The Well-Tempered Ear

Classical music: Two noteworthy concerts of Baroque chamber music, organ music and vocal music take place this Wednesday midday and Saturday night

February 19, 2019
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By Jacob Stockinger

This is another very busy week for classical music in the Madison area. If Baroque music interests you, there are two noteworthy concerts this week that should attract your attention.

JUST BACH

This Wednesday, Feb. 20. at 1 p.m. in Luther Memorial Church, 1021 University Avenue, the February midday concert by Just Bach (below, at its September concert) will take place.

Admission to the all-Johann Sebastian Bach concert is FREE with a goodwill offering accepted.

Because it will be lunchtime, food and drink are allowed.

This month’s concert includes three diverse works.

Organist Mark Brampton Smith (below) will open the program with the first movement of the Concerto in D Minor BWV 596. This is Bach’s arrangement for organ of the popular Concerto for Two Violins by Antonio Vivaldi, and it comes off with dramatic effect when transcribed to the organ.

Violinist Leanne League will take the stage next, with the Sonata for Violin in A Minor, BWV 1003.

The program ends with the hauntingly beautiful Cantata 82 “Ich habe genug”(I have enough), scored for solo bass voice and oboe, strings and continuo. The vocal soloist will be UW-Madison bass-baritone Paul Rowe (below). You can hear the incomparable Dietrich Fischer-Dieskau sing the aria in YouTube video at the bottom.) 

The orchestra of baroque period-instrument specialists will be led by concertmaster Leanne League, and will include oboist Claire Workinger (below), in her Just Bach debut.

Organizers and performers say the goal of this series is to share the immense range of Bach’s vocal and instrumental repertoire with the Madison community at large. The period-instrument orchestra will bring the music to life in the manner and style that Bach would have conceived.

The audience will be invited to sing along during the opening hymns and the closing cantata chorales.

The other Just Bach dates, all Wednesdays, this semester are March 13, April 24 and May 29.

WISCONSIN BAROQUE ENSEMBLE

The veteran Wisconsin Baroque Ensemble will perform a varied concert of vocal and instrumental chamber music this coming Saturday night, Feb. 23, at 7:30 p.m. in St. Andrew’s Episcopal Church, 1833 Regent Street.

Tickets can be purchased only at the door. Admission is$20, $10 for students.

Performers are: Nathan Giglierano, baroque violin; Eric Miller; viola da gamba; Sigrun Paust, recorder; Charlie Rasmussen, baroque cello and viola da gamba; Consuelo Sañudo, mezzo-soprano; Daniel Sullivan, harpsichord; and Anton TenWolde, baroque cello.

The program is:

Nicolas Bernier – “Diane” Cantata for voice and basso continuo

Marin Marais – Pièces de violes (Pieces for Viola da Gamba), selections from Book 4

Louis Couperin – Pièces de clavecin (Pieces for harpsichord)

Joseph Bodin de Boismortier – Trio sonata, Op. 37, No. 2

INTERMISSION

Francesco Paolo Supriani – Sinfonia for cello and basso continuo

Georg Fridrich Handel – “Nel dolce dell’ oblio” (In Sweet Forgetfuness)

Tommaso Giordani – Duo for two cellos, opus 18 no 5

Georg Philipp Telemann – Quartet in G minor TWV 43 g4

Following the concert, there will be a reception at 2422 Kendall Ave., Apt. 2.

For more information, go to www.wisconsinbaroque.org


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Classical music: The Madison Bach Musicians will give their eighth annual Baroque Holiday Concert this Saturday night

December 3, 2018
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By Jacob Stockinger

The Madison Bach Musicians will give their eighth annual Baroque Holiday Concert (below in a 2014 photo by Kent Sweitzer) on this coming Saturday night, Dec. 8, at the First Congregational United Church of Christ, 1609 University Avenue, near Camp Randall Stadium.

The critically acclaimed and well attended annual concert will follow the usual format with a 7:15 p.m.  lecture by founder, artistic director and keyboardist Trevor Stephenson (below) followed by the concert at 8 p.m.

A critically acclaimed chamber ensemble of voices and period instruments will perform masterworks from the 16th, 17th and 18th centuries.

Performers include: Hannah De Priest, soprano; Margaret Fox, mezzo-soprano; Ryan Townsend Strand, tenor; Matthew Chastain, bass-baritone; Arash Noori, theorbo; Katherine Shuldiner, viola da gamba; and Trevor Stephenson, harpsichord.

