The Well-Tempered Ear

Classical music: This weekend, soloist Alban Gerhardt will give the Madison Symphony Orchestra’s first performances of the Cello Concerto by William Walton. Also on the program are an overture by Rossini and the Symphony No. 1 by Brahms

February 12, 2018
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By Jacob Stockinger

This weekend, cellist Alban Gerhardt (below) returns to the Madison Symphony Orchestra to play the lyrically bittersweet Cello Concerto by William Walton for the first time in the history of the MSO.

Filling out the program are the lush and sweeping Symphony No. 1 by Johannes Brahms and the rousing Overture to the opera Semiramide” by Gioachino Rossini.

The concerts are in Overture Hall of the Overture Center, 201 State Street, on Friday, Feb. 16, at 7:30 p.m.; Saturday, Feb. 17, at 8 p.m.; and Sunday, Feb. 18, at 2:30 p.m.

Tickets cost $18-$90, and discounts are available. See below for details.

MSO music director John DeMain (below, in a photo by Peter Rodgers), who will conduct the performance, previewed the “Richly Romantic” program:

“Opening the concert is a favorite overture of mine by the prolific Rossini, from the opera Semiramide.

“Next, we welcome back Alban Gerhardt. This charismatic cellist has a huge repertoire and impeccable technique, as well as consummate musicianship. (NOTE: Gerhardt will also give a FREE and PUBLIC master class at the UW-Madison Mead Witter School of Music on Friday afternoon from 2:30 to 5 p.m. in Morphy Recital Hall.)

“In my search to program important works that have not been previously performed by the MSO, I realized that we have never performed the cello concerto by William Walton. It is a very beautiful and lyrical work, and I look forward to collaborating again with Alban on this project.

“I never like to let too much time pass without programming the Brahms symphonies. The first symphony was a huge success at its premiere, and has been proclaimed a masterpiece. It overtly pays tribute to the great master who gave us nine great symphonies. Indeed, many people have referred to the Brahms first as Beethoven’s 10th.”

Here is more background about the three works:

The Overture to Semiramide marks a departure from other operatic overtures of the early 1800s, in that the themes are drawn directly from the opera’s score.

Written by Rossini (below), one of the greatest opera composers in history, the piece also represents some of his best orchestral writing, starting from the rhythmic opening, to the entrance of the horn choir taken directly from the score of the opera, to the joyously frenetic ending.

Written in 1956 in Ischia, a volcanic island in the Tyrrhenian Sea, the Cello Concerto by William Walton (below) reflects the composer’s love of Italy and has been described as subdued, brittle, bittersweet, and introspective.

The composition is suffused with Italianate warmth and a lyrical, singing quality reflecting both bel canto opera as well as Italian popular song. (In the YouTube video at the bottom, you can hear the first movement played by Gregor Piatigorsky, for whom the concerto was written.)

Praised for the “warm songfulness of his playing” (The Telegraph) at the 2016 BBC Proms, Alban Gerhardt (below) has, for 25 years, made a unique impact on audiences worldwide with his intense musicality, compelling stage presence, and insatiable artistic curiosity.

His gift for shedding fresh light on familiar scores, along with his appetite for investigating new repertoire from centuries past and present, truly sets him apart from his peers.

Though he began writing sketches of the piece as early as 1854, the Symphony No. 1 by Brahms (below) was not completed for 21 years, premiering in Germany in 1876. The final movement contains melodies reminiscent of Beethoven’s Symphony No. 9, which has led some critics to dub the work “Beethoven’s Tenth Symphony” much to Brahms’ dismay.

One hour before each performance, Randal Swiggum (below), artistic director of the Elgin Youth Symphony Orchestra and interim artistic director of the Wisconsin Youth Symphony Orchestras (WYSO), will lead a 30-minute Prelude Discussion in Overture Hall to enhance concertgoers’ understanding and listening experience.

For more background on the music, please view the Program Notes by MSO trombonist and UW-Whitewater professor Michael Allsen (below, in a photo by Katrin Talbot) at:

The Symphony 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 that is free for all ticket-holders.

Single Tickets are $18-$90 each and are on sale now at, 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, visit,

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:

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 February concerts is provided by: The Madison Concourse Hotel & Governor’s Club, University Research Park, and National Guardian Life Insurance Company.

Additional funding was provided by Boardman & Clark LLP, Scott and Janet Cabot, Martha and Charles Casey, Gary and Lynn Mecklenburg, Rodney Schreiner and Mark Blank, and the Wisconsin Arts Board with funds from the State of Wisconsin and the National Endowment for the Arts.


Classical music: Here are the classical music winners of the 2018 Grammy Awards.

January 30, 2018

By Jacob Stockinger

This posting is both a news story and a gift guide of sorts about recordings you might like to give or get.

It features the classical music nominations for and winners of the Grammy Awards, which were just announced this past Sunday night.

Read them and in the COMMENT section what you think of the recordings that you know and which ones you think deserved to win. (The Ear got about half right.)

