The Well-Tempered Ear

Classical music: Meet Mariana Farah, the new choral director at the University of Wisconsin-Madison

August 17, 2020
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By Jacob Stockinger

Following a national search, Mariana Farah (below) has been chosen to succeed Beverly Taylor as the new director of choral activities at the University of Wisconsin-Madison’s Mead Witter School of Music.

Due to prior commitments, Farah cannot start her duties until the fall of 2021. But the delay is understandable given that the coronavirus pandemic continues and group singing remains a particularly hazardous or high-risk activity during the public health crisis. (See her comments about choral singing during Covid-19 in the YouTube video at the bottom.)

(In case you are wondering, Taylor, who retired from the UW-Madison last spring, will continue as director of the Madison Symphony Chorus. One wonders if she will still have a chance to do performances of the requiems by Verdi and Dvorak, both of which were canceled due to Covid-19.)

At a time when more focus is being placed on diversity, the Brazilian-born Farah (below) seems an especially apt choice.

Here is the official UW press release about Farah’s appointment along with much biographical material:

“Mariana Farah is the Associate Director of Choral Activities at the University of Kansas in Lawrence, Kansas, where she teaches courses in graduate choral literature and conducting, directs the university’s Concert Choir and Women’s Chorale (below bottom), and helps oversee all aspects of the choral program.

Born in Brazil, Farah received her Bachelor of Music degree from the Universidade Estadual de Campinas; her Master’s degree from the University of Iowa; and her Doctor of Musical Arts from the University of Missouri-Kansas City.

Her choirs have successfully performed at the Missouri and Kansas Music Educators Association conventions and at the 2008 and 2018 Southwestern ACDA conferences.

Farah’s research focuses on Brazilian choral music, particularly the a cappella choral works of Ernani Aguiar (b. 1950, below). Her edition of Aguiar’s “Três Motetinos No. 2” has been published by Earthsongs, and she expects to introduce more of his music to the United States through performances, recordings, editions and future publications of his unknown choral literature.

In addition to her work at KU, Farah (below) maintains an active schedule as a clinician for festivals in Brazil and in the U.S., where she is often sought out for her expertise in Brazilian choral music.

Farah has presented at several conferences for the National Association for Music Education and the American Choral Directors Association.

Recent engagements include appearances as a conductor at the 2019 Northwest Kansas Music Educators Association High School Honor Choir; the 2018 Southwestern ACDA conference, 2016 and 2014 Kansas Music Educators Association Convention; Universidade de São Paulo-Ribeirão Preto; Universidade Estadual de Campinas; Universidade Estadual de Maringá; Festival de Música de Londrina; Adams State Honor Choir Festival; the 2015 Kantorei Summer Choral Institute, a residency with the Harvard-Radcliffe Collegium Musicum; and the 2014 Idaho All-State Treble Choir.

Farah is the music director at First Presbyterian Church in Lawrence, Kansas, where she directs the Chancel Choir and oversees a thriving music program. She also serves as the interim 2019-20 conductor for the Wichita Chamber Chorale (below) and as a board member of the National Collegiate Choral Organization.

She has served as the president elect (2018-2020) and R&R Chair for Ethnic and Multicultural Perspectives (2014-2018) for the ACDA Southwestern Division.

As a singer, Farah performed with the Kansas City Te Deum Chamber Choir (2015-2018) and participated in their 2016 recording of Brahms’ “A German Requiem” (Centaur Records). The recording was recognized by The American Prize, naming Te Deum a semi-finalist for best Choral Performance (community division) for the 2019-20 contest.

Do you have an observation or words of welcome to say?

Please use the Comment section.

The Ear wants to hear.

 


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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: Chamber versions of symphonies and piano concertos by Haydn, Mozart and Beethoven helped secure the composers’ reputations back when they were new music

August 30, 2019
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By Jacob Stockinger

Perhaps you heard one at Bach Dancing and Dynamite Society concerts (below), where they have become a kind of signature.

Or perhaps you heard one at a concert by the Ancora String Quartet or the University of Wisconsin-Madison’s Pro Arte Quartet.

What we’re talking about are scaled-down chamber versions of symphonies and piano concertos by Franz Joseph Haydn, Wolfgang Amadeus Mozart and Ludwig van Beethoven.

Today they seem like curiosities, perhaps programmed to keep budgets smaller and use fewer performers.

But historically those same arrangements were more than conveniences or compromises. They proved vital in securing the works and reputations of those composers for posterity up until today.

Recently, The New York Times published a record review by Zachary Woolfe that provides valuable background about these rearranged works.

Here is a link:

https://www.nytimes.com/2019/07/19/arts/music/mozart-jupiter-hyperion.html

If you would like to experience one for yourself, you have the chance this Saturday and Sunday afternoon at 4 p.m. at the Token Creek Chamber Music Festival.

That’s when and where pianist and Harvard University professor of musicology Robert Levin (below) will perform a chamber version of the Piano Concerto No. 4 in G Major, Op. 58, by Beethoven. It is part of a program by Levin and pianist Ya-Fei Chuang that explores the piano and concludes this year’s 30th anniversary festival. (You can hear the opening movement of the Beethoven piano concerto in the version with string quartet in the YouTube video at the bottom.)

Here is a link with more information about tickets ($32) and the festival:

http://tokencreekfestival.org/2019-season/programs/


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Classical music: The Token Creek Chamber Music Festival starts this Friday and marks 30 years with jazz plus music by Bach, Mozart, Liszt, Brahms, Ravel, Schoenberg and John Harbison

August 13, 2019
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By Jacob Stockinger

Starting this coming Friday, Aug. 16, and running through Sept. 1, the Token Creek Chamber Music Festival will mark its 30th anniversary with the theme of “Sanctuary.” (The festival takes place in a refurbished barn, below, at 4037 Highway 19 in DeForest.)


Add the festival directors: “The term ‘sanctuary’ attempts to capture in a single word something essential about what the festival has meant to players and listeners over all these years. From the start it aspired to offer something of retreat, an oasis, a place of refreshment and nourishment in art, both for musician participants who find a welcoming environment to “re-charge” their work, and for audience attendees who engage in and become a part of it.”

“In our small country barn,” writes prize-winning composer John Harbison (below top, in a photo by Tom Artin) who co-directs the festival with his violinist wife Rose Mary Harbison (below bottom, in a photo by Tom Artin), “we have always remained devoted to the scale and address of much chamber music, which speaks as often in a whisper as in a shout.

“Where larger musical institutions have been habitually frustrated by trying to live in the business model of growth, we have remained devoted to the intensity of the experience, which explains why the music never goes away, rather than to claims of numbers, which begs the music itself to change its very nature.

“Our conviction is that today’s composers, just like Schubert and Mozart, are still striving to embody daily experience, to connect to the natural world, and to ask philosophically and spiritually unanswerable questions, surrounded and interrupting silence, asking only for our most precious commodity — time. We continue to look for valuable ways to offer this transaction to our listeners, and are grateful for their interest over so many years.”

The first two concerts, at 5 p.m., on Friday and Saturday nights, feature the return of a jazz cabaret featuring standard works in the Great American Songbook. For more information about the program and performers, as well as tickets, go to: www.tokencreekfestival.org or call (608) 241-2525.

Tickets for the two jazz concerts are $40 for the balcony and $45 for cafe seating. Tickets for the other concerts are $32 with a limited number of student tickets available for $12.

HERE IS THE LINEUP FOR THE REST OF THE FESTIVAL

Program 2: Music of Brahms at 4 p.m. on Saturday, Aug. 24, and Sunday, Aug. 25

Johannes Brahms is the only composer whose complete catalogue of chamber music is still in constant use.  This is due to his fastidious high standards, and to his ideal temperament for music played by smaller groups of players. His music is universally admired for the astounding combination of sheer craft and deep emotional impact.

The program includes the Regenlied (Rain Song), Op. 57 no. 3; Sonata for Violin and Piano in G major, Op. 78; the Sonata for Cello and Piano in E minor, Op. 38; and the Piano Quartet in C minor, Op. 60. (The “Rain Song” is used as the theme of the last movement of the violin sonata. You can hear it performed by violinist Leonidas Kavakos and pianist Yuja Wang in the YouTube video at the bottom, which also features the score so that you can follow along.)

Performers are Edgewood College mezzo-soprano Kathleen Otterson (below top); violinist Rose Mary Harbison; violist Lila Brown (below second); cellist Rhonda Rider (below third, in a photo by Liz Linder); and pianist Janice Weber (below bottom).

Program 3: Then and Now, Words and Music – An 80th Birthday Tribute to John Harbison. Wednesday, Aug. 28, at 7:30 p.m.

