The Well-Tempered Ear

Classical music: The Madison Early Music Festival’s 20th anniversary Grand Tour includes a silent movie and rare books as well as lots of varied music to mark its success after 20 years. Part 2 of 2

July 6, 2019
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By Jacob Stockinger

A big anniversary deserves a big celebration – and that is exactly what the organizers of this year’s Madison Early Music Festival, which is marking its 20th year, have come up with.

All concerts include a pre-concert lecture at 6:30 p.m. The concerts begin at 7:30 p.m.

Here’s the link for all the information about MEMF: https://memf.wisc.edu/

Tickets are $90 for an all-event pass. Individual concerts are $22, $12 for students. Tickets are available for purchase online and by phone at 608-265-ARTS (2787) with a $4 service fee; or in person at the Campus Arts Ticketing Box Office @ Memorial Union.

Co-artistic director Cheryl Bensman-Rowe recently wrote about the festival in a Q&A for this blog. Yesterday she spoke about the overall concept and the first weekend’s concerts. Here is a link to Part 1:

https://welltempered.wordpress.com/2019/07/05/classical-music-the-madison-early-music-festival-will-present-a-grand-tour-of-musical-styles-a-movie-and-rare-books-to-mark-its-success-after-20-years-the-tour-starts-this-saturda/

Here is Part 2 of 2:

What events take place next week?

The concert on Tuesday, July 9, is going to be a unique experience for MEMF audiences. HESPERUS creates the soundtrack for the 1923 silent film “The Hunchback of Notre Dame” with music (below) from 14th- and 15th-century France. (The cathedral was started in 1163 and finished in 1345.)

Compositions include French and Burgundian music from 1300 to 1500, featuring Guillaume de Machaut, Jehan l’Escurel, Guillaume Dufay, as well as lesser-known composers such as Vaillant, Morton and Borlet.

On Friday, July 12, the vocal ensemble Calmus (below) performs “Faith and Madness,” a program of a dialogue between sacred music masterpieces followed by madrigals that portray madness, love, war and loneliness.

Composers include Giovanni Pierluigi da Palestrina, Heinrich Schütz, Claudio Monteverdi, Carlo Gesualdo, Clement Janequin and others.

All of the singers are graduates of Leipzig’s renowned St. Thomas Church Choir School. Calmus was founded in 1999. This a cappella quintet embodies the rich choral tradition of its hometown, the city associated with Johann Sebastian Bach and Felix Mendelssohn.

To hear a preview of their arrangement of Bach’s “Nun komm, der Heiden Heiland,” BWV 659, visit: https://youtu.be/WNzzUU0GcF4

Can you tell us about the program and performers for the All-Festival concert on Saturday, July 13?

The All-Festival Concert includes all of our workshop participants and faculty. We work together to prepare the concert all week and it is truly a MEMF community project. Grant Herreid (below) has created the All-Festival program this year. Grant is a genius at designing a program that tells a musical story featuring MEMF’s faculty and participants.

“Musical Postcards from The Grand Tour” features a narrator, loosely based on Thomas Coryat (below, at sea and in the Alps), the English 17th-century century travel writer, who, as a young man, travels throughout Europe in search of music. Beginning in London, 1641, the musical itinerary continues to Venice, Rome, Naples, Dresden, Paris, and back to London.

The program features so many wonderful composers, and the large ensemble pieces are: the Gloria from Monteverdi’s Selva morale et spirituale; the beautiful Miserere of Gregorio Allegri; Nun danket alle Gott by Heinrich Schütz; Domine salvum fac regem setting by Jean-Baptiste Lully; and, as an ending, This point in time ends all your grief from Ye tuneful muses by Henry Purcell.

Are there other sessions — guest lectures, certain performers, particular works — that you especially recommend for the general public?

All the planning that goes into each festival leads me to encourage the general public to attend everything! The concert series, lectures and workshops have so much to offer.

The special moments that I’m looking forward to are singing in the All-Festival concert and performing Allegri’s  Miserere,a stunning piece that I have never heard performed in Madison. (You can hear it in there YouTube video at the bottom.)

I also look forward to hearing the fantastic musical soundtrack created by HESPERUS for the silent movie “The Hunchback of Notre Dame” and the Calmus singing connection back to Bach through their musical education in Leipzig, plus experiencing all the different travelogues of the past as they come to life through narrations and music.