You can also encouraged to comment on the Grammys in general.



  • “The Goldberg Variations — the Complete Unreleased Recording Sessions June 1955” — Robert Russ, compilation producer; Matthias Erb, Martin Kistner & Andreas K. Meyer, mastering engineers (Glenn Gould)
  • *”Leonard Bernstein — the Composer” (below) — Robert Russ, compilation producer; Martin Kistner & Andreas K. Meyer, mastering engineers (Leonard Bernstein)


  • “Danielpour: Songs of Solitude & War Songs” — Gary Call, engineer (Thomas Hampson, Giancarlo Guerrero & Nashville Symphony)
  • “Kleiberg: Mass for Modern Man” — Morten Lindberg, engineer (Eivind Gullberg Jensen, Trondheim Vokalensemble & Trondheim Symphony Orchestra)
  • “Schoenberg, Adam: American Symphony; Finding Rothko; Picture Studies” — Keith O. Johnson & Sean Royce Martin, engineers (Michael Stern & Kansas City Symphony)
  • *”Shostakovich: Symphony No. 5; Barber: Adagio” (below) — Mark Donahue, engineer (Manfred Honeck & Pittsburgh Symphony Orchestra)
  • “Tyberg: Masses” — John Newton, engineer; Jesse Brayman, mastering engineer (Brian A. Schmidt, Christopher Jacobson & South Dakota Chorale)


  • Blanton Alspaugh
  • Manfred Eicher
  • *David Frost (below)
  • Morten Lindberg
  • Judith Sherman


  • “Concertos for Orchestra” — Louis Langrée, conductor (Cincinnati Symphony Orchestra)
  • “Copland: Symphony No. 3; Three Latin American Sketches” — Leonard Slatkin, conductor (Detroit Symphony Orchestra)
  • “Debussy: Images; Jeux & La Plus Que Lente” — Michael Tilson Thomas, conductor (San Francisco Symphony)
  • “Mahler: Symphony No. 5” — Osmo Vänskä, conductor (Minnesota Orchestra)
  • *”Shostakovich (below): Symphony No. 5; Barber: Adagio” — Manfred Honeck, conductor (Pittsburgh Symphony Orchestra)


  • “Berg: Lulu” — Lothar Koenigs, conductor; Daniel Brenna, Marlis Petersen & Johan Reuter; Jay David Saks, producer (The Metropolitan Opera Orchestra)
  • *”Berg: Wozzeck” (below) — Hans Graf, conductor; Anne Schwanewilms & Roman Trekel; Hans Graf, producer (Houston Symphony; Chorus of Students and Alumni, Shepherd School of Music, Rice University & Houston Grand Opera Children’s Chorus)
  • “Bizet: Les Pêcheurs de Perles” — Gianandrea Noseda, conductor; Diana Damrau, Mariusz Kwiecień, Matthew Polenzani & Nicolas Testé; Jay David Saks, producer (The Metropolitan Opera Orchestra; The Metropolitan Opera Chorus)
  • “Handel: Ottone” — George Petrou, conductor; Max Emanuel Cencic & Lauren Snouffer; Jacob Händel, producer (Il Pomo D’Oro)
  • “Rimsky-Korsakov: The Golden Cockerel” — Valery Gergiev, conductor; Vladimir Feliauer, Aida Garifullina & Kira Loginova; Ilya Petrov, producer (Mariinsky Orchestra; Mariinsky Chorus)


  • *”Bryars: The Fifth Century” — Donald Nally, conductor (PRISM Quartet; The Crossing)
  • “Handel: Messiah” — Andrew Davis, conductor; Noel Edison, chorus master (Elizabeth DeShong, John Relyea, Andrew Staples & Erin Wall; Toronto Symphony Orchestra; Toronto Mendelssohn Choir)
  • “Mansurian: Requiem” — Alexander Liebreich, conductor; Florian Helgath, chorus master (Anja Petersen & Andrew Redmond; Münchener Kammerorchester; RIAS Kammerchor)
  • “Music of the Spheres” — Nigel Short, conductor (Tenebrae)
  • “Tyberg: Masses” — Brian A. Schmidt, conductor (Christopher Jacobson; South Dakota Chorale)


  • “Buxtehude: Trio Sonatas, Op. 1” — Arcangelo
  • *”Death & the Maiden” — Patricia Kopatchinskaja & the Saint Paul Chamber Orchestra
  • “Divine Theatre — Sacred Motets by Giaches De Wert” — Stile Antico
  • “Franck, Kurtág, Previn & Schumann” — Joyce Yang & Augustin Hadelich
  • “Martha Argerich & Friends — Live From Lugano 2016” — Martha Argerich & Various Artists


  • “Bach: The French Suites” — Murray Perahia
  • “Haydn: Cello Concertos” — Steven Isserlis; Florian Donderer, conductor (The Deutsch Kammerphilharmonie Bremen)
  • “Levina: The Piano Concertos” — Maria Lettberg; Ariane Matiakh, conductor (Rundfunk-Sinfonieorchester Berlin)
  • “Shostakovich: Violin Concertos Nos. 1 & 2” — Frank Peter Zimmermann; Alan Gilbert, conductor (NDR Elbphilharmonie Orchester)
  • *”Transcendental” – Daniil Trifonov (below)


