ALERT: Just a reminder that UW-Madison professor and Pro Arte Quartet cellist Parry Karp will repeat his recent program with pianist Eli Kalman this Sunday afternoon during “Sunday Afternoon Live From the Chazen.” The FREE concert starts at 12:30 p.m. in the Brittingham Gallery 3. The program includes sonatas by Ludwig van Beethoven and Cesar Franck plus preludes by Sulkan Tsintsadze. The recital can also be streamed LIVE.
Here is a link to more information about the performances and program:
And here is a link to the Chazen streaming site:
By Jacob Stockinger
The Ear has been sent the following information to post:
Madison Bach Musicians is excited to offer a Summer Chamber Music Workshop from July 25 to July 28, 2017, focusing on historically informed performances of baroque and classical music.
This workshop is open to intermediate and advanced players who are high school age and older. Participants will be assigned to an ensemble group, and music will be sent in advance to allow musicians to learn their parts beforehand. (Below is a group photo from last summer’s workshop that was taken by Mary Gordon.)
The workshop will include personalized ensemble coaching, master classes, a faculty concert, community lunches and a final closing concert for a supportive and appreciative audience.
Keyboard player Trevor Stephenson (below top), who founded and directs the Madison Bach Musicians, and violinist Kangwon Kim (below bottom) are the co-directors of the summer session.
Other faculty members include flutist Linda Pereksta (below top) and cellist Martha Vallon (below bottom).
All of this will take place in the beautiful and acoustically rich spaces of the First Unitarian Society of Madison.
Applications will be accepted on a first-come, first-served basis beginning Jan. 15, 2017. (Early application discount will be given until March 20.)
Instruments covered include the violin, viola, cello, harpsichord, fortepiano, piano, flute, recorder, oboe and bassoon.
For more information and full details as well as a schedule of classes, faculty and performances – which will include the Brandenburg Concerto No. 3 by Johann Sebastian Bach (see the YouTube video at bottom) as well as music by Antonio Vivaldi and Arcangelo Corelli — go to:
For information about being an auditor and a schedule of concerts, go to:
By Jacob Stockinger
Attention all pianists– amateurs, professionals and students — as well as other keyboard players.
This Saturday brings the first University of Wisconsin-Madison “Keyboard Day.” The focus is comprehensive, having the title “From the Practice Room to the Stage: The Pathway to Artistry.”(The official logo is below.)
The underlying reason may be to attract and recruit talented undergraduate students to the University of Wisconsin-Madison School of Music. But the net effect is that a lot of wisdom about keyboard playing – from practicing to performing — will be on display to be shared with those who attend.
All events are FREE and OPEN TO THE PUBLIC.
The event takes place in Morphy Recital Hall from 9:30 a.m. to 5 p.m.
Here is a schedule:
9:30-10 a.m. Coffee and Pastries (Mills Lobby)
10 a.m.-noon UW-Madison Keyboard Faculty Workshops
Strategies for Learning a New Piece with Professor Martha Fischer (below top) and Professor Jess Johnson (below bottom)
Getting Inside a Composer’s Head with Professor John Stowe
Beyond Repetitive Drilling: Custom Exercises for Every Difficult Passage with Professor Christopher Taylor
Mindfulness and Self-Compassion in the Practice Room with Professor Martha Fischer and Professor Jess Johnson
1:30-3:30 p.m. Master class for high school students with UW-Madison keyboard faculty
Etude in E major, Op. 10, No. 3 by Frederic Chopin; Yunyao Zhu, a student of Kangwoo Jin
Sonata in G major, Op. 49, No. 2 by Ludwig van Beethoven. George Logan, a student of Liz Agard
Sposalizio, by Franz Liszt. Owen Ladd, a student of William Lutes
Scherzo No. 2 in B-flat minor, Op. 31, by Frederic Chopin. Jacob Beranek, a student of Margarita Kontorovsky
3:30-4 p.m. Reception in Mills Lobby
4-5 p.m. Recital featuring UW-Madison Keyboard Faculty
Sonata, Wq. 49 No. 5 by Carl Philipp Emanuel Bach (1714-1788). From Sei Sonate, Op. 2 (1744). John Chappell Stowe, harpsichord (below top)
Quasi Variazioni. Andantino de Clara Wieck by Robert Schumann (1810-1856) from Piano Sonata in F minor, Op. 14. Jess Johnson, piano. *Performed on a Steinbuhler DS 5.0 TM (“7/8”) alternatively-sized piano keyboard.
