The Well-Tempered Ear

Classical music: The UW-Madison’s Pro Arte Quartet performs the second of its free, MUST-HEAR, six-concert Beethoven string quartet cycle this Friday night. Here is a revised schedule.

February 25, 2020
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By Jacob Stockinger

This Friday night at 8 p.m. in the Mead Witter Foundation Concert Hall of the new Hamel Music Center, 740 University Ave., the UW-Madison’s Pro Arte Quartet (below, during the first concert of the cycle) plays the second concert in its FREE year-long, six-concert Beethoven cycle to mark the Beethoven Year that celebrates the 250th anniversary of the composer’s birth.

The Ear heard the first concert in the cycle and found it superb. He recommends the performances highly enough to call them MUST-HEARs.

But a couple of things have changed in the cycle.

Since the last listing was published, the last concert of the cycle has been pushed back one day.

Also, UW-Madison Professor of Musicology Charles Dill (below) will be giving a pre-concert lecture one hour before each of the remaining five concerts in the series. This Friday night,  Dill speaks at 7 p.m. in the Lee/Kaufman Rehearsal Hall.

Members of the Pro Arte Quartet (below, from left in a photo by Rick Langer) are David Perry and Suzanne Beia, violins; Sally Chisholm, viola; Parry Karp, cello.

Here is the revised schedule:

PROGRAM I  (completed)

Friday, Nov. 22, 2019, 8 p.m. in Collins Recital Hall

String Quartet in G Major, Op. 18, No. 2 (1798-1800)

String Quartet in F Minor, Op. 95, “Serioso” (1810)

String Quartet in B-flat Major, Op. 130 (1825-6)

PROGRAM II

This Friday, Feb. 28, 2020, at 8 p.m., in Mead Witter Foundation Concert Hall

String Quartet in F Major, Op. 18, No. 1 (1798-1800). You can hear the opening of this first quartet by the young Beethoven, played the Alban Berg Quartet, in the YouTube video at the bottom.)

String Quartet in E-Flat Major, Op. 74, “Harp” (1809).

String Quartet in C-Sharp Minor, Op. 131 (1826)

Pre-Concert lecture by Professor Charles Dill, 7 p.m. in  Lee/Kaufman Rehearsal Hall

PROGRAM III

Thursday, April 16, 2020, 7:30 p.m. in Mead Witter Foundation Concert Hall

String Quartet in D Major, Op. 18, No. 3 (1798-1800)

String Quartet in E Minor, Op. 59, No. 2 (1806)

String Quartet in E-flat Major, Op. 127 (1825)

Pre-Concert lecture by Professor Charles Dill, 6:30 p.m. in Collins Recital Hall

PROGRAM IV

Friday, Oct. 2, 2020, at 8 p.m. in Mead Witter Foundation Concert Hall

String Quartet in A Major, Op. 18, No. 5 (1798-1800)

String Quartet in C Minor, Op. 18, No. 4 (1798-1800)

String Quartet in A Minor, Op. 132 (1825)

Pre-Concert lecture by Professor Charles Dill at 7 p.m. in Collins Recital Hall

PROGRAM V

Friday, Nov. 20, 2020, at 8 p.m. in Mead Witter Foundation Concert Hall

String Quartet in B-flat Major, Op. 18, No. 6 (1798-1800)

String Quartet in F Major, Op. 135 (1826)

String Quartet in C Major, Op. 59, No. 3 (1806)

Pre-Concert lecture by Professor Charles Dill at 7 p.m. in Collins Recital Hall

PROGRAM VI

Sunday, Jan. 31, 2021, at 7:30 p.m. in Mead Witter Foundation Concert Hall

String Quartet in F Major, Op. 59, No. 1 (1806)

String Quartet in B-flat Major, Op. 130, with the Great Fugue finale (Grosse Fuge), Op. 133 (1825)

Pre-Concert lecture by Professor Charles Dill at 6:30 p.m. in Collins Recital Hall

 


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Classical music: The Ancora String Quartet will play several concerts of Beethoven and Randall Thompson over this coming weekend, including one at Olbrich Gardens on Friday night

February 5, 2020
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By Jacob Stockinger

The Ear has received the following information from the veteran Ancora String Quartet, which will play several performances of the same program over the coming weekend in several different cities.

Members of the Ancora String Quartet (below from left, in a photo by Barry Lewis), who also play with the Madison Symphony Orchestra and the Wisconsin Chamber Orchestra, are: violinists Wes Luke and Robin Ryan; violist Marika Fischer Hoyt; and cellist Benjamin Whitcomb.

RECITAL PROGRAM:

String Quartet No. 2 in G Major by Randall Thompson

String Quartet in B-Flat Major, Op. 130, by Ludwig van Beethoven

CONCERT DATES:

Friday, Feb. 7, at noon

Interview with Wisconsin Public Radio host

Norman Gilliland on The Midday

WERN 88.7 FM

 

Friday, Feb.7, from 5 to 7 p.m.