  • “Bach & Telemann: Sacred Cantatas” — Philippe Jaroussky; Petra Müllejans, conductor (Ann-Kathrin Brüggemann & Juan de la Rubia; Freiburger Barockorchester)
  • *”Crazy Girl Crazy — Music by Gershwin, Berg & Berio” — Barbara Hannigan (Orchestra Ludwig)
  • “Gods & Monsters” — Nicholas Phan; Myra Huang, accompanist
  • “In War & Peace — Harmony Through Music” — Joyce DiDonato; Maxim Emelyanychev, conductor (Il Pomo D’Oro)
  • “Sviridov: Russia Cast Adrift” — Dmitri Hvorostovsky; Constantine Orbelian, conductor (St. Petersburg State Symphony Orchestra & Style of Five Ensemble)


  • “Barbara” — Alexandre Tharaud; Cécile Lenoir, producer
  • *”Higdon: All Things Majestic, Viola Concerto & Oboe Concerto” (below with the first movement of the Viola Concerto in the YouTube video at the bottom) — Giancarlo Guerrero, conductor; Tim Handley, producer
  • “Kurtág: Complete Works for Ensemble & Choir” — Reinbert de Leeuw, conductor; Guido Tichelman, producer
  • “Les Routes de l’Esclavage” — Jordi Savall, conductor; Benjamin Bleton, producer
  • “Mademoiselle: Première Audience — Unknown Music of Nadia Boulanger” — Lucy Mauro; Lucy Mauro, producer


  • “Danielpour: Songs of Solitude” — Richard Danielpour, composer (Thomas Hampson, Giancarlo Guerrero & Nashville Symphony)
  • *”Higdon: Viola Concerto” — Jennifer Higdon, composer (below)(Roberto Díaz, Giancarlo Guerrero & Nashville Symphony)
  • “Mansurian: Requiem” — Tigran Mansurian, composer (Alexander Liebreich, Florian Helgath, RIAS Kammerchor & Münchener Kammerorchester)
  • “Schoenberg, Adam: Picture Studies” — Adam Schoenberg, composer (Michael Stern & Kansas City Symphony)
  • “Zhou Tian: Concerto for Orchestra” — Zhou Tian, composer (Louis Langrée & Cincinnati Symphony Orchestra)

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Classical music: Madison Youth Choirs will perform music of Madison’s nine sister cities this Sunday afternoon and evening

December 8, 2017

By Jacob Stockinger

The Ear has received the following announcement to post:

“This semester, Madison Youth Choirs singers (below) are embarking on a musical journey across the globe as they explore and perform compositions connected to the diverse cultures inhabiting Madison’s nine sister cities: Ainaro, East Timor; Arcatao, El Salvador; Camaguey, Cuba; Freiburg, Germany; Kanifing, The Gambia; Mantua, Italy; Obihiro, Japan; Tepatitlán, Mexico; and Vilnius, Lithuania.

“As we study the wide variety of musical forms that emerged from these nine regions and think about the reasons we’re drawn to establish sister city relationships, we’re examining both the common forces that drive the creative expression of artists from all cultures and the unique contributions that artists from our sister cities have made to the worldwide musical canon.

“We invite you to join us for a culminating winter concert series celebrating these international choral connections.


Madison Youth Choirs Winter Concerts, “Sister Cities

First Congregational United Church of Christ

1609 University Ave., Madison


Sunday, Dec. 10, 2017

1:30 p.m. Girlchoirs

4:00 p.m. Boychoirs

7:00 p.m. High School Ensembles

Tickets available at the door: $10 for general admission, $5 for students 7-18, and free for children under 7. A separate ticket is required for each performance. 

This concert is generously endowed by the Diane Ballweg Performance Fund with additional support from American Girl’s Fund for Children, BMO Harris Bank, and the Wisconsin Arts Board with funds from the state of Wisconsin and the National Endowment for the Arts.

About the Madison Youth Choirs (MYC):

Recognized as an innovator in youth choral music education, Madison Youth Choirs (MYC) welcomes singers of all ability levels, annually serving more than 1,000 young people, ages 7-18, through a wide variety of choral programs in our community. Cultivating a comprehensive music education philosophy that inspires self-confidence, personal responsibility, and a spirit of inquiry leading students to become “expert noticers,” MYC creates accessible, meaningful opportunities for youth to thrive in the arts and beyond.