Don Quixote a Dulcinea (1933) by Maurice Ravel (1875-1937) Poetry by Paul Morand. Paul Rowe, baritone, and Martha Fischer, piano
The Banjo by Louis Moreau Gottschalk (1829-1869). Christopher Taylor, piano (below middle). You can hear the piece in the YouTube video at the bottom. Taylor will also play “Ojos criollos” (Creole Eyes) and “Pasquinade” by the American composer Gottschalk.
Nature Boy by George Alexander “eden ahbez” Aberle (1908-1895) Johannes Wallmann, jazz piano (below bottom)
By Jacob Stockinger
The Wisconsin Baroque Ensemble — an acclaimed and veteran group specializing in early music performed on period instruments and with historically informed performance practices — will give a concert of baroque chamber music on this coming Sunday afternoon at 3 p.m.
The concert is in Saint Andrew’s Episcopal Church (below are exterior and interior views), 1833 Regent Street, on Madison’s near west side.
Members and performers in the Wisconsin Baroque Ensemble include: UW-Madison professor Mimmi Fulmer – soprano; Nathan Giglierano – baroque violin; 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 for the general public; $10 for students.
A FREE post-concert reception will be held at 2422 Kendall Ave, second floor.
The program features:
Giovanni Legrenzi – “Ave Regina Coelorum” (Hail, O Queen of Heaven)
Jacques Morel – Chaconne en trio, from “Livre de pieces de viola” or Book of Pieces for Viol)
Jean-Baptiste Lully – “Plaite de Vénus sur la mort d’Adonis” (Lament of Venus on the Death of Adonis)
Georg Friedrich Handel (below) – Sonata for violin and basso continuo, Opus 1, No. 3 (You can sample the lovely opening movement, played by Simon Standage on violin and The English Concert’s director Trevor Pinnock on harpsichord, in the YouTube video at the bottom.)
Georg Philipp Telemann (below) – “Hemmet den Eifer, verbannet die Rache” (Restrain Your Zeal, Banish Your Revenge)
Jacob Friedrich Kleinknecht – Sonata for traverso and basso continuo, Opus 1, No. 2
Giacomo Carissimi – “Rimante in pace ormai” (Remain in Peace Henceforth)
Georg Philipp Telemann – Quartetto in G major, TWV 43:G6
For more information about the Wisconsin Baroque Ensemble, go to: http://wisconsinbaroque.org
By Jacob Stockinger
Trevor Stephenson (below), who founded and co-directs the Madison Bach Musicians, may be best known in the Madison area for his work with early music and Baroque music.
But Stephenson, who is known for his outstanding pre-concert lectures as well as for his performances, is also deeply involved in period instruments and historically informed performance practices concerning Romantic music.
He writes to The Ear: “In February, I’m offering a four-part course on piano music by Frederic Chopin (below). This will meet on Thursday evenings 6-7:30 p.m. at my home studio. Information is below. Email me to enroll.
“Also, I’ll play an all-Chopin house concert on SATURDAY, FEB. 25 AT 7 P.M. — NOT Sunday, Feb. 26, at 3 p.m. as first and mistakenly printed here — which will be here at the home studio as well. Refreshments will be served. Reservations are required (firstname.lastname@example.org). Admission is $40.”
DATES: February 2, 9, 16, 23
TIME: Thursdays 6−7:30 p.m.
PLACE: 5729 Forstyhia Place, Madison WI 53705
COST: Enrollment is $120
Reading knowledge of music is suggested.
Class size is limited to 15, and enrollment closes TODAY, Friday, Jan. 27.