The Ear asked Stephenson: Why are vocal music and Baroque music both so popular during the holiday season?

He answered: “Many holiday traditions focus on soulfulness and reflection. So, as my great-grandmother used to say, “Pay attention to the singing, it is closest to the soul.””

“On top of this, Baroque music—as one of the great achievements of Western culture—is a natural when reflecting upon the past,” Stephenson adds. “Baroque music is also festive and uplifting, and there is, I believe, some message within its intricacies and design that suggests that there is “a beautiful crystalline structure within which we all live.” (These words come from my colleague Norman Sheppard.)

“This concert marks the Madison Bach Musicians’ eighth consecutive year in the magnificent setting of the First Congregational Church. I simply cannot imagine a better acoustic and spiritual ambiance for this music. (Below is a performance from the 2016 concert in the same church.)

“The program will progress in chronological order from the very early 16th century up to the middle 18th century, from Josquin des Prez to Johann Sebastian Bach.

“We’ll start with the Kyrie and Gloria movements from one of Josquin’s last completed masterworks, the Missa Pange Lingua (c. 1515). Martin Luther’s praise for Josquin’s compositional genius was boundless: “Joaquin (below)  is the master of the notes. The notes must do as he wills; as for other composers, they have to do as the notes will.”

“MBM is thrilled that virtuoso lutenist Arash Noori (below) from New York City will join us for this concert; second on the program, Noori will perform (on theorbo, which is a mega-lute) Niccolo Piccinni’s sparkling Toccata Chromatic and Gagliarda Prima published in the early 17th century.

“We’ll follow this with three musical gems for vocal quartet and continuo from the Kleine geistliche Konzerte (Short Spiritual Concerts, 1636−1639) that Heinrich Schütz (below) composed specifically for small ensembles, which were all that were available during the devastation of the Thirty Years’ War (1618−1648).

“The second half of the program is devoted to works by Bach. We’ll start with the exquisite Sonata in G major for Viola da Gamba and Harpsichord; gambist extraordinaire Kate Shuldiner (below) from Chicago will be featured and I’ll accompany her at the harpsichord.

“We’ll follow this with two Christmas songs from the Schemelli Songbook—a collection published in 1736 of more than 60 spiritual songs for which Bach wrote most of the harmonizations and contributed several great original tunes to boot.

“Soprano Hannah De Priest (below top) and mezzo-soprano Margaret Fox (below bottom) will be featured in the bouncy and charming duet, Wir eilen mit schwachen, doch emsigen Schritten (from Cantata 78, “We hasten, with weak, yet eager steps, O Jesus, O Master, to You, for help!”), which you can hear in the YouTube video at the bottom.) Bach not only worshipped God, but also felt comfortable enough in the relationship to occasionally party; this work is an ingenious fusion of high art and polka romp!

“The concert will conclude with Bach’s glorious motet, Lobet den Herrn, alle Heiden (Praise the Lord, All Ye Nations). It was Mozart who — when he journeyed to Leipzig in 1789, or 39 years after Bach’s death, and heard the Thomaskirche choir perform a Bach motet, from memory, no less  — exclaimed, “Now here is something one can learn from!””

TICKET INFORMATION

Advance-sale discount  tickets are $30 general admission.

Tickets are also available at  Orange Tree Imports and the Willy Street Coop East and West.

You can also purchase advance tickets online: www.madisonbachmusicians.org

Tickets at the door are  $33 for general admission, $30 for seniors 65 and over. Student Rush tickets are $10 and will be on sale 30 minutes before the 7:30 p.m. lecture.

For more information, go to: www.madisonbachmusicians.org


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Classical music: The Wisconsin Baroque Ensemble performs a concert of music by Handel, Strozzi, Sammartini and rarely heard other composers this Friday night at 7:30

November 21, 2018
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By Jacob Stockinger

The Wisconsin Baroque Ensemble (below bottom) will perform a concert of baroque chamber music on this coming Friday night, Nov. 23, at 7:30 p.m. in Saint Andrew’s Episcopal Church (below top), 1833 Regent Street, on Madison’s near west side.

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

Members of the ensemble are: Eric Miller, viola da gamba; Sigrun Paust, recorder; Chelsie Propst, soprano; Charlie Rasmussen, baroque cello and viola da gamba; Consuelo Sañudo, mezzo-soprano; Monica Steger, traverso, harpsichord and recorder; Anton TenWolde, baroque cello; and Max Yount, harpsichord.