Sunday, December 10, 2017, First Congregational Church, Madison

1:30 p.m. Concert (Featuring MYC Girlchoirs)


“Now We Are Met” by Samuel Webbe

“Sakura” Traditional Japanese folk song

“Tecolote” Spanish lullaby, arr. Victoria Ebel-Sabo

“S’Vivon” Traditional Jewish folk song, arr. Valerie Shields

Con Gioia

“Peace Round” Traditional round, text by Jean Ritchie

“Shepherd’s Pipe Carol by John Rutter

“Murasame” by Victor C. Johnson, text: 11th-century Japanese poem

“Guantanamera” Cuban folk song, text by José Marti

Capriccio (below)

“A Circle is Cast” by Anna Dembska

“Ich will den Herrn loben alle Zeit” by Georg Philipp Telemann, arr. Wallace Depue

“Ma come bali bene bela bimba” Traditional Italian, arr. Mark Sirett

“Soran Bushi” Japanese folk song, arr. Wendy Stuart

“Yo Le Canto Todo El Dia” by David L. Brunner

4:00 p.m. Concert (Featuring MYC Boychoirs)

Combined Boychoirs

“Dance for the Nations” by John Krumm, arr. Randal Swiggum

Purcell (below)

“La Nanita Nana” by José Ramon Gomis, arr. David Eddlemann

“Es is Ein Ros entsprungen” by Melchior Vulpius

“Sakura” Traditional Japanese folksong, arranged by Purcell choir members

Britten  (below)

Two Elegies by Benjamin Britten

  1. Old Abram Brown
  2. Tom Bowling

“No che non morira” (from Tito Manlio) by Antonio Vivaldi


“O Rosetta” by Claudio Monteverdi

“O là, o che bon echo” by Orlando di Lasso

“We Are” by Ysaye Barnwell

Combined Boychoirs

Chorus of Street Boys from Carmen by Georges Bizet

“Kimigayao” (The National Anthem of Japan) Melody by Hiromori Hayashi

7:00 p.m. Concert (Featuring High School Ensembles)


“How Can I Keep From Singing?” by Gwyneth Walker

Liebeslieder Walzer by Johannes Brahms, text by Georg Friedrich Daumer

  1. Wie des Abends (from Opus 52) (You can hear it in the YouTube video at the bottom.)
  2. Vogelein durchrauscht die Luft (from Opus 52)
  3. Nein, geliebter, setze dich (from Opus 65)


“Bar’chu” by Salamon Rossi

“The Pasture” (from Frostiana) by Randall Thompson

“Mogami Gawa Funa Uta” by Watanabe/Goto, based on folk materials, arr. Osamu



“Angelus ad pastores ait” (from Sacrae Cantiunculae, 1582) by Claudio Monteverdi

“Gamelan” by R. Murray Schafer

“Mata del Anima Sola” by Antonio Estévez

Cantabile and Ragazzi (below)

“The Virgin Mary Had a Baby Boy” Traditional carol from Trinidad, arr. Stephen


Combined Choirs

“Dance for the Nations” by John Krumm

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Classical music: The annual sold-out Christmas concert by the Madison Symphony Orchestra, guest artists and local groups is this coming weekend

November 27, 2017
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By Jacob Stockinger

The Madison Symphony Orchestra (MSO) and the Music Director John DeMain will kick off the 2017 holiday season this weekend with the annual “A Madison Symphony Christmas.”

The holiday celebration is filled with traditions from caroling in the lobby before the concert to the closing sing-along, where John DeMain (below) and the Madison Symphony Orchestra don their Santa hats.

Christmas classics are interwoven with new holiday music. Guest artists soprano Emily Pogorelc and tenor Eric Barry join DeMain, the MSO, the Madison Symphony Chorus, Madison Youth Choirs, and Mount Zion Gospel Choir on stage for the family-friendly celebration.

The concerts are in Overture Hall at the Overture Center, 201 State St., on Friday, Dec. 1, at 7:30 p.m.; Saturday, Dec. 2, at 8 p.m.; and Sunday, Dec. 3, at 2:30 p.m.

Tickets are $18-$90. See below for details.

The program features an array of music including Joy to the World by Georg Frideric Handel; Johann Sebastian Bach’s Mass in B minor with the Madison Symphony Chorus (below); Mozart’s Mass in C minor with Emily Pogorelc; John Rutter’s Shepherd’s Pipe Carol (heard in the YouTube video at the botttom) with the Madison Youth Choirs; Do You Hear What I Hear?; the Seven Joys of Christmas; Leotha and Tamera Stanley’s Christmas Peace with the Mount Zion Gospel Choir.

In addition, sing-a-longs that include O Come, All Ye Faithful, Away in a Manger, The First Noel, Silent Night, Hark the Herald Angels Sing, and We Wish You a Merry Christmas.

Praised for her “lively, incisive soprano” by the New York Times, soprano Emily Pogorelc (below) currently attends the prestigious Curtis Institute of Music. A native of Milwaukee, Pogorelc has performed with the Opera Philadelphia, Glimmerglass Opera Festival, Curtis Opera Theatre, and the Florentine Opera. She has won first place in numerous competitions, and was featured on National Public Radio’s From the Top.