Special events include a dance with a live band drawn from the MEMF Faculty with dance instruction by Peggy Murray, Grand Tour Dance Excursions, at the Memorial Union in the Great Hall on Thursday, July 11, at 7:30 pm. https://memf.wisc.edu/event/07-11-2019-2/

The lecture series features some well-known Madisonians like J. Michael Allsen (below top), who writes program notes and lectures for the Madison Symphony Orchestra and Maria Saffiotti Dale (below bottom), curator at the Chazen Museum of Art.

There will be a special exhibit created for MEMF in the lobby of Memorial Library by Jeanette Casey, the head of the Mills Music Library and Lisa Wettleson of Special Collections at Memorial Library. This curated display includes materials about the Grand Tour, including one of the oldest travelogues from 1611 written by Thomas Coryat.

The exhibit will be in the lobby of Memorial Library (below) and open to the public from Saturday, July 6, through Thursday, July 18, with a special talk about the exhibit during the festival on Monday, July 8, at 11:30 a.m.

This partnership allows the library to display rarely seen original and facsimile publications, some dating back to the 15th and 16th centuries within the context of the MEMF theme.

Is there anything else you would like to add?

In 1611 Thomas Coryat, the author of the travelogue Crudities foretold what you will hear at MEMF in 2019:

“…I heard the best musicke that ever I did in all my life…so good that I would willingly goe an hundred miles a foote at any time to heare the like…the Musicke which was both vocall and instrumental, so good, so delectable, so rare, so admirable, so superexcellent, that it did even ravish and stupifie all those strangers that never heard the like”.

Get your tickets for the concert series. Attend the lectures. Take some classes. See a movie. Come and dance with us. Join us to experience the ultimate musical gap year at our 20th anniversary celebration!


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Classical music: Thursday night, the Middleton Community Orchestra closes its season with duo-pianists in music by Mozart and Saint-Saens, and the latter’s “Organ” Symphony. Wednesday is the last Just Bach concert of the season 

May 28, 2019
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ALERT: This Wednesday, May 29, at 1 p.m. in Luther Memorial Church, 1021 University Avenue, is the last FREE Just Bach concert of the season. The one-hour early music program includes: the cantata “Jauchzet Gott in allen Landen” (Praise Ye God in All Lands), BWV 51; Duetto II in F Major, BWV 803; and the cantata “Wachet! Betet! Betet! Wachet!” (Watch! Pray! Pray! Watch!), BWV 70. For more information, go online to the home website: https://justbach.org

By Jacob Stockinger

This Thursday night, May 30, the largely amateur but critically acclaimed Middleton Community Orchestra (below, in a photo by Brian Rupert) will close its ninth season with a special family-friendly concert.

The concert, under the baton of conductor Steve Kurr (below), takes place at 7:30 p.m. in the Middleton Performing Arts Center that is attached to Middleton High School, 2100 Bristol Street.

Guest artists are University of Wisconsin-Madison students and duo-pianists Satoko Hayami (below top) and Thomas Kasdorf (below bottom). They will perform the witty and entertaining “Carnival of the Animals” by Camille Saint-Saens and then the Concerto for Two Pianos, K. 365, by Wolfgang Amadeus Mozart.

Wisconsin Public Radio host Norman Gilliland (below) will be the narrator in “The Carnival of the Animals.” (In the YouTube video at the bottom, you can hear the opening Introduction and Royal March of the Lion, with the late Sir Roger Moore — aka James Bond or 007 — as the narrator plus an all-star cast of musicians and some very cool animal videos in back-and-white.) 

The concert concludes with the always impressive, ambitious and popular Symphony No. 3  — the famous “Organ” Symphony – by Saint-Saens (below, seated at the piano in 1900).

Adds MCO co-founder Mindy Taranto: “We are really excited to share a special concert with the community as we celebrate the end of MCO’s ninth season.

“It took a village to make this concert possible. Farley’s House of Pianos is donating the use of an 1890 Steinway to match the Steinway at the hall. WPR radio host Norman Gilliland is generously volunteering to narrate the ‘Carnival of the Animals’ and Full Compass is offering us a discount on the sound equipment we need to play the “Organ” Symphony. Our very own recording engineer, Alex Ford, is playing the organ.

“Please bring your kids and share this information to invite all students free of charge to hear this concert.”

Admission is $15 for adults; all students get in for free. Tickets are available at the Willy Street Coop West and at the door. The box office opens at 6:30 p.m. and the auditorium opens at 7 p.m.