Last February, when Madison launched a citywide celebration of co-artistic director John Harbison’s 80th birthday, bitter cold and deep snow made it impossible for the festival to open up The Barn and join in the festivities.

The Wednesday program – an intimate concert of words and music curated by the Harbisons — is the festival’s belated birthday tribute. Harbison will read from his new book about Johann Sebastian Bach, and Boston poet Lloyd Schwartz (below top) will offer a reading of his poems that are the basis of a song cycle to presented by baritone Simon Barrad (below bottom). The evening will include a discussion on setting text, “Poem to Song,” and the world premiere of new Harbison songs, still in progress, on poems of Gary Snyder.

The program includes: Selections from the Violin Sonata in B minor, with violinist Rose Mary Harbison, and “The Art of Fugue” by Johann Sebastian Bach; “Four Songs of Solitude” and “Nocturne” by John Harbison; the Violin Sonata in G Major by Wolfgang Amadeus Mozart; the “Phantasy” for violin and piano by Arnold Schoenberg; the “SchwartzSongs” and “Four Poems for Robin” by John Harbison.

Program 4: The Piano , at 4 p.m. on Sunday, Aug. 31, and Sunday, Sept. 1.

The closing program welcomes back husband-and-wife pianists Robert Levin and Ya-Fei Chuang, playing together and as soloists.

Chuang (below top) is acclaimed by critics in the U.S. and abroad for performances of stunning virtuosity, refinement and communicative power. Levin (below bottom, in a photo by Clive Barda), who teaches at Harvard University, is revered for his Mozart completions and classical period improvisations.

Their program explores the question of the composer-performer — that is, composers who were also formidable pianists: Mozart, Ravel and Liszt.

Beethoven’s fourth piano concerto, arranged by the composer for chamber ensemble, and excerpts of Harbison’s Piano Sonata No. 2, written for Levin, will be performed. Also on the program are Mozart’s Allegro in G Major, K. 357 (completion by Robert Levin); Maurice Ravel’s “Gaspard de la Nuit”; and Franz Liszt’s “Reminiscences of Don Juan.”

Other performers are: violinists Rose Mary Harbison and Laura Burns, of the Madison Symphony Orchestra and Rhapsodie String Quartet; violists Jen Paulson and Kaleigh Acord; cellist Karl Lavine, who is principal cello of both the  Madison Symphony Orchestra and the Wisconsin Chamber Orchestra as well as the Chamber Music Director of the Wisconsin Youth Symphony Orchestras (WYSO); and double bassist Ross Gilliland.


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Classical music: WQXR radio names 19 musicians to watch in ’19. What do you think of the choices? Who would you add?

January 28, 2019
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By Jacob Stockinger

What will 2019 bring in the way of classical music?

What and who should we be looking at and paying attention to?

WQXR — the famed classical radio station in New York City – recently published its list of 19 to watch in ‘19, with detailed reasons for and explanations of their picks.

It seems like a pretty good choice to The Ear, although there is always something of a parlor game aspect to such projects.

Nonetheless, the list covers a fine variety – instrumentalists and vocalists, young and old, American and international, the well-known and the up-and-coming such as the opera singer Devone Tines (below, in a photo by Nikolai Schukoff).

Some names will be familiar to Madison audiences – such as pianist Inon Barnatan, violinist Nicola Benedettti, the JACK Quartet and cellist Steven Isserlis — especially through their live appearances at the Wisconsin Union Theater, the University of Wisconsin-Madison’s Mead Witter School of Music and the Madison Symphony Orchestra plus broadcasts on Wisconsin Public Radio.

Here is a link to the list: https://www.wqxr.org/story/wqxr-presents-19-19-artists-collaborations-upcoming-year/

The Ear can think of some other musicians that he would add to the list.

An especially deserving one of them is the young American virtuoso pianist George Li (below, in a photo by Simon Fowler).

Born in China and brought as a child to the United States by his parents, Li attended Harvard and just finished his master’s degree from the New England Conservatory of Music. (At the bottom, you can hear Li play virtuosic music by Liszt and Horowitz in the YouTube video of a Tiny Desk Concert at National Public Radio or NPR.)

Li won the silver medal in the 2015 at the 15th Tchaikovsky International Competition in Moscow and had a lot of people talking about the energy and excitement of his playing. He was praised for both outstanding technical prowess and deep expressiveness.

He then took first prize at a piano competition in Paris.

Ever since, he has been steadily booked. At 23, the amiable Li has already toured China, Japan and Russia and seems to have a very busy schedule ahead of him, judging by his posts on Instagram.

He has also released his first recording on the Warner Classics label, a fine CD that received many positive reviews from critics, including this one.

The program includes Haydn’s Sonata in B minor, Chopin’s Sonata No. 2 in B-flat Minor “Funeral March,” Rachmaninoff’s “Variations on a Theme of Corelli,” and Consolation No. 3 and the popular Hungarian Rhapsody No. 2 by Franz Liszt.

Given all the concertos he is now performing, it would not surprise one to see his next recording be a concerto, possibly the Tchaikovsky Piano Concerto N. 1 in B-flat minor, Op. 23, which brought him instant acclaim.

Here is a link to his website: http://www.georgelipianist.com

And here is a link to his entry in Wikipedia: https://en.wikipedia.org/wiki/George_Li

Keep your ears and eyes on George Li.

What do you think of the choices made by WQXR?

Who would you add to the list of musicians to watch in 2019, and why?

If possible, maybe you can include a YouTube link to a performance, live or recorded, in your comment.

The Ear wants to hear.


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Classical music: Happy Birthday to Lenny at 100! Here are some ways to celebrate today’s Bernstein centennial

August 25, 2018
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By Jacob Stockinger

One hundred years ago today, the versatile and world-celebrated American musician Leonard Bernstein (below) was born.

For most of his adult life, starting with his meteoric rise after his nationally broadcast debut with the New York Philharmonic, Lenny remained an international star that has continued to shine brightly long after his death at 72 in 1990.

When his father Sam was asked why he wouldn’t pay for young Lenny’s piano lessons and why he resisted the idea of a career in music for his son, he said simply: “I didn’t know he would grow up to be Leonard Bernstein.”

Lenny! The name itself is shorthand for a phenomenon, for musical greatness as a conductor, composer (below, in 1955), pianist, educator, popularizer, advocate, humanitarian and proselytizer, and so much more.

Here is a link to the Wikipedia biography where you can check out the astonishing extent of Lenny’s career and his many firsts, from being the first major American-born and American-trained conductor — he studied at Harvard University and the Curtis Institute of Music — to his revival of Gustav Mahler:

https://en.wikipedia.org/wiki/Leonard_Bernstein

You should also view the engaging YouTube video at the bottom.

So eager have the media been to mark the centennial of Leonard Bernstein, one might well ask: “Have you had enough Lenny yet?”

New recordings and compilations of recordings have been issued and reissued.

Numerous books have been published.

Many new photos of the dramatic, expressive and photogenic Lenny (below, by Paul de Hueck) have emerged.

TV stations have discussed him and Turner Classic Movies rebroadcast several of his “Young People’s Concerts.”

For weeks, radio stations have been drowning us with his various performances, especially his performances of his own Overture to “Candide.”

Still, today is the actual Leonard Bernstein centennial and the culmination of the build-up and hype, and if you haven’t paid attention before today, chances are you wind find Encounters with Lenny unavoidable this weekend. 

Yet if you pay attention, you are sure to learn new things about Lenny who seems an inexhaustible supply of insights and interesting information, a man of productive contradictions.

With that in mind, The Ear has just a few suggestions for this weekend, with other tributes coming during the season from the Madison Symphony Orchestra, the University of Wisconsin’s Mead Witter School of Music and other music groups and individuals.

You can start by listening to the radio.

For most of the daytime today Wisconsin Public Radio with pay homage to Lenny. It will start at 10 a.m. with Classics by Request when listeners will ask to hear favorite pieces and offer personal thoughts and memories. After that a couple of more hours of Bernstein’s music will be broadcast on WPR.

Then on Sunday at 2 p.m., WPR host Norman Gilliland (below top) will interview Madison Symphony Orchestra conductor John DeMain (below bottom, by Prasad) about working with Lenny.

Here, thanks to National Public Radio (NPR), is the best short overview that The Ear has heard so far:

https://www.npr.org/sections/deceptivecadence/2018/08/24/641208843/the-complex-life-of-leonard-bernstein-a-once-in-a-century-talent

Want to know more about Lenny the Man as well as Lenny the Musician?