Winner of the Bel Canto Prize at the 2016 Maryland Lyric Opera Competition, Spanish-American tenor Eric Barry (below) is “making an impressive mark” on opera and concert stages “with a clear timbre, evenness of projection and exceptional sensitivity” (Opera News).

His engagements have included performances with the Shreveport Opera, Boston Midsummer Opera, Opera Memphis, North Carolina Opera, Pittsburgh Opera, and the Teatro Comunale di Sulmona along with music festivals around the world. He returns to the MSO after appearing as a featured soloist in 2015.

The Madison Symphony Chorus (below, in a photo by Greg Anderson) gave its first public performance on February 23, 1928, and has performed regularly with the Madison Symphony Orchestra ever since. The Chorus is comprised of more than 150 volunteer musicians who come from all walks of life and enjoy combining their artistic talent.

Recognized as an innovator in youth choral music education, Madison Youth Choirs (MYC, below) inspires enjoyment, learning, and social development through the study and performance of high-quality and diverse choral literature.

The oldest youth choir organization in Wisconsin, MYC serves more than 1,000 young people, ages 7–18, in a wide variety of choral programs. In addition to a public concert series, MYC conducts an annual spring tour of schools and retirement centers, performing for more than 7,000 students and senior citizens annually.

Under the leadership of Leotha Stanley and his wife, Tamera Stanley, the Mount Zion Gospel Choir (below, in a photo by Bob Rashid) has been a part of the MSO Christmas concerts since 2005.

The choir is primarily comprised of members from Mount Zion Baptist Church and includes representatives from other churches as well. It has traveled extensively throughout the Midwest and has toured to Europe, singing in France and Germany. 

Concertgoers are encouraged to arrive 45 minutes before the concert begins to join the Madison Symphony Chorus as they lead a selection of Christmas carols in the festively lit lobby at Overture Hall.

Adds the MSO: These concerts typically sell out, so early ticket purchases are encouraged.

Single Tickets are $18-$90 each and are on sale now at:, 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, visit,

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:

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 Christmas concert is provided by: American Printing, Nedrebo’s Formalwear, John W. Thompson and Jane A. Bartell, Maurice and Arlene Reese Family Foundation, BMO Wealth Management, Hooper Foundation/General Heating & Air Conditioning, Judith and Nick Topitzes, and An Anonymous Friend. Additional funding provided by Colony Brands, Inc. J.H. Findorff & Son, Inc., Reinhart Boerner Van Deuren s.c., the Wisconsin Arts Board with funds from the State of Wisconsin and the National Endowment for the Arts.

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Classical music: The Wisconsin Baroque Ensemble celebrates its 20th anniversary with concerts this Friday night in Milwaukee and Sunday afternoon in Madison

November 21, 2017
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By Jacob Stockinger

Here, as elsewhere in the U.S. and around the world, the period instrument movement has become more and more mainstream over the years.

The instruments and the historically informed performance practices have expanded.

The repertoire has also grown, extending both back to Medieval and early Baroque music and forward to the Classical, Romantic and even more modern periods.

Historical research into early music, along with performances and recordings, has influenced even modern music groups such as the Madison Symphony Orchestra and the Wisconsin Chamber Orchestra, which now sound lighter, clearer and faster when they play Handel operas, Bach concertos and Beethoven symphonies.

Twenty years ago, the Madison Bach Musicians did not exist. Neither did the Madison Early Music Festival or the fully developed early music program at the UW-Madison.

But the Wisconsin Baroque Ensemble (below) was there, having grown out of other period instrument ensembles and performers who pioneered the long-lived and now very successful early music revival.

And the WBE, with changes in personnel, continues strong.

This coming Sunday you can help celebrate the ensemble’s 20th anniversary by attending a concert of mixed baroque chamber music.

The concert is on this Sunday, Nov. 26, at 2 p.m. in Saint Andrew’s Episcopal Church (below), at 1833 Regent Street on Madison’s near west side. (The Wisconsin Baroque Ensemble will also perform the same program in Milwaukee this Friday night at 7:30 p.m. at the Charles Allis Museum. See the WBE website, below, for details)

Performers are Brett Lipshutz, traverse flute; Eric Miller, viola da gamba; Sigrun Paust, recorder, Consuelo Sañudo, mezzo-soprano; Monica Steger; traverse flute and harpsichord; Anton TenWolde, baroque cello; and Max Yount, harpsichord.

Tickets at the door are $20, $10 for students.

A free reception will be held after the concert at 2422 Kendall Ave., second floor.

The program is:

Luigi Rossi – “Io lo vedo, o luci belle” (I see, O beautiful lights)

Georg Philipp Telemann – Trio Sonata for two recorders and basso continuo, TWV 42:F7 (The two opening movements can be heard in the YouTube video at the bottom.)