Olbrich Botanical Gardens, Bolz Conservatory

3330 Atwood Ave., Madison

Tickets at the door: $5

 

Saturday, Feb. 8, at 7:30 p.m.

Park (“Freethinkers”) Hall

307 Polk Street, Sauk City

Tickets: $15 general, $12 children and seniors

 

Sunday, Feb. 9, at 2 p.m. (UPDATE: THIS CONCERT HAS BEEN CANCELLED DUE TO AN OUTBREAK OF ILLNESS AT CHAI POINT. IT WILL BE RESCHEDULED.) 

Chai Point Retirement Community

1400 N. Prospect Ave., Milwaukee

Free and open to the public

PROGRAM NOTES:

The program opens with an unusual work, the String Quartet No. 2 in G Major, by American composer Randall Thompson (below). Better known for his choral music, Thompson wrote this quartet in 1967 to celebrate the 130th anniversary of the Harvard Musical Association.

The quartet is joyous and optimistic in character, with thoughtful and creative part-writing. The first movement brims with youthful energy, contained in smoothly flowing triplets.

The simple, graceful folk melody that opens the second movement continually reinvents itself in a set of charming variations. The third movement’s heartfelt tune expresses a deep content, setting up the finale, whose explosive energy erupts in a good-natured, light-hearted romp.

Beethoven (below) wrote the second piece on our program, the String Quartet in B-Flat Major, Op. 130, 141 years before the Thompson and many centuries beyond it in subtlety, sophistication, intellectual rigor and emotional depth.

With six movements and lasting 40 minutes, it is the composer’s longest piece of chamber music, and it stretches limits in other ways as well. The original work, completed in 1825, contained the Grosse Fuge (Great Fugue) but Beethoven replaced that in 1826 with the Finale Allegro, the last full-scale movement he completed before his death in 1827.

Op. 130 bristles with contrasts, and juxtapositions of extremes, on the micro-level to the macro-level, all contained in movements ranging from a short, gnarly Presto, to a graceful Poco Scherzo, to a lyrical, innocent Alla Danza Tedesco (In the Style of a German Dance), to the fabled Cavatina, which, Beethoven wrote, moved him to tears when he even thought about it. (You can hear the Cavatina in the YouTube video at the bottom.)

In performing Op. 130, the Ancora String Quartet tackles its 14th of the 16 Beethoven string quartets. The ASQ plans to perform Op. 59, No. 3, and Op. 131, in the summer and fall, to complete the Beethoven cycle in this, the Beethoven Year when we celebrate the 250th anniversary of his birth.

For more information, go to: facebook.com/ancoraquartet and www.ancoraquartet.com

 


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Classical music: The Beethoven Year in Madison will include complete cycles of string quartets and piano trios as well as many other early, middle and late pieces. Here is a partial preview

September 21, 2019
6 Comments

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By Jacob Stockinger

As you may have already heard, 2020 is a Beethoven Year. It will mark the 250th anniversary of the composer’s birth. (He lived from mid-December of 1770 to March 26, 1827.  Dec. 17 is sometimes given as his birthday but it is really the date of his baptism. No one knows for sure the actual date of his birth.)

Beethoven, who this year overtook Mozart as the most popular composer in a British radio poll, clearly speaks to people — as you can see at the bottom in the YouTube video of a flash mob performance of the “Ode to Joy.” It has had more than 16 million views.

Locally, not all Beethoven events have been announced yet. But some that promise to be memorable are already taking shape. Many programs include early, middle and late works. And you can be sure that, although nothing formal has been announced yet, there will be special programs on Wisconsin Public Television and especially Wisconsin Public Radio.

Here is a partial round-up:

The UW’s famed Pro Arte String Quartet (below, in a photo by Rick Langer), for example, will perform a FREE and complete cycle of Beethoven’s 16 string quartets in six concerts. It will start later this fall.

This is not the first time that the Pro Arte has done a Beethoven cycle. But it is especially fitting since that is the same Beethoven cycle that the Pro Arte was performing in Madison at the Wisconsin Union Theater in May of 1940 when World War II broke out and the quartet was stranded on tour in the U.S. after its homeland of Belgium was invaded and occupied by the Nazis.

That is when the ensemble was invited to become musical artists-in-residence at the University of Wisconsin-Madison and accepted – thereby establishing the first such association in the world that became a model for many other string quartets.

The Bach Dancing and Dynamite Society with the San Francisco Trio (below) plans on performing a cycle of piano trios next summer. No specific dates or programs have been announced yet.

The 20th anniversary of the Ancora String Quartet (below, in a photo by Barry Lewis) will coincide with the Beethoven Year. That is when the Ancorans will complete the cycle of 16 string quartets that they have been gradually programming over the years. Three quartets remain to be performed: Op. 59, No. 2 “Rasumovsky”, Op. 130 and Op. 131.