Try this review from The New Yorker  by David Denby of daughter Jamie Bernstein’s book (below) that has juicy anecdotes and new information about growing up with her famous father.

https://www.newyorker.com/magazine/2018/06/25/leonard-bernstein-through-his-daughters-eyes

And here, from Time magazine, is the little known story of how Lenny the Humanitarian conducted an orchestra of Holocaust survivors (below):

http://time.com/5376731/leonard-bernstein-holocaust-survivors-concert/

What is your favorite tribute to Bernstein so far? Leave a link in the COMMENT section if you can.

What is you favorite composition by Bernstein?

What is your favorite performance by Bernstein?

What would you like to say or tell others about Leonard Bernstein?

The Ear wants to hear.


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Classical music: The acclaimed Isthmus Vocal Ensemble performs old and new music this Friday night and Sunday afternoon when its new director also makes his debut

August 2, 2018
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By Jacob Stockinger

Since it was founded in 2002, the Isthmus Vocal Ensemble (below) has been critically acclaimed for the concert it puts together each summer in just a couple of weeks or less. (You can hear a sample in the YouTube video at the bottom.)

This summer, the group will be under the baton of its new artistic director, Michael McGaghie (below), who will be making his performing debut with the group.

McGaghie directs choral activities at Macalester College in St. Paul, Minnesota, and also conducts the Harvard Glee Club Alumni Chorus in Cambridge, Massachusetts.

The program this weekend ranges from the 16th century and early Baroque to the contemporary.

It will begin with works from  established masters such as Thomas Tallis, Heinrich Schütz and the Soviet conductor-composer Nikolai Golovanov.

It will then explore works from contemporary composers such as Jocelyn Hagen, Morten Lauridsen and Dale Trumbore in a program called Horizons. (Sorry, The Ear has not received the titles of specific works on the program.)

Admission is $20 for adults, $10 for students. Tickets can be bought at the door or ordered at the links below.

Concert venues are:

This Friday, Aug. 3, at 7:30 p.m. in the Lutheran Church of the Living Christ, 110 North Gammon Road, on Madison’s west side. For tickets, go to:

https://isthmusvocalens.yapsody.com/event/index/282736/ive-2018-friday-concert

This Sunday, Aug. 5, at 3 p.m. in Christ Presbyterian Church, 944 East Gorham Street. For tickets, go to:

https://isthmusvocalens.yapsody.com/event/index/282791/ive-2018-sunday-concert

For more about the impressive background of the new director, go to: https://www.isthmusvocalensemble.org/artisticdirector/

For more about the past performances and the organization, including sound samples to listen to and how to join or support the group, go to: https://www.isthmusvocalensemble.org


Classical music: ECM Records finally streams its entire catalogue of award-winning artists and recordings

November 18, 2017
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By Jacob Stockinger

The critically acclaimed and award-winning independent label ECM (Edition of Contemporary Music) was founded in Munich, Germany, in 1969 by the Grammy-winning producer Manfred Eicher (below).

Known for its penchant for the contemporary and even avant-garde, Eicher’s label was nonetheless a conservative hold-out when it came to the newer technology of digital streaming.

The old technology has its points besides superior sound quality. When you got an ECM CD, you usually also got one of their terrific black-and-white photographs, often a square-format landscape, as a cover. (ECM even published a book of its photographic covers.)

But as of this past Friday, ECM finally gave into the inevitable and streamed its entire catalogue. Its rationale was that it was more important for its music and musicians to be heard than to remain loyal to certain platforms.

ECM also cited the pressure from unauthorized uploads to YouTube and bootleg versions of its recordings as the reason for the decision.

So as of yesterday, ECM, which has won many awards for individual titles and artists, will be available on Apple Music, Spotify, Amazon, Deezer, Tidal and other streaming services.

ECM is known for its popular and critically acclaimed jazz artists including pianist Keith Jarrett (below, of “The Köln Concert” or The Cologne Concert) and saxophonist Jan Garbarek and the Hilliard Ensemble (“Officium”). But it also included classical chamber music groups such as the Keller Quartet, the Trio Medieval, the Danish Quartet and others.

ECM is also known for championing contemporary classical composers (Arvo Pärt, below, who is the most performed contemporary composer, as well as Tigur Mansurian, Lera Auerbach, Gyorgy Kurtag and Valentin Silvestrov among others) and some outstanding crossover classical musicians, including Jarrett, a jazz great who has also recorded Bach, Handel and Shostakovich on both piano and harpsichord.