Marin Marais – Pièces de viole, movements from Book 2  (viol pieces)

Jacopo Peri – “Solitario augellino”(lonely little bird) “O miei giorni fugaci”(O my fleeting days)

Alexander Munro – Bony Jeane, from A Collection of the Best Scots Tunes Fited to the German Flute  (1732)


Benedetto Marcello – Sonata for recorder and basso continuo, Op. 2, No. 1

Michel Pignolet de Montéclair – “Les Syrenes” (The Sirenes)

Jakob Friedrich Kleinknecht – Sonata in G major for two flutes and basso continuo

Francisco de Santiago – “Ay, como flecha la Niña Rayos” (Like Arrows, the Girl Rays)

For more information, call (608) 238-5126 or email, or visit

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:

Who are your favorite ECM artists?

What are your favorite ECM recordings?

What ECM downloads do you recommend?

The Ear wants to hear.

Classical music: The legendary St. Thomas Boys Choir of Leipzig will perform Reformation music at Luther Memorial Church this Sunday night

November 14, 2017

By Jacob Stockinger

In celebration of the 500th anniversary of the Reformation, Luther Memorial Church will host the historic and legendary St. Thomas Boys Choir (Thomanerchor) of Leipzig, Germany.

The famed boychoir will perform this coming Sunday night at 7 p.m. at Luther Memorial Church (below), 1021 University Ave.

The program will present music of Johann Sebastian Bach (the motets “Fürchte dich nicht,” “Komm, Jesu, komm” and “Der Geist hilft”) and unspecified choral music of Heinrich Schütz, Johann Schein and Felix Mendelssohn.

Tickets are available at at $20, $30 and $50. Student rush tickets will be available day of concert.

The St. Thomas Boys Choir (Thomanerchor) of Leipzig, Germany, was founded in 1212. Johann Sebastian Bach (below) served as Thomaskantor, director of the choir, from 1723 to 1750. (For more background about the group, its pedigree and the music of Bach, see the YouTube video at the bottom.)

Classical music: A busy week at the UW spotlights choral and vocal music with some wind, brass and guitar music included

November 12, 2017
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By Jacob Stockinger

It’s going to be a busy week at the University of Wisconsin-Madison’s Mead Witter School of Music.

And especially if you are a fan of choral music, there is much to attract you.

Here is run-down by the day:


At 3 p.m. in Mills Hall is a FREE concert of Combined Choirs that features the Women’s Chorus (below), the University Chorus and the Masters Singers.

Sorry, no word about the program, but the groups’ past record suggests excellent programs are in store.


From noon to 1:30 p.m. in Morphy Recital Hall, William Buchman (below), who is assistant principal bassoon of the Chicago Symphony Orchestra and a faculty member at DePaul University in Chicago, will give a master class that is FREE and OPEN TO THE PUBLIC.

At 7:30 p.m. in Music Hall on Bascom Hill, University Opera a FREE Fall Opera Scenes program with UW student singers (below form last year).

Featured are excerpts from four operas and one Broadway musical: “The Marriage of Figaro” by Wolfgang Amadeus Mozart; “Orpheus in the Underworld” by Jacques Offenbach; “Der Freischuetz” (The Marksman or Freeshooter) by Carl Maria von Weber; and “Carousel” by Rodgers and Hammerstein,


At 7:30 p.m. in Mills Hall, the Wisconsin Brass Quintet (below, in a photo by Michael R. Anderson) will give a FREE concert.

Members of the faculty ensemble are Alex Noppe and Matthew Onstad, trumpets; Mark Hetzler, trombone; Tom Curry, tuba; and Daniel Grabois, horn.

The program includes: Johann Schein: Three Psalm Settings; Peter Maxwell Davies, arr. Matthew Onstad: “Farewell to Stromness” (1980), from The Yellow Cake Review; Jan Radzynski: Take Five (1984); Gunther Schuller’s Music for Brass Quintet (1961); and Alvin Etler’s Quintet for Brass Instruments (1966).

For more information, go to


From 10 a.m. until noon in Morphy Recital Hall, the acclaimed Grammy Award-winning guitarist Sharon Isbin (below), who will perform with the Madison Symphony Orchestra this coming weekend, will give a FREE master class that is OPEN TO THE PUBLIC.


At 8 p.m. in Mills Hall, the Madrigal Singers (below top), under conductor Bruce Gladstone (below bottom, in a photo by Katrin Talbot), will present Part 2 of “Israelsbrünnlein” (Fountains of Israel) by the Baroque composer Johann Hermann Schein.

According to program notes, “Johann Hermann Schein’s collection of 26 motets from 1623 has long been considered the most important set of motets in the early 17th century. Schein (below), frustrated that there wasn’t a true counterpart of the Italian madrigal to be found in German music, set out to marry the expressiveness of the madrigal to German texts.

“In this case, he chose to set sacred and mostly biblical texts, rather than the secular poetry found in most madrigals. His set of spiritual madrigals display both moments of pure joy and exultation as well as heartbreaking sadness and longing.

“Last fall, the Madrigal Singers presented the first 13 of these motets, and this fall, we finish out the collection with motets 14-26.

“This music is incredibly moving and remarkably fresh, revealing a marked sensitivity to the texts and a mastery of musical expression.” (You can hear a sample in the YouTube video at the bottom.)