Feb. 2: Waltzes, Preludes
Feb. 9: Nocturnes, Mazurkas
Feb. 16: Etudes, Polonaises
Feb. 23: Ballades, Scherzos
Instruments to be used are: an 18th-century Fortepiano (Sheppard after Stein) c. 1840; a Cottage Upright Piano (attr. C. Smart ) c. 1850; and English Parlor Piano (Collard & Collard) c. 1855; and a Viennese Concert Grand Piano (Bösendorfer)
Subject matter will include: Origins of Chopin’s compositional style; tonal qualities of his pianos, early 19th-century temperaments; fingering; pedaling; articulation; touch; tempo; and tempo rubato.
By Jacob Stockinger
The Ear has received the following word to share from Trevor Stephenson, the founder and artistic director of the Madison Bach Musicians who is also an accomplished keyboard player in addition to being an entertaining and informative lecturer about early music and period instruments:
We’re giving a house concert to celebrate the New Year, 2017.
On Friday evening, Jan. 6, at 7 p.m., I’ll play a program of solo keyboard music on harpsichord, fortepiano and the restored 1855 Bösendorfer concert grand piano (below). (NOTE: The Ear earlier mistakenly had said Jan. 7 in the headline only, and apologizes for the error.)
The program includes selections by Johann Sebastian Bach, George Frideric Handel, Domenico Scarlatti, Franz Joseph Haydn, Ludwig van Beethoven, Frederic Chopin and Claude Debussy. Sorry, no word about specific pieces. (In the YouTube video at the bottom, you can hear Stephenson play the first movement of Beethoven’s “Moonlight” Sonata on a fortepiano.)
Refreshments will be served.
Admission is $40.
Reservations are required. To let us know that you’d like to attend, please email email@example.com
Trevor and Rose Stephenson
ALERT: The Wisconsin Chamber Orchestra and its acclaimed music director Andrew Sewell are pretty busy these days playing the accompanying music for the Madison Ballet‘s multiple performances of Peter Tchaikovsky‘s holiday ballet “The Nutcracker.”
Then on this coming Friday night at 7 p.m. at the Blackhawk Church in Middleton, the WCO, the WCO Chorus, the Festival Choir of Madison and guest soloists, all under the baton of Sewell, also give their annual and usually sold-out performance of George Frideric Handel‘s oratorio “Messiah.” The Ear has been told that this year’s performance is also close to selling out to. For more information and tickets, go to:
By Jacob Stockinger
At 8 p.m. this Saturday night, Dec. 10, the Madison Bach Musicians (below top) will give their sixth annual Baroque Holiday Concert.
The event will once again be held in the beautiful and sonorous sanctuary (below) of the First Congregational United Church of Christ, 1609 University Avenue.
There is a free pre-concert lecture by the always witty, informative and entertaining MBM founder, artistic director and harpsichordist Trevor Stephenson (below) at 7:15 p.m. NOTE: Trevor Stephenson will also discuss the upcoming holiday concert and play excerpts from past ones TODAY AT NOON on The Midday program aired by Wisconsin Public Radio.
The program will feature: a cappella (solo vocal) masterworks by Orlando di Lassus and Josquin des Prez performed by a vocal quartet; a Christmas Cantata for soprano and strings by Alessandro Scarlatti—featuring soprano soloist Chelsea Morris (below top); a trio sonata by Johann Joseph Fux; an intriguing Partita for two scordatura violins (scordatura means the open strings are re-tuned into a new interval configuration!) by Heinrich Biber; the Sonatina in A minor for baroque bassoon and continuo by Georg Philipp Telemann ― with soloist and UW-Madison professor Marc Vallon (below bottom, in a photo by James Gill); one of the Christmas Cantatas, BWV 122, Das neugeborne Kindelein (The Newborn Baby) by Johann Sebastian Bach (heard in the YouTube video at the bottom); and a bonus feature ― a preview of MBM’s upcoming April performance of Bach’s oratorio St. John Passion, the tenor aria Ach, mein Sinn.