The Ear especially likes violist Kim Kashkashian and Harvard pianist Robert Levin (a frequent performer at the Token Creek Chamber Music Festival) in sonatas of Brahms. He is also fond of Alexei Lubimov in various piano recitals as well as the many recordings of Bach, Beethoven, Schubert, Janacek and Robert Schumann by the superb pianist Andras Schiff (below). In the YouTube video at the bottom, you can hear Schiff in a live performance of the Gigue from Bach’s Keyboard Partita No. 3.)

And there are many, many more artists and recordings worth your attention. Here is a link to an extensive sampler on YouTube:

https://www.youtube.com/user/ECMRecordsChannel

Who are your favorite ECM artists?

What are your favorite ECM recordings?

What ECM downloads do you recommend?

The Ear wants to hear.


Classical music: Clocks in Motion and Transient Canvas perform new music for winds and percussion this Wednesday night. Plus, the Pro Arte Quartet performs a FREE concert of Mozart, Beethoven and Webern on Saturday night.

November 3, 2015
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ALERT: The Pro Arte Quartet, artists-in-residence at the UW-Madison School of Music, will give a FREE concert this Saturday night at 8 p.m. in Mills Hall. The program features: the String Quartet No. 1 in B-flat Major, Op. 18, No. 1 (1799-1800) by Ludwig van Beethoven; the Langsamer Satz (Slow Movement) for String Quartet (1905) by Anton Webern; and the String Quartet in E-flat Major, K. 428 (1783) by Wolfgang Amadeus Mozart.

By Jacob Stockinger

The Ear has received the following word from Clocks in Motion:

Clocks in Motion (below), Madison’s premier new music ensemble, welcomes the renowned bass clarinet and marimba duo Transient Canvas to Madison for a collaborative performance of new sounds, new instruments, and new music.

Clocks in Motion Group Collage Spring 2015

Featuring a world premiere by Italian-American modernist composer Filippo Santoro, as well as rarely heard works by Daniel T. Lewis, Matthew Welch, and Franco Donatoni, this concert offers a singular chance to experience the cutting edge of new music.

The performance is this Wednesday night, Nov. 4, at 7 p.m. in the DeLuca Forum (below bottom) of the Wisconsin Institutes for Discovery (below top), across from the Union South at 330 North Orchard Street.

WID_extr11_1570

SEW Forum room

It will feature Transient Canvas (below), which consists of the “dazzling” (Boston Globe) clarinetist Amy Advocat and the “expert and vivid” (Boston Musical Intelligencer) marimbist Matthew Sharrock performing thrilling repertoire commissioned for their distinctive instrumentation, as well as larger works in partnership with Clocks in Motion.

Transient Canvas close up

Tickets are $12 in advance and $15 the day of the show; $5 with a student ID. PURCHASE TICKETS

Advance tickets are available at https://www.artful.ly/store/events/7534

Praised by the Boston Globe as “superb,” Transient Canvas has been blazing its own trail in the world of contemporary music since 2011. In four years, they have premiered over 40 new works, essentially creating an entirely new repertoire for their unique instrumentation. Fearless in their programming and hungry for new collaborations, TC actively seeks out new composers who will stretch their instrumentation to its limits. (You can hear a sample in the YouTube video at the bottom)

Learn more about Transient Canvas at http://www.transientcanvas.com/

Transient canvas performing

Hailed as “nothing short of remarkable” (ClevelandClassical.com), Clocks in Motion is a group that performs new music, builds its own instruments, and breaks down the boundaries of the traditional concert program. The group Clocks in Motion consistently performs groundbreaking concerts involving performance art, theater, and computer technology.

Featuring world premieres alongside rarely performed classic works, the ensemble strives to create a new canon of percussion repertoire.

clocks in motion in concert

Clocks in Motion works passionately to educate young audiences through master classes, residencies, presentations, and school assemblies. The ensemble’s unique skill sets and specialties contain an impressive mix of rock, jazz, contemporary classical, orchestral, marching, and world styles.

Clocks in Motion has served as resident performers and educators at the Interlochen Arts Academy, Casper College, the University of Michigan, Baldwin-Wallace University, VIBES Fine and Performing Arts, Traverse City West High School, Traverse City East Middle School, Rhapsody Arts Center, and the Madison Museum of Contemporary Art.

Formed in 2011, Clocks in Motion began as an extension of the University of Wisconsin-Madison’s Graduate Percussion Group, and now serves as an affiliate ensemble of the University of Wisconsin-Madison School of Music.

 


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