At 8 p.m., in Luther Memorial Church (below), 1021 University Avenue, the Low Brass Ensemble will give a FREE recital. No word on composers or pieces on the program.

At 8 p.m. in Mils Hall, the group Chorale, under conductor Bruce Gladstone will present “Songs to Live By.”

Programs notes read: “Music has always had a way to touch our souls the way other things cannot. When paired with poetry that speaks honestly to the human condition, it can lift us out of the merely abstract, touching our souls and offering insight on how we can be better at being human and humane.

“The Chorale offers a choral song-cycle by composer Gwyneth Walker (below) on autobiographical poems by Virginia Hamilton Adair, as well as three works by Elizabeth Alexander:  “How to Sing Like a Planet”; “If You Can Walk You Can Dance”; and “Finally On My Way To Yes.”

“Also on the program is Joshua Shank’s “Rules To Live By,” a heartfelt and moving piece whose text was written by the commissioning ensemble.


At 5 p.m., in Mills Hall, the UW-Madison Wind Ensemble (below top) and Winds of Wisconsin will give a FREE joint concert.

Scott Teeple will conduct with guest violinist, Professor Soh-Hyun Altino (below bottom, in a photo by Caroline Bittencourt) soloing.

Here is the program:

UW-Madison Wind Ensemble:

“Fanfare for the Uncommon Woman, #2,” by Joan Tower

Concerto for Violin and Wind Ensemble, by Robert Hutchinson with the violinist Park Altino

Winds of Wisconsin:

“Chester Overture for Band,” by William Schuman

“A Child’s Embrace” by Charles Rochester Young

“Vesuvius,” by Frank Ticheli

Combined UW Wind Ensemble and Winds of Wisconsin:

“Folk Dances,” by Dmitri Shostakovich

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Classical music: University Opera stages a compelling and fully engaging cabaret of Kurt Weill songs

October 29, 2017

By Jacob Stockinger

The Ear’s friend and colleague, The Opera Guy, has filed the following review.

By Larry Wells

I attended a nearly full-house opening of University Opera’s “A Kurt Weill Cabaret” Friday night in Music Hall on Bascom Hill.

The 90-minute show was comprised of about 20 numbers from the body of works by Weill (below, in a photo from the German Federal Archive. The ensembles, solos and duets were arranged into three sections with a loose narrative structure linking the pieces.

Throughout the evening I was unaware of the passage of time, which is one of my acid tests for a good performance. Likewise, I felt fully engaged.

Many of the numbers will be familiar to Weill’s fans. The well-known “Whiskey Bar/Alabama Song” was the opening solo for Sarah Kendall, who performed it more as a Puccini aria than as the world-weary, boozy Jenny. It was a novel and strangely compelling interpretation.

(Kendall performing “Whiskey Bar” with the company, is below in a photo by Michael R. Anderson, who took all the performance photographs)

More convincingly conveyed was “I’m a Stranger Here Myself” performed by the sprightly and clear-voiced Emily Weaver. “My Ship” sung by Miranda Kettlewell (below right, singing the Ice Cream Sextet with Alec Brown) was perfectly enunciated and movingly sung.

Since there were no supertitles, clear enunciation was a problem in a couple of the performances.

Likewise, mention should be made of Emily Vandenberg’s haunting rendition of “Surabaya Johnny.” (You can hear the legendary Weill interpreter Lotte Lenya sing “Surabaya Johnny” in the YouTube video at the bottom.)

My favorite performances of the evening included “‘Youkali” by Talia Engstrom. My notes simply said “Perfection.” And my perennial favorite Courtney Kayser (below) did not disappoint with “J’attends un navire” and “Denn wie man sich bettet.” She is an excellent actress, possesses outstanding musicianship, and commands a clearly focused voice.

The women singers seriously overshadowed the men’s solo performances. I was wondering why that might have been. One possibility is that the men, who are trained operatically, find that they need to scale back their vocal projection for lighter vocal fare and in doing so sound constrained.

(Below, from back to front and left to right, are: Alec Brown, Jeff Larson, Jake Elfner, Sarah Kendall, Talia Engstrom, Matt Chastain in the “Benares Song.”)

Having said that, I thought Matt Chastain’s “Oh the Rio Grande” from the not well-known “Johnny Johnson” was both well sung and amusing to watch.

My companion admired the voice and acting of Alec Brown, and we both believed that Tim Emery is a dead ringer for a young Jimmy Stewart.

Some of the most compelling moments were the ensembles from Weill’s heavier works. “The Benares Song” highlighted Weill’s gravitas as a composer as did “Zu Potsdam unter den Eichen” from “Das Berliner Requiem.”

The cast members’ acting and vocal skills came to the forefront in these ensembles. (Below is “Zu Potsdam unter den Eichen” with Matt Chastain, Miranda Kettlewell, Alec Brown, Tim Emery, Emily Weaver, Eliav Goldman and Jeffrey Larson in the foreground).