Advance-sale discount tickets: $28 for general admission, $23 for students and seniors 65 and over. They are available at Orange Tree Imports, Farley’s House of Pianos, Room of One’s Own, and Willy Street Co-op (East and West) . You can also find online advance-sale tickets at madisonbachmusicians.org
Tickets at the door are: $30 for general admission; $25 for students and seniors 65 and over. Student Rush tickets are $10 at the door and go on sale 30 minutes before lecture (student ID is required)
Musicians will include: Chelsea Morris, soprano; Joseph Schlesinger, counter-tenor; Scott Brunscheen, tenor; Matthew Tintes, bass; Kangwon Kim and Brandi Berry, baroque violins; Marika Fischer Hoyt, baroque viola; Martha Vallon, baroque cello; Marc Vallon, baroque bassoon; and Trevor Stephenson, harpsichord
By Jacob Stockinger
Here is a special posting, a review written by frequent guest critic and writer for this blog, John W. Barker. Barker (below) is an emeritus professor of Medieval history at the University of Wisconsin-Madison. He also is a well-known classical music critic who writes for Isthmus and the American Record Guide, and who hosts an early music show once a month on Sunday morning on WORT-FM 89.9. For years, he served on the Board of Advisors for the Madison Early Music Festival and frequently gives pre-concert lectures in Madison.
By John W. Barker
The Wisconsin Baroque Ensemble offered its latest specimen of intimate Baroque chamber music at St. Andrew’s Episcopal Church on Regent Street last Sunday afternoon.
As always, each of the performers—six in this case—had one or two opportunities as soloist.
Mezzo-soprano Consuelo Sañudo (below), for instance, was featured in two solo cantatas.
One, by Giovanni Bononcini was on conventional emotional themes.
But the other was a real curiosity. By the French composer Louis-Nicolas Clérambault, it was written for the Nativity season, and has been given a French title as “Hymn of the Angels.” But its text was no more or less than the Latin words of the Gloria section of the Mass Ordinary.
A new member in the group, recorder player Sigrun Paust (below), delivered the Sonata No. 1 from a 1716 collection of works written by Francesco Veracini alternatively for violin or flute.
For flutist Monica Steger (below) the vehicle was a Sonata Op. 91, No. 2, for Flute and Harpsichord duo, by Joseph Bodin de Boismortier.
The spotlight was on viola da gambist Eric Miller (below) in another duo with harpsichord, no less than the Sonata in D Major, BWV 1028, by Johann Sebastian Bach, but Miller also participated in continuo functions elsewhere. (You can hear the Bach sonata in the YouTube video at the bottom.)
Likewise active in continuo work was viola da gambist Anton TenWolde (below), but he had one solo, a Capriccio for cello, by Joseph Ferdinand Dall’Abaco.
And the harpsichordist Max Yount (below), also involved in continuo roles, presented two contrasting keyboard pieces, a Toccata by Jan Pieterszoon Sweelinck and a Fantasie by Johann Jakob Froberger.
For a colorful finale, Paust and Miller joined TenWolde and Steger (on harpsichord) in a Trio Sonata in F by Georg Philipp Telemann.
The artistry of these performers (below) was fully up to their own high standards, and their delight in trading off assignments to play together is palpable.
St. Andrew’s Church (below) on Regent Street may have been a bit bigger than a Baroque salon or parlor, but still served well as a setting for this kind of amiable gentility in musical substance.
The group’s next Madison concert is at St. Andrew’s on Sunday, Feb. 12, 2017. No program has been announced.
ALERT: There will NOT be a Noon Musicale this Friday at the First Unitarian Society of Madison. The weekly series resumes next week.
By Jacob Stockinger
The Wisconsin Baroque Ensemble will perform a very varied concert of baroque chamber music on this coming Sunday, Nov. 27, at 3 p.m. at Saint Andrew’s Episcopal Church (below), 1833 Regent Street, on the near west side of Madison.
Members of the ensemble include Eric Miller, viola da gamba; Sigrun Paust, recorder; Consuelo Sañudo, mezzo-soprano; Monica Steger, traverso flute, harpsichord; Anton TenWolde, baroque cello; and Max Yount, harpsichord.
Tickets at the door only are $20 for the public, $10 for students.