The program is:

Giulio Ruvo – Sonata for cello and basso continuo in A minor (heard in the YouTube video at the bottom played by cellist Charlie Rasmussen and harpsichordist Max Yount of the Wisconsin Baroque Ensemble)

Andreas Lidl – Trio for flute, viola and cello

George Frideric Handel – Cantata “Dite, mie piante” (Say, My Plants)

Unico Wilhelm Count Van Wassenaer – Sonata No. 1 for recorder and basso continuo

INTERMISSION

Barbara Strozzi (below): “L’amante segreto” (The Secret Lover) from Opus II (1651)

Giuseppe Tommaso Giovanni Giordani – Duo No. 2 for two cellos, Op.18

Giuseppe Sammartini – Trio Sonata No.  5 for two flutes and basso continuo (1727)

Handel – “Tanti Strali” (Many Rays) HWV 197

Michel Corrette – Concert “Le Phénix”

For more information: (608) 238-5126, email: info@wisconsinbaroque.org, or got to: www.wisconsinbaroque.org


Classical music: University Opera’s “Poppea” proves engaging, satisfying and timely. Performances remain this afternoon at 2 and Tuesday night at 7:30 

November 18, 2018
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By Jacob Stockinger

Larry Wells – who is The Opera Guy for The Well-Tempered Ear blog – went to the recent production of the University Opera and filed this review, with rehearsal photos of students, who alternate roles in different performances, by Michael R. Anderson.

By Larry Wells

The only other time I attended a performance of Claudio Monteverdi’s “The Coronation of Poppea” (1643) was in the early 1980s at The San Francisco Opera. Despite the appearance of Tatiana Troyanos as Poppea, I remember being baffled by both the static nature of the music and the grandness of the production of what seemed should be an intimate opera.

That memory, in addition to my being a fan of 20th-century music, made attending the opening performance of University Opera’s performance Friday evening fraught with foreboding.

Despite the production being a lengthy three hours, I must praise the ensemble and director David Ronis — who never disappoints — for keeping my attention throughout the evening as I witnessed an intimate retelling of the passion between Nero and Poppea (portrayed below by Benjamin Hopkins and Anja Pustaver).

The opera was staged in Music Hall on a semicircular platform with the small instrumental ensemble directly to the front side of the audience. Stunning lighting and beautiful costumes made up for the minimal set. I was seated in the center of the first row of the balcony and must say that the sightlines and the sound were superb, even though it was very hot up there. (Below is the coronation scene with Hopkins and Pustaver in the center.)

The ensemble was conducted by Chad Hutchinson (below) whom I had heard conduct the UW Symphony Orchestra the night before in a rousing Tchaikovsky’s Fifth Symphony. The plucked instruments – harp, guitars, theorbo (I had to look it up, too) and harpsichords – were the backbone of the accompaniment. Strings and recorders completed the orchestra, and they were a delight to the ear – totally delicate and restrained.

The plot of the opera involves love triangles and political intrigue. The supertitles created by David Ronis (below, in a photo by Luke Dalalio) were amusing and colloquial. So much of the political posturing by Nero, whose main motivation is consistently self-interest, seemed to be pertinent to our time.

Nero was sung by countertenor Thomas Aláan who has a voice of great agility and expressiveness. His lover, Poppea, who yearns to be his empress, was sung by Talia Engstrom. Hers is a voice of great suppleness and flexibility. Throughout the evening she acted and sang with great subtlety, and I admired her performance very much.

I had been primed for the opera’s very final duet (heard in the YouTube video at the bottom) to be the most sublime moment of the opera, but I was much more aroused by the farewell duet between Nero and Poppea toward the end of the first act. It was highly charged vocally and erotic in its beauty and delivery.

Other characters included Seneca, portrayed by bass Benjamin Galvin (below left front, surrounded, from left to right, by Eliav Goldman, Jack Innes, Jiabao Zhang, Jake Elfner and Noah Bossert.) The lower range of his voice is profound and impressive.

Kevin Green (below right with Pustaver) portrayed the hapless Ottone, and his baritone voice shows promise.

It was, however, a night for the female singers. Cayla Rosché’s Ottavia was beautifully sung. She was completely believable as the spurned wife of Nero. Likewise Kelsey Wang’s Drusilla, Ottone’s second choice, was also wonderfully sung.

In the first scene we were introduced to Fortuna, Virtù and Amore who shone vocally. Throughout the remainder of the opera they silently hovered in the background as visual reminders of the forces driving the plots. Love, portrayed by Emily Vandenberg, eventually triumphed and got to sing a bit more.

There were moments of humor sprinkled throughout the production. I do not know how historically informed they were, but they did help to lighten the heaviness of the political intrigue and amorous complexities.

Some were perhaps unintentional – particularly the absurdly amusing wig that Fortuna wore. But Professor Mimmi Fulmer, in the small role as Nutrice, had a moment of complete hilarity. Her performance – both vocally and as an actress – underlined the contrast between earnestly serious, focused students and a relaxed, confident professional. (Below is the final scene with Nero and Poppea).

Altogether, it was a surprisingly engaging evening. There remain chances to see it this afternoon and Tuesday evening. It is not a brief or light evening of entertainment, but it is wholly engaging, thought provoking, timely and certainly something out of the ordinary.

Two more performances take place in Music Hall: today at 2 p.m. and Tuesday night at 7:30 p.m. For more information including how to get tickets – adults are $25, seniors are $20 and students are $10 — go to: https://www.music.wisc.edu/event/university-opera-monteverdis-the-coronation-of-poppea/


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Classical music: Sonata à Quattro celebrates early music and the importance of the viola in concerts this Friday night and Sunday afternoon

November 1, 2018
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By Jacob Stockinger

As far as The Ear can tell, Marika Fischer Hoyt has two big professional passions: early music, especially the music of Johann Sebastian Bach; and the viola, which she plays, teaches and champions in the Madison Bach Musicians, the Madison Symphony Orchestra, Bach Around the Clock (which she revitalized and directs) and now Sonata à Quattro (which she founded last summer, when it made its impressive debut as an adjunct event to the Madison Early Music Festival).

Those two passions will come together in Madison this Friday night, Nov. 2, and in Milwaukee this Sunday afternoon, Nov. 4,  in concerts by the new Baroque chamber music ensemble Sonata à Quattro (below) with the theme “Underdog No More – The Viola Uprising.”

Here are the two dates and venues:

Friday, Nov. 2, at 7:30 p.m. at the Immanuel Lutheran Church, 1021 Spaight Street, in Madison; tickets are $15 and available at the door, and also online at www.brownpapertickets.com/event/3660161

Sunday, Nov. 4, at 4 p.m. at the Villa Terrace Decorative Arts Museum, 2220 North Terrace Avenue, in Milwaukee; tickets are $20 for general admission, $10 for students at the door, and online at www.violauprising.brownpapertickets.com

Fisher Hoyt (below) has this to say this about the theme of “The Viola as Underdog”:

“A caterpillar turning into a butterfly – that was the violin in the 17th century. In the early 1600’s the violin evolved almost overnight from dance band serf into the rock star of the musical family.

But the viola’s larger size, heavier weight, more slowly responding strings and darker timbre kept it in the shadows, consigned to rounding out harmonies under the violin’s pyrotechnics. (Indeed, vestiges of this status remain to the present day, in the form of the omnipresent viola joke).

Composers like Bach, Mozart and Beethoven played the viola (below is Marika Fischer Hoyt’s baroque viola made in Germany in the 1770’s) themselves, and gave it challenging melodic and soloistic opportunities in their works. But these were the exception rather than the rule; the viola’s main role in the 17th century was that of filler in an ensemble.

But if agile violins and cellos serve as the arms and legs of a musical texture, the viola’s rich dark voice gives expression to the heart and soul. This added dimension is enhanced when, as happened frequently in France, Germany and Italy, two or more viola lines are included.

Our program presents works from 1602-1727 that explore those darker, richer musical palettes, culminating in Bach’s ultimate exaltation of the underdog, the Brandenburg Concerto No. 6.” (You can hear the Bach work in the YouTube video at the bottom.)

Performers in the group for these performances are Consuelo Sañudo, mezzo-soprano; Christine Hauptly-Annin and Anna Rasmussen, violins; Micah Behr and Marika Fischer Hoyt, violas; Ravenna Helson and Eric Miller, violas da gamba; Charlie Rasmussen, cello; and Daniel Sullivan, harpsichord.