Daniel Fung (below top) heroically provided the piano accompaniment without slacking for even a moment. Kudos to him. He was joined by a string bass and drum all conducted by Chad Hutchinson (below bottom) with unflaggingly appropriate tempi and dynamics.

This was the seventh production by David Ronis (below in a photo by Luke Delallio) for University Opera at the UW-Madison, and his consistently novel approach to the productions has made each one a joy. His commitment to quality and novelty is admirable.

I am eager to see what Ronis has in store for us this coming spring with “La Bohème” to be staged at the Wisconsin Union Theater.

I highly recommend attending “A Kurt Weill Cabaret,” which will be repeated this afternoon at 3 p.m. and Tuesday evening (Halloween night) at 7:30 p.m. Admission for the general public is $25; $20 for seniors; and $10 for UW students.

For more background and information about getting tickets, go to:

Classical music: Chicago Gargoyle Brass and Organ Ensemble to bring ‘Music of the Reformation’ to four Wisconsin cities, including Madison, Oct. 27–29

October 24, 2017
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By Jacob Stockinger

The Chicago Gargoyle Brass and Organ Ensemble (below) will perform a late-October series of FREE public concerts in four Wisconsin cities featuring music by composers Johann Sebastian Bach, Felix Mendelssohn and others in a centuries-spanning program titled “Music of the Reformation.”

Performances will take place Friday, Oct. 27, in Appleton; Saturday, Oct. 28, in Delafield and Watertown; and Sunday, Oct. 29, in Madison.

“The hour-long concert program commemorates the 500th anniversary of the start of the Protestant Reformation in Germany in 1517,” said Rodney Holmes, founder and artistic director of the Gargoyle ensemble. “Audiences will hear works embracing the most famous melodies written by Reformation leader Martin Luther (below), who was a composer as well as a religious figure.”

The program includes James Curnow’s contemporary “Rejouissance: Fantasia on ‘Ein feste Burg’ (A Mighty Fortress)” for organ; Heinrich Schütz’s “Three Becker Psalms,” Op. 5, a Baroque work for brass quartet; Bach’s Canonic Variations on “Vom Himmel hoch da komm’ ich her” (“From Heaven above to Earth I come”), BWV 769, for organ; and Otto Nicolai’s early Romantic “Ecclesiastical Festival Overture on the chorale ‘Ein feste Burg ist unser Gott,’” Op. 31, arranged for brass and organ by Craig Garner.

Also on the program are: Max Reger’s late Romantic “Ein’ feste Burg ist unser Gott,” Op. 27, for organ; Randall E. Faust’s contemporary “Fantasy” on the hymn “Von Himmel hoch,” for horn and organ; and Garner’s brass and organ arrangement, “Introduction and Finale,” from Mendelssohn’s Symphony No. 5, “Reformation,” Op. 107.

Performers will include Madison-based organist Jared Stellmacher (below), an award-winning musician heard on the Chicago Gargoyle Brass and Organ Ensemble’s critically acclaimed 2015 debut CD “Flourishes, Tales and Symphonies.” He holds a master’s degree in music from Yale University.

Gargoyle brass players will include trumpeters Lev Garbar and Andrew Hunter, horn player Kathryn Swope, trombonist Karen Mari, and artistic director Holmes on tuba.


Here are the dates, times, and locations of the Gargoyle ensemble’s “Music of the Reformation” concerts, with local contact information. No tickets or reservations are required for these FREE events:

*Friday, Oct. 27, at 7:30 p.m. at Zion Lutheran Church, 912 North Oneida Street, in Appleton, Wis., 54911.

Contact: Matthew Walsh, 920-739-3104

*Saturday, Oct. 28, at 3 p.m. at Christ the King Lutheran Church, 1600 North Genesee Street, in Delafield, WI 53018

Contact: Mark Gould, 262-646-2343

*Saturday, Oct. 28, at 6:30 p.m. at Immanuel Evangelical Lutheran Church, 204 North Tenth Street, Watertown, WI 53094

Contact: Janis Shackley, 920-261-1663

*Sunday, Oct. 29, at 2 p.m. at Good Shepherd Lutheran Church, 5701 Raymond Road, Madison, WI 53711

Contact: Jared Stellmacher, 608-271-6633

Chicago Gargoyle Brass and Organ Ensemble

“The Chicago Gargoyle Brass and Organ Ensemble plays with warmth, elegance, and panache,” said U.S. music magazine Fanfare in a review of the ensemble’s debut CD. “[They] are perfect companions for the music lover in need of calming nourishment.”

The group takes its whimsical name from the stone figures atop gothic buildings at the University of Chicago, where the now-professional ensemble got its start in 1992 as a brass quintet of faculty and students. (You can hear a sample in the YouTube video at the bottom.)

Under its founder and artistic director Rodney Holmes, it has evolved over the decades into an independent organization of classically trained musicians that focuses on commissioning and performing groundbreaking new works and arrangements for brass and pipe organ. You can find more information at

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