As usual, after the concert there will be a free meet-and-greet reception for musicians and the public.

For more information about this concert, and about how to join or support the Middleton Community Orchestra, call 608 212-8690 or go online to: http://middletoncommunityorchestra.org


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Classical music: On Saturday night and Sunday afternoon, the Madison Bach Musicians explore the miracle of Mozart across his lifetime and across different genres

April 1, 2019
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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 majorComposed 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 majorComposed 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


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Classical music: How did a reformation in religion and a revolution in printing change music? The 19th annual Madison Early Music Festival (MEMF) offers answers and samples this week. Part 2 of 2

July 3, 2018
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By Jacob Stockinger

Starting this Saturday and running through the following Saturday, the 19th annual Madison Early Music Festival will explore the profound effects that the Lutheran Reformation and the invention of printing had on Renaissance and Baroque music of the time.

The festival is called “A Cabinet of Curiosities: A Journey to Lübeck.” For a complete listing of programs, lectures, concerts and workshops, with information about tickets, go to: https://memf.wisc.edu

Soprano Cheryl Bensman Rowe — who directs the festival with UW Arts Institute’s Sarah Marty and her husband and UW-Madison baritone Paul Rowe — recently agreed to do a Q&A with The Ear about the upcoming festival. Here is Part 2 of 2. And, if you missed the beginning, here is a link to Part 1:

https://welltempered.wordpress.com/2018/07/02/classical-music-this-saturday-the-19th-annual-madison-early-music-festival-memf-starts-a-week-long-exploration-how-the-500thanniversary-of-the-lutheran-reformation-in-changed-western-music-part-1/

How does early north German music differ from its counterparts in, say, Italy, France, Germany and England. What is the historical origin and aesthetic importance of the music from that era in that part of the world?

One of the biggest changes during the Reformation in Germany began with sacred music and the far-reaching changes in the way it served the church. The music of mass, motet, psalm and hymn heard in the great urban cathedrals, cloistered chapels and royal palace churches of Catholicism represented the “otherness” of the divine, a God unreachable by the untutored masses.

Written in an intellectual language which required years of rigorous training to learn and understand, it was only the disciplined, practiced choir boys and men who could perform this sacred polyphony in all its wonder and glory.

Luther sought to traverse this divide. Though he held the existing music of sacred polyphony in high esteem, he felt that music could be used to even greater effect in furthering the education and religious commitment of the people.

Luther (below) chose the hymn form as the principle means to his musical aims. A prolific hymnodist himself, he authored hymns such as the famous “Ein feste Burg ist unser Gott” (“A Mighty Fortress Is Our God“) several settings of which begin the All-Festival concert, attempted to connect existing high art with folk music in a style that would appeal to all classes, clergy and laity, men, women and children. His texts were in the German vernacular in order to convey messages that would be understood by all in a way that the Latin of preexisting hymns were not.

The culmination of those first 100 years of reformed musical development and the composers whose works will be performed throughout the week at MEMF, launched the reformed hymnody of Luther (below) and his followers into the stratosphere of such giants as Heinrich Schütz, Dietrich Buxtehude, Johann Sebastian Bach (all the Bachs for that matter) and on, a trail that continues to the present day.

What music and composers of that era have been most neglected and least neglected by historians and performers? Does rediscovery of works and composers play a special role this year?

Throughout the week we will be featuring compositions from the Choir Library from the Marienkirche in Lübeck (below) is a collection of music that Lübeck scholar and Buxtehude biographer Kerala Snyder catalogued and reconstructed.

The collection ended up in Vienna in the 19th century, and is a comprehensive data base that includes compositions by German and Italian composers, including Heinrich Schütz, Hermann Schein, Palestrina – the list starts with Agazzari and ends with Zucchini.

Besides the Choir Library compositions, audiences will have an opportunity to hear works of Buxtehude that have never been performed in Madison.

Can you tell us about the program and performers for the All-Festival concert on Saturday, July 14?

The All-Festival Concert (below)  includes all of our workshop participants and faculty. We work together to prepare the concert all week and it is truly a MEMF community project.  The music will be drawn from settings and compositions based on Lutheran chorales such as Ein Feste Burg and from the Choir Library of the Marienkirche.