The program includes:

Fuga Prima, from Neue Artige und Liebliche Tänze (New-styled and Lovely Dances(1602) by Valentin Haussmann (1565-1614)

Sonata à 5 in G Minor, Op. 2 No. 11 (1700) by Tomaso Albinoni (1671-1751)

Mensa Sonora, Pars III (1680) by Heinrich Biber (1644-1704)

Sonata à 5 in E Minor, TWV 44:5 by Georg Friedrich Telemann (1681-1767)

Sinfonia from Cantata 18 Gleichwie der Regen und Schnee (Just as the Rain and Snow) (1714) by Johann Sebastian Bach (1685-1750)

INTERMISSION

Sonata à Quattro II in C Major  “Il Battista” (The Baptist) (1727) by Antonio Caldara (1670-1736)

Lament:  Ach, daß ich Wassers gnug hätte (O, that I had enough waters) by Johann Christoph Bach (1642-1703)

Brandenburg Concerto No. 6 in B-flat Major, BWV 1051 (1718) by J.S. Bach

Here is a link to the Facebook page of Sonata à Quattro with videos and photos as well information about the players and upcoming concerts: https://www.facebook.com/sonataaquattro/

The Madison concert will be followed by a reception of dark chocolate, mocha and cappuccino.


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Classical music: The veteran Wisconsin Baroque Ensemble opens its new season this Saturday night with a program of rarely heard works and composers

October 10, 2018
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By Jacob Stockinger

The Ear has received the following announcement from one of the pioneering groups in Madison for playing Baroque music with period instruments and historically informed performance practices:

The Wisconsin Baroque Ensemble (below) invites you to a concert of baroque chamber music.

The concert is this coming Saturday night, Oct. 13, at 7:30 p.m. in Saint Andrew’s Episcopal Church, 1833 Regent Street on Madison’s near west side.

Tickets at the door only: $20 general admission and $10 students

Members of the Wisconsin Baroque Ensemble are: UW-Madison professor Mimmi Fulmer, soprano; Nathan Giglierano, baroque violin; Eric Miller, viola da gamba; Sigrun Paust, recorder; Charlie Rasmussen, baroque cello and viola da gamba; Consuelo Sañudo, mezzo-soprano; Monica Steger, traverso, harpsichord and recorder; Anton TenWolde, baroque cello and viola da gamba; and Max Yount, harpsichord.

The program includes:

  1. Giovanni Bononcini/Johann Jakob Greber – “Fuori di sua capanna” (Outside in Front of Her Hut) – Cantata for mezzo-soprano, alto recorder and basso continuo
  2. August Kuehnel  – Sonate ò Partite for viola da gamba, Aria Solo “Herr Jesu Christ, du höchstes Gut” (Lord Jesus Christ, Thou Greatest Good)
  3. Claudio Monteverdi – Madrigals, Book 3

O Rossignol (O Nightingale)

Rimanti in Pace (Remain in Peace)

Ond’ei di Morte (Whereupon Death Marked on His Face)

  1. John Playford – Divisions for the violin, “Paul’s Steeple”
  2. Georg Philipp Telemann – Trio sonata for violin, recorder and basso continuo TWV 42:a4

INTERMISSION

  1. Francesco Alborea – Sonata in G Major for cello and basso continuo
  2. Joseph de Bodin Boismortier – Motet for the Holy Virgin, Op. 23
  3. Giuseppe Tommaso Giovanni Giordani – Duo No. 1 for Two Cellos, Op. 18 (heard in the YouTube video at the bottom)
  4. Boismortier – Ballet de Village No. 4, Op. 52

For more information: 608 238-5126, email: info@wisconsinbaroque.org or visit www.wisconsinbaroque.org

A post-concert reception will be held on the second floor at 2422 Kendall Avenue.


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Classical music: The Madison Bach Musicians celebrate 15 years with three performances this weekend of “Arias and Sonatas” by Bach and Handel

October 3, 2018
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By Jacob Stockinger

Two towering geniuses of the Baroque era – Johann Sebastian Bach (below top) and George Frideric Handel (below bottom) — were born in the same year, 1685, and just a little over 100 miles from each other.

Yet the two masters never met!

To mark their 15th anniversary, the Madison Bach Musicians will open their new season with three performances of a program “Arias and Sonatas” by the two great composers.

The program will include selections from Handel’s Violin Sonata in F major, Nine German Arias, Lascia chi’o ping (heard sung by Joyce DiDonato in the YouTube video at the bottom), Tornami a vagheggiar; and Bach’s Laudamus te (B minor Mass), Öffne dich (Cantata 61), Ich bin vergnügt in meinem Leiden (Cantata 58), and Prelude and Fugue in C major (Well-Tempered Clavier, Book II).

