Tempered Ear 