The concert concludes with Buxtehude’s Missa Brevis and concludes with his grand motet, Benedicam Dominum in omne tempore, written for six contrasting choirs, which Buxtehude surely composed to match the structural design of the Marienkirche. (You can hear the Kyrie from Buxtehude’s “Missa Brevis” in the YouTube video at the bottom.)

Are there other sessions — guest lectures, certain performers, particular works — that you especially recommend for the general public?

All the planning that goes into each festival leads me to encourage the general public to attend everything. The concert series, lectures and workshop have so much to offer.

Special events include a dance with a live band drawn from the MEMF Faculty with dance instruction by Peggy Murray, Tanzen und Springen,at Memorial Union in the Grand Hall on Thursday night.

The lecture series features some well-known Madison scholars — John W. Barker and J. Michael Allsen, plus Michael Alan Anderson (below top), director of Schola Antiqua and professor of musicology, and Jost Hermand (below bottom), Professor Emeritus at the UW-Madison.

There will be a special exhibit created for MEMF in the lobby of Memorial Library by Jeanette Casey, the Head of the Mills Music Library and Lisa Wettleson of Special Collections at Memorial Library.

This curated display reflects the celebration of the 500th anniversary of the Reformation. The exhibit will be in the lobby of Memorial Library and open to the public through Thursday, July 19, 2018, with a special talk about the exhibit during the festival on Monday, July 9, at 11:30 a.m.  This wonderful partnership allows the library to display rarely seen original and facsimile publications, some dating back to the 15th and 16th centuries within the context of the MEMF theme.

Is there anything else you would like to add?

Martin Luther, who was a great lover of music, said: “The riches of music are so excellent and so precious that words fail me whenever I attempt to discuss and describe them…. In summa, next to the Word of God, the noble art of music is the greatest treasure in the world. It controls our thoughts, minds, hearts, and spirits…”

Join us to hear what Luther was talking about! Get your tickets for the concert series! Attend the lectures! Take some classes! You’ll find a link for all the information about MEMF at www.madisonearlymusic.org


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Classical music: Easter is a perfect time to ask: How religious was Johann Sebastian Bach?

March 31, 2018
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By Jacob Stockinger

This Sunday is Easter 2018.

It seems a perfect time ask: How religious was the great Baroque composer Johann Sebastian Bach (below)?

It also seems a perfect time to listen to Bach.

After all, has any composer written more Easter music or greater Easter music than Bach did in his passions, oratorios and cantatas?

According to the new book “Bach and God” by Michael Marissen, Bach — who was composing prolifically in the early days of the Protestant Reformation and Lutheranism — was far more religious than many Bach specialists, especially modern ones, have believed.

Here is a long and highly informative book review from The New York Times:

https://www.nytimes.com/2018/03/30/arts/music/bach-religion-music.html

And while you are reading the book review, you can listen to Bach’s “Easter Oratorio,” BWV 249. Here it is in a YouTube video that features the Bach specialist and scholar John Eliot Gardiner conducting singers and instrumentals — for soloists plus the Monteverdi Choir and the English Baroque Soloists — in a wonderful period-instrument performance, with historically informed performance practices.


Classical music: Today is both Good Friday and Passover. Here is music to mark both religious holidays

March 30, 2018
2 Comments

By Jacob Stockinger

Today is Good Friday, 2018.

Today is Passover, 2018.

Today is both religious holidays.

So it is a good time to recall that the original Last Supper that led to Easter WAS a Seder where Jesus Christ and his Disciples celebrated Passover, as depicted in the famous Renaissance painting “The Last Supper” (below) by Leonard da Vinci.

So today The Ear offers Jewish music that is an homage to both Christianity and Judaism.

If you go to YouTube, you can find a lot of music celebrating each event from Johann Sebastian Bach, and before, to the notorious anti-Semite Richard Wagner.

But in the YouTube video at the bottom, The Ear is offering a moving performance of Ernest Bloch’s “Schelomo: A Hebrew Rhapsody” as played by cellist Leonard Rose with the Cleveland Orchestra under conductor Lorin Maazel.

The mood of the music feels right for both Passover and Good Friday.

The Ear hopes you agree.


Classical music: Tucson celebrates the Leonard Bernstein centennial. Why not Madison?

February 17, 2018
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Editor’s note: Larry Wells, better known as The Opera Guy who writes for this blog, recently spent time in Tucson, Arizona, where he attended many events celebrating the Leonard Bernstein centennial.