Advance-sale discount tickets are $30  general admission and are available at Orange Tree Imports, and Willy Street Co-op (East and West).

Online advance tickets at www.madisonbachmusicians.org

Tickets at the door are $33  for  general admission, $30 for seniors (65+)  with student rush  tickets costing $10 at the door.

Here are the performance times and places.

Each performance offers a FREE pre-concert lecture by MBM founder, music director and keyboardist Trevor Stephenson (below), who will also appear at NOON TODAY (Wednesday, Oct. 3) with host Norman Gilliland on Wisconsin Public Radio’s “The Midday.”

This Friday, Oct. 5, with a 7:15 p.m. lecture and 8 p.m. performance at the Grace Episcopal Church (below top and bottom) at 116 W. Washington Ave., in Madison on the downtown Capitol Square.

This Saturday, Oct. 6, with a 7:15 p.m. lecture and 8 p.m. performance at Immanuel Lutheran Church (below top and bottom) at 1021 Spaight Street in Madison.

This Sunday afternoon, Oct. 7, with a 2:15 p.m. lecture and 3 p.m. performance followed by an outdoor wine reception at historic Park Hall at 307 Polk Street in Sauk City. The Park Hall venue has limited seating, so it is recommended to buy tickets in advance either online or at Willy St. Co-Op (East or West), or at Orange Tree Imports.

The major guest artist is soprano Chelsea Shephard (below). Praised by Opera News for her “beautiful, lyric instrument” and “flawless legato,” she won the 2014 Handel Aria Competition in Madison. She returns to perform with the Madison Bach Musicians after appearing in MBM’s  production last season of Henry Purcell’s opera “Dido and Aeneas.”

Other performers include the Madison Bach Musicians concertmaster Kangwon Kim (below) on baroque violin.

Also, James Waldo (below) will perform on baroque cello. Known for his “nuanced, richly ambered” interpretations of Bach (LucidCulture in New York City), Waldo has lived and breathed period performance his whole life, having been raised in the home of two musicians who specialized in recorder, traverso and Renaissance choral music.

After graduate studies at Mannes College of Music and nine years living and working in New York City, he returned to Madison last fall to begin his DMA studies at UW-Madison’s Mead Witter School of Music with Professor Uri Vardi. He recently participated in an all-Bach program for Midsummer’s Music in Door County, and is the regular principal cellist of Cecilia Chorus, performing twice a year in Carnegie Hall.


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Classical music: The new period-instrument group Sonata à Quattro makes its debut and excels in early Baroque music

July 13, 2018
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ALERT: The All-Festival Concert that closes this summer’s 19th annual Madison Early Musical Festival will take place in Mills Hall on Saturday night at 7:30 p.m. Admission is $20 for the general public, $10 for seniors and students. Here are two links where you can find more specific information, including composers and works on the program:

https://memf.wisc.edu/event/all-fest-2018/

https://welltempered.wordpress.com/2018/07/03/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-2/

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.

By John W. Barker

Marika Fischer Hoyt (below) is becoming another powerhouse in our musical scene. Already a spark plug of the Ancora String Quartet, and now the director of the annual “Bach Around the Clock” bashes, she has organized a new ensemble, Sonata à Quattro, which made its debut on Wednesday night at Pres House.

This was done under the aegis of the current Madison Early Music Festival (MEMF) as a “fringe concert” — in the manner long-established by the Boston Early Music Festival. Plus, the concert’s theme was “The Lübeck Connection,” clearly tying it to the MEMF.

The music was early Baroque, almost entirely from the 17th century.

The first half presented pieces by seven composers, including, among the better-known ones, Michael Praetorius, Giovanni Gabrieli, Heinrich Schütz, Heinrich Ignaz Biber and Antonio Vivaldi.

In the earlier pieces, the instruments were not originally specified at all — and one of them was in fact purely vocal. But the later ones clearly displayed the definition of the early string ensemble.

Indeed, the basic players — besides the backup harpsichord — were seated (below) in what is now familiar in the configuration of the latter-day string quartet, with the subtle suggestion that the earlier sonata à quattro genre was its natural predecessor.

The presence here of Vivaldi—besides Gabrieli, the only Italian among these Germans, and of later date—seemed a bit incongruous, but his familiar Sinfonia ‘al Santo Sepolcro’ actually illustrated well the mature à quattro texture. (You can hear the Vivaldi in the YouTube video at the bottom.)