Adds violist Marika Fischer Hoyt: “We’ll perform Op. 130 in February (with the original final movement, NOT the “Grosse Fuge”), and we plan to do the remaining two quartets in the summer and fall of 2020.”

Here are some other Beethoven dates to keep in mind:

On Nov. 2 in Shannon Hall at the Wisconsin Union Theater, and as part of the WUT’s centennial celebration of its Concert Series, pianist Emanuel Ax (below, in a photo by Lisa-Marie Mazzucco), who since 1974 has played many solo recitals, chamber music recitals and piano concertos in Madison, will play Beethoven’s first three solo piano sonatas, Op. 2.

On Dec. 6 at the Wisconsin Union Theater, the Kalichstein-Laredo-Robinson Piano Trio will perform the famous “Archduke” Trio, Op. 97. Also on the program are works by Felix Mendelssohn and Robert Schumann.

On Feb. 1, UW-Madison pianist Christopher Taylor, who has performed all 32 piano sonatas in Madison, will continue his cycle of Beethoven symphonies as transcribed for solo piano by Franz Liszt. He will perform Symphony No. 1 and the famed Symphony No. 9, the ground-breaking “Choral” Symphony with its “Ode to Joy.” No chorus will be involved, but there will be four solo singers. Taylor said he will then complete the cycle with Symphony No. 2 at some future time.

The Mosaic Chamber Players (below, in a photo by John W. Barker) will perform two all-Beethoven programs: on Feb. 21, a FREE program offers two sonatas for violin and piano (Op. 12, No. 3 and Op. 30, No. 2, and one sonata for cello and piano (Op. 5, No. 1); on June 13, a ticketed program features three piano trios (Op. 1, No. 1; Op. 70, No. 2; and Op. 121a “Kakadu” Variations).

On May 8, the Wisconsin Chamber Orchestra (below top, in a photo by Mike Gorski), under conductor Andrew Sewell (below bottom, in a photo by Alex Cruz), will perform the popular Symphony No. 6 “Pastoral” – a pioneering piece of program music — to commemorate the Beethoven Year.

There is one very conspicuous absence.

You will notice that there is nothing by Beethoven programmed for the new season of the Madison Symphony Orchestra (below, in a photo by Peter Rodgers).

But The Ear hears rumors that music director John DeMain (below, in a photo by Greg Anderson) is planning something special for the following season that might involve both symphonies and concertos, both original Beethoven works and perhaps “reimagined” ones.

(For example, pianist Jonathan Biss, who has just completed recording the piano sonata cycle and who performed with the MSO several years ago, has commissioned and will premiere five piano concertos related to or inspired by Beethoven’s five piano concertos.) Sorry, but as of now only rumors and not details are available for the MSO. Stay tuned!

The Ear would like to hear complete cycles of the violin sonatas and cello sonatas performed, and a couple of the piano concertos as well as the early symphonies and the famed Ninth Symphony with its “Ode to Joy” finale. He fondly remembers when DeMain and the MSO performed Symphonies Nos. 1 and 9 on the same program. Talk about bookending a career!

What Beethoven would you like to hear live?

What are your most favorite or least favorite Beethoven works?

Do you know of other Beethoven programs during the Beethoven Year? If so, please leave word in the Comment section.

And, of course, there is the inevitable question: Can you have too much Beethoven?


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Classical music: Here is what happened when the late American writer Philip Roth heard fugues by Bach and Beethoven. What do you think of his reactions?

May 31, 2018
1 Comment

By Jacob Stockinger

The late, great and award-winning American novelist Philip Roth (below) – who died of congestive heart failure in a Manhattan hospital on May 22 at age 85 – spent the last half-dozen years of his life retired and not writing.

Instead he liked to visit friends and attend concerts.

Roth was an avid fan of classical music.

So the following story about a chamber music concert by the Emerson String Quartet (below) – one of his favorite chamber music ensembles — of music by Johann Sebastian Bach, Ludwig van Beethoven and Dmitri Shostakovich is especially amusing and perhaps telling to read.

What seems especially Rothian are his different reactions to fugues by Bach (below top is an unfinished manuscript page from Bach’s “The Art of Fugue”) and by Beethoven (below bottom is a manuscript page from the “Grosse Fuge”).

Here is a link to the story as recounted on the blog by the famous New York City classical music radio station WQXR-FM — and be sure to read the comments by other readers:

https://www.wqxr.org/story/what-roth-thought-bach

You can hear the Emerson Quartet playing the opening fugal theme that Bach chose to permute for almost 90 minutes, followed by Fugue No. 9, in the YouTube videos at the bottom.

What do you think of Roth’s reactions and comments to fugues by Bach and Beethoven?

Do you agree or disagree with him?

The Ear wants to hear.


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