For more information, visit www.wisconsinbaroque.org
A reception will be held at 2422 Kendall Ave, second floor after the concert.
The program includes:
Francesco Maria Veracini (below) – Sonata No. 1 for recorder and basso continuo in F major
Jan Peterszoon Sweelinck, Toccata in C
Johann Jakob Froberger, Fantasie
Giovanni Bononcini, “Vorrei pure pianger”
Joseph de Bodin de Boismortier – Sonata for flute and harpsichord, Opus 91, No. 2
Francois Couperin – “Le Dodo ou l’Amour au Berceau”
Evaristo Felice Dall’Abaco – Capriccio for solo violoncello No.
Louis-Nicholas Clerembault – Hymne des Anges
ALERT 1: Tonight at 8 p.m. in Mills Hall, UW-Madison trombonist Mark Hetzler will give a FREE recital with pianist Vincent Fuh. Hetzler will perform a retrospective of pieces he has recorded over the past 14 years, representing five different recordings. Music from the following recordings from his Summit catalogue will be represented in this recital: American Voices (2002); Serious Songs, Sad Faces (2003); 20th Century Architects (2004); Three Views (2012); and Blues, Ballads and Beyond (2015).
Hetzler will repeat this concert on Thursday, Nov. 17 in Fond du Lac, at St. Patrick’s Church, 41 E. Follett Street, as part of the Searl Pickett Chamber Music Series.
For more information go to: http://www.markhetzler.com/
ALERT 2: Tomorrow afternoon, Sunday, Nov. 13, at 4 p.m., Dan Broner, the music director at the First Unitarian Society of Madison, will give a FREE organ recital at the FUS Meeting House, 900 University Bay Drive. The program features the Trio Sonata No. 4 in E minor, “Sleepers Wake!” and the Prelude and Fugue in A major by Johann Sebastian Bach; Prelude, Fugue and Variations by Cesar Franck; and “Dorian Chorale” and “Litanies” by Jehan Alain. Donations will be accepted.
By Jacob Stockinger
Here is a special posting, a review written by frequent guest critic and writer for this blog, John W. Barker. Barker (below) is an emeritus professor of Medieval history at the University of Wisconsin-Madison. He also is a well-known classical music critic who writes for Isthmus and the American Record Guide, and who hosts an early music show once a month on Sunday morning on WORT-FM 89.9 FM. For years, he served on the Board of Advisors for the Madison Early Music Festival and frequently gives pre-concert lectures in Madison. He also took the performance photos.
By John W. Barker
The clavichord was an instrument of subtle importance in the 18th century. It was a kind of alternative to the harpsichord in several ways. For one, its strings were not plucked, as in a harpsichord, but hammered, as in its descendants, the fortepiano and the subsequent pianoforte or just plain piano.
The clavichord, moreover, was really an instrument for private use, for practice, study and composing work, rather than for concert use, beyond the most intimate of audiences. (You can hear a sample, using J.S. Bach’s Partita No. 2, in a YouTube video at the bottom.)
Local builder and restorer, Tim Farley has made several clavichords before, but this one is a relatively large one. Notable is its incorporation of wood from a number of old pianos, and some rare maple wood that had been submerged in water for a long time. Out of these elements he has created an instrument of great beauty and elegance, as well as of distinctive artistic usefulness.
To introduce this new instrument to Madison’s musical community, Tim and his wife Renee, the reigning royalty of the remarkable Farley’s House of Pianos on the city’s far west side, chose not to do so in their usual salon, as it is too commodious and not noise-free.
Instead, they brought it to the historic Gates of Heaven Synagogue on Sunday afternoon, Nov. 6. A program of four works was played on it by David Schrader (below), an early music specialist who teaches at Chicago’s Roosevelt University.
An audience of about 45 attended. I suspect many were surprised by how tiny (not tinny!) was the instrument’s sound—much more pale than what they would have expected from a harpsichord. Modest as is the Gates of Heaven hall, it was still a bit larger than ideal. Nevertheless, the audience followed the performance intently, and I heard no complaints from anyone afterwards about inaudibility.