Tucson isn’t alone. This fall has seen many similar celebrations, including those in New York City, San Francisco, Chicago, Washington, D.C. and Milwaukee. But curiously there has been little in Madison.

Perhaps that will change next season. At least this week will see a FREE concert by the UW-Madison Wind Ensemble this Wednesday night, Feb. 21, in Mills Hall. The mixed program with other composers features “Profanation” from Bernstein’s Symphony No. 1.

Here is a link with more information and the program:

https://www.music.wisc.edu/event/wind-ensemble-2/

And here are observations about the Tucson celebration:

By Larry Wells

I recently spent a few weeks in Tucson. Part of that time happily coincided with the annual Tucson Desert Song Festival which this year commemorated the 100th anniversary of the birth of Leonard Bernstein (below, in a photo by Jack Mitchell).

I was able to attend 13 of the performances and was struck by the consistently intelligent programming, large audiences, and high performance standards.

Many of the events were held at the Fred Fox School of Music at the University of Arizona. Some of these involved talented student and faculty singers performing Bernstein’s Broadway songs as well as his more serious vocal works. The venue also hosted outstanding recitals by Metropolitan Opera veterans Jennifer Johnson Cano (below top) and Lisette Oropesa (below bottom).

One of the highlights was a recital by dual pianists Steven Bleier (below top, on right) and Michael Barrett (below top, on left), founders of the New York Festival of Song. Their program included Bernstein’s final song cycle “Arias and Barcarolles” featuring the very talented Joshua Jeremiah (below middle) and Rebecca Jo Loeb (below bottom).

The Tucson Symphony Orchestra (below), under the direction of its new conductor José Luis Gomez,  filled the cavernous Tucson Music Hall for two performances of Bernstein’s underperformed Symphony No. 3 “Kaddish.” Joined by the symphony’s outstanding chorus, the Tucson Arizona Boys Chorus, and soprano Kelley Nassief this monumental work was electrifying. The many percussionists were given a good aerobic workout, and the audience seemed hypnotized.

The only flaw was the narration rewritten and delivered by Bernstein’s daughter Jamie. The original narration by the composer is a monologue between a man and his god. Ms. Bernstein’s narration changed the tone to that of a daughter speaking about her father.

For someone familiar with the work, I felt somewhat cheated that I was not hearing the work as it had been composed. Still it was a total delight to hear a live performance of a work that should be heard far more often than it is.

The Tucson Symphony Orchestra offered a second program which featured a sparkling performance of Bernstein’s opera “Trouble in Tahiti” with the widely-praised, and rightly so, mezzo-soprano Sasha Cooke (below in a photo by Dario Acosta).

Ballet Tucson offered a somewhat strange program featuring Bernstein songs beautifully performed by Cadie Jordan (below top) and David Margulis (below bottom, in a photo by Kristin Hoebermann). Sometimes they were accompanied by dancers and sometimes not.

Then, after a number of these songs, a recording came on of portions of the suite from Bernstein’s score for the film “On the Waterfront” with dancers performing a sort of “Romeo and Juliet” narrative. It didn’t seem to make any cohesive sense, but it was fun to watch and the quality of the music never faltered.

Two other large events were the Arizona Opera’s “Candide” and Tucson’s resident chorus True Concord’s MASS.

I attended the premiere of “Candide” (below) which was also performed in the vast Tucson Music Hall. I had only seen it performed once before, and that was the charming, witty, and intimate Harold Prince version. The Tucson version was one of the overlong operatic versions that featured additional musical numbers, which was a good thing, but wordy spoken dialogue that was unfortunately under-amplified. Therefore, unless someone was very familiar with the work, the production was a long string of seemingly unrelated musical numbers linked by incomprehensible spoken dialogue.

The dialogues themselves are very witty, but since they were not accompanied by supertitles as was the singing, the performance was seriously flawed. Still the singing was excellent, with special praise for Katrina Galka’s Cunegonde, and the staging was colorful and often amusing. Hopefully the sound issues were rectified for the following four performances. (You can hear the famous Overture to “Candide”– conducted by the composer —  in the YouTube video at the bottom.)

MASS (poster with scenes is below) was performed in what is termed as the ‘Chamber Version.’ I was apprehensive that somehow the musical content would be diminished, but my worries turned out to be unfounded and the performance was uniformly dynamic and engaging. True Concord is an outstanding choral group, and its leader Eric Holtan led a thoroughly engaging and moving performance of this monumental work. I was so taken by the first performance that I attended the second as well. Both performances filled the huge Centennial Hall.

Besides the orchestra and chorus the work features a celebrant, in this case the appropriately named Jubilant Sykes, an ensemble of vocal soloists, a boys chorus and dancers. The choreographers decided to add an additional layer of complexity to an already complex work by having some of the dancers portray Rose, Jacqueline and Caroline Kennedy as well as what I think was supposed to be the spirit of JFK. This was not part of the original work, and I felt it was superfluous to an already multifaceted work. But the audience loved it all, and it turns out that Madison is not the only city that seems to give everything a standing ovation.

The takeaway moment of the festival occurred during a discussion involving composer Dan Asia, the festival director and conductor George Hanson, and Jamie Bernstein. When asked how younger audiences can be lured into concert halls, all three of them immediately concurred that the answer is to program 20th-century music. They claim that any time 20th-century music is programmed, ticket sales increase. My experience at this festival was that large venues were consistently filled with audiences of all ages.

This is something for Madison to think about.


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Classical music: The Wisconsin Chamber Orchestra, WCO Chorus and the Festival Choir perform Handel’s “Messiah” this Friday night

December 5, 2017
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By Jacob Stockinger

It was originally intended to be performed at Easter. But is there any piece of holiday music more reliable or more central to the Christmas repertoire than “Messiah” by George Frideric Handel (below bottom)?

It seems neither the performers nor the public ever tires of it. (You can hear the iconic “Hallelujah Chorus” in the YouTube video at the bottom.)

So this Friday night at 7:00 p.m. “Messiah” returns for its eighth year at Blackhawk Church (below) past Madison’s far west side and located in Middleton.

The Wisconsin Chamber Orchestra (below top), choirs and soloists will all perform under WCO maestro Andrew Sewell (below).

Returning will be last year’s vocal quartet with the combined WCO Chorus and Festival Choir of Madison (below) under directors Scott Foss and Edgewood College professor Sergei Pavlov.

Tickets are $27. The event usually sells out.

For more information about how to obtain tickets as well as photos and extensive background about the soloists, go to:

https://wisconsinchamberorchestra.org/performances/messiah/


Classical music: Here are the classical music nominations for the 2018 Grammy Awards. They make a great holiday gift list of gives and gets

December 2, 2017
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By Jacob Stockinger

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

It features the classical music nominations for the Grammy Awards that were just announced this past week.

The winners will be announced on a live broadcast on Sunday night, Jan. 28, on CBS.

Read them and then in the COMMENT section tell us which title you think will win in a specific category and what you think of the recordings you know firsthand.

HISTORICAL ALBUMS:

  • “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” — Robert Russ, compilation producer; Martin Kistner & Andreas K. Meyer, mastering engineers (Leonard Bernstein)

ENGINEERED ALBUM, CLASSICAL

  • “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” — 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)

PRODUCER OF THE YEAR, CLASSICAL

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

ORCHESTRAL PERFORMANCE

  • “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: Symphony No. 5; Barber: Adagio” — Manfred Honeck, conductor (Pittsburgh Symphony Orchestra)

OPERA RECORDING

  • “Berg: Lulu” — Lothar Koenigs, conductor; Daniel Brenna, Marlis Petersen & Johan Reuter; Jay David Saks, producer (The Metropolitan Opera Orchestra)
  • “Berg: Wozzeck” — 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)

CHORAL PERFORMANCE

  • “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)

CHAMBER MUSIC/SMALL ENSEMBLE PERFORMANCE

  • “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

CLASSICAL INSTRUMENTAL SOLO

  • “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

CLASSICAL SOLO VOCAL ALBUM

  • “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)

CLASSICAL COMPENDIUM

  • “Barbara” — Alexandre Tharaud; Cécile Lenoir, producer
  • “Higdon: All Things Majestic, Viola Concerto & Oboe Concerto” — 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

CONTEMPORARY CLASSICAL COMPOSITION

  • “Danielpour: Songs of Solitude” — Richard Danielpour, composer (Thomas Hampson, Giancarlo Guerrero & Nashville Symphony)
  • “Higdon: Viola Concerto” — Jennifer Higdon, composer (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: 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.

CONCERT SCHEDULE

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. www.zionappleton.com/home

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

ctkdelafield.org

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

www.watertownimmanuel.org

Contact: Janis Shackley, 920-261-1663

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

www.gslcwi.com

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 gargoylebrass.com.


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