And a most impressive conclusion for this first half of the program was the fascinating eight-part Sonata in A minor by the sadly neglected Samuel Capricornus (1628-1665)—its eight-voice scoring not serving as a double choir but as a richly textured study in contrasting high with low parts.

For this first half, the core performers were Nathan Giglierano and Christine Hauptly Annin, violins; Fischer-Hoyt, viola; and Charlie Rasmussen, cello, with harpsichordist Daniel Sullivan.

They were joined along the way by gambist Phillip Serna (below top) who performed later on violone; and, for the Capricornus also violinist Thalia Coombs (below second), violist Micah Behr (below third) and viola da gambist Eric Miller (below bottom, in a photo by Katrin Talbot).

The program’s second half was devoted entirely to the music of Dietrich Buxtehude (below, ca. 1637-1707), the big star of the MEMF constellation.

First we had a Trio in B-flat from his Op. 2 collection, then a slightly French-style solo harpsichord Suite in D minor from Daniel Sullivan (below top).

Finally, we had two solo cantatas, sung by Kristin Knutson (below bottom), whose lovely soprano voice blended beautifully with the instruments.

This new ensemble will continue with concerts scheduled ahead for the coming season. But certainly this appearance represents a beautiful, and perfectly timed, introduction in a concert of true delight.


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Classical music: The Bach Dancing and Dynamite Society, with guest singer Emily Birsan, closes its 27th annual summer chamber music season on the highest note

June 28, 2018
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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. Performance photos are by Dick Ainsworth for the Bach Dancing and Dynamite Society.

By John W. Barker

Last Saturday night, I was able to attend the second program on the Bach Dancing and Dynamite Society’s third and final weekend this season.

The opening work was American Haiku, a duo for viola and cello, by the American Paul Wiancko. Obviously inspired by Japanese musical traditions, it is a longish piece, notably lacking in the brevity of its poetic model. It was diligently played by two of the budding young musicians the society has been fostering, violist Jeremy Kienbaum (below left) and cellist Trace Johnson (below right).

Further on in the first half came the Flute Concerto in D minor (H. 484:1), by Carl Philipp Emanuel Bach, dated to 1747, three years before papa Johann Sebastian died. It presents the composer as a transitional figure, anchored in the Late Baroque but tugging toward the Empfindsamkeit (sensitivity of feeling or expression) of the Early Classical period.

As the reduced orchestra, we had local violinists Leanne Kelso League and Suzanne Beia, with Kienbaum and Johnson, and, on the harpsichord continuo there was the deferential pianist Satoko Hayami.

The flute soloist (below) was, of course, BDDS co-founder and co-artistic director Stephanie Jutt, who played her role with obvious relish but with splendid precision, and (notably in the lively finale) real panache. The other players joined in with fine spirit.

For me, one of the two prime features of this program, however, was the participation of soprano Emily Birsan (below), a past product of the UW-Madison’s Mead Witter School of Music and now an international star. Every time she returns to Madison is welcome, and provides us with a progress report on herself and her career. Her voice has continued to fill out with strength and beauty.

Accompanied by pianist Jeffrey Sykes (below), she sang in the first half of the program a set of four songs, Op. 27 (once again, the number of the BDDS’s anniversary) by Richard Strauss. This set includes some particular gems by the composer, ending with the sublime Morgen! (In the Morning!). Birsan magically made each song a contrasting vignette of character and mood.

Birsan was back after the intermission, again with Sykes.

They performed Samuel Barber’s set of 10 Hermit Songs, using marginal manuscript scribblings by Medieval monks as texts. With the strong support of Sykes, Birsan was superlative in conveying the simple irony and naivety of these affectionately lyrical miniatures. This performance leaves a surely enduring memory.

The other high point, for me, was the Quintet in E-flat, Op. 44 for piano and strings by Robert Schumann. This is a fundamental work in the chamber music literature, a piece to wonder at.

I had forgotten how much rich prominence is given to the viola, within ensemble context, in the greatly varied second movement. Kienbaum projected it with eloquent strength, and the other players heard in the C.P.E. Bach work were utterly involved. (You can hear and see the prominent role of the viola in the opening movement of the quintet in the YouTube video at the bottom.)

This is the kind of first-class chamber playing that we have come to expect from the BDDS, and why we cherish it so.


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