The music chosen was entirely from the 18th century. It began with the Partita No. 5 from Johann Sebastian Bach’s Clavierübung or Keyboard Works. On these terms, we heard it as Bach might have played it himself for his own pleasure—or as a student might do for study.
The two middle works were from the other end of the century. An extended Sonata, K. 330, by Wolfgang Amadeus Mozart would in its time have been played on the fortepiano, or even harpsichord, and sounded rather pallid this way.
But a two-movement Sonata in G minor by Franz Joseph Haydn, full of introspective feeling, worked well on the clavichord as highly personal expression.
Balancing the opening with J. S. Bach was the closing work, a three-movement Sonata in A minor (Wq49), a relatively early work by Carl Philip Emmanuel Bach, his most influential son. C.P.E. Bach was famous as an expressive player, and for music of inward probing.
I had hoped to hear Schrader demonstrate on this new instrument its feature of Bebung, a capacity for quasi-vibrato quivering on sustained notes that the clavichord’s action famously allowed the player to exploit. There was some of that, but Schrader explained that such an effect did not work on many pitches, limiting its possibilities.
Listeners for whom this type of instrument is unfamiliar surely found this program illuminating, while this instrument’s excellence was a further reminder of what craftsmanship Tim Farley (below, seated at the clavichord he built) has brought to Madison.
ALERT: The recital by violinist Joshua Bell and pianist Alessio Bax on this Saturday night at 8 p.m. in Shannon Hall of the Wisconsin Union Theater is SOLD OUT. But a few extra tickets will be released on Saturday at 6 p.m. at the WUT box office, where interested persons should go in person to buy them.
By Jacob Stockinger
On Sunday afternoon at 3 p.m., Farley’s House of Pianos owner Tim Farley will unveil his latest handmade clavichord (below) at the historic Gates of Heaven Synagogue, 302 East Gorham Street in James Madison Park. (Photos are by Tom Moss.)
If you wonder about the difference between the clavichord and the harpsichord, fortepiano and piano, here is a link to a definition on Wikipedia:
David Schrader (below), a professor at Roosevelt University’s Chicago College of Performing Arts Music Conservatory, will perform on the instrument. Details of the program have not been announced.
A $20 cash or check donation to Farley’s House of Pianos is suggested. The ticket donation goes towards Schrader’s fee and the venue rental.
Farley created the German clavichord using reclaimed Spanish cedar and redwood from Broadwood pianos dating back to 1880, and shipwrecked walnut wood that had been underwater for nearly 60 years. The clavichord was built over three years by Tim Farley and another worker.
Farley chose Schrader to perform specifically for this concert. Schrader has a background in early keyboard and church music. He also performed on Farley’s 1976 Steinway Centennial Grand piano for the Madison Early Music Festival this year.
“In the times we live in today, we never truly experience absolute quiet,” Farley says. “We don’t have that white space background like performers had in the 19th century. Gates of Heaven Synagogue has a perfect acoustical ambience for a clavichord. No question, this is the most personal, sensitive, intimate keyboard instrument ever made.”
Adds builder Farley: “This clavichord is after the eminent clavichord builder, Friederici, who worked in the Silberman workshop. It has many of the attributes of the famous clavichord built by Silberman for Johann Sebastian Bach.
“Unlike Silberman’s clavichord that had 53 keys (C to E), the Friederici has five full octaves. It is perfectly suited to much music by Franz Joseph Haydn and Wolfgang Amadeus Mozart and even some by Ludwig van Beethoven.
“I am indebted to my colleague Dietrich Hein, the German instrument builder, who sent me his drawing of the instrument and that is what I used.
“All of the other wood on the inside of the instrument is wood that had a previous musical life from such pianos as Broadwood, Steinway, Mason and Hamlin, and Chickering.
“The lid has new walnut veneers. On the inside of the lid, the woods are bookmatched. The outside of the lid features individual pieces of figured walnut. The trim is fiddleback soft maple.
“It took about three years to complete the instrument including turning the legs for the case. It is 72 inches long. It has a deep, rich sound and a long sustain duration.”
Here is a YouTube video with much more information about the clavichord: