The Well-Tempered Ear
Will using first names with Beethoven and Mozart help fight racism and sexism in the concert hall?
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By Jacob Stockinger
Why do concert programs read simply Beethoven for Beethoven (below top), but Florence Price for Florence Price (below bottom)?
According to a recent controversial essay by Chris White (below), a professor of music theory at the University of Massachusetts-Amherst, it reflects and reinforces sexism and racism.
White is calling for universal “fullnaming” to put women composers and composers of color on an equal footing with the traditional canon of dead white male composers. All people may be equal, but all composers and their music are not.
You can certainly make a case for his interesting argument against using “mononyns,” as he calls them. But it still seems less than convincing to many, including The Ear. It many ways it seems downright silly and arbitrary. Isn’t it obvious that not all composers are equal in quality of their work?
It is the latest dustup in the classical music world, coming right on the heels of, and logically linked to, the idea that Beethoven is responsible for sexism and racism in the concert hall and the so-called “cancel culture” that is allied with the social and political protest movements of the past year, including Black Lives Matter.
That was treated here in a previous post: https://welltempered.wordpress.com/2020/09/19/did-beethoven-and-his-music-especially-the-iconic-fifth-symphony-foster-racism-exclusion-and-elitism-in-the-concert-hall-the-ear-thinks-that-is-pc-nonsense-what-do-you-think/
Here is a link to the complete article by White about the inclusion and absence of first names as it appeared on Slate: https://slate.com/culture/2020/10/fullname-famous-composers-racism-sexism.html
Funny, The Ear thinks of using only last names as little more than a function of: quality, importance and time; of fame and familiarity; and sometimes of promoting clarity and preventing confusion — not of race or gender.
It is why we say Bach (below) when we mean Johann Sebastian, and why we say Wilhelm Friedemann or Carl Philipp Emmanuel or Johann Christian when we mean one of his sons.
It is why we say Richard Strauss to distinguish him from Johann Strauss.
But it also why Haydn means Franz Joseph (below), not his less important brother Michael Haydn.
And why the American composer Henry Cowell is listed with his full name and not just Cowell.
Perhaps one day – if we hear enough of the music by the recently rediscovered Black female composer Florence Price often enough and like it enough – she will be known simply as Price. After all, the Japanese composer Toru Takemitsu is not usually listed as simply Takemitsu.
Actually, the Ear prefers using full names for all composers — famous or not, male or female, white or black — especially when it is for the general public. But it seems more a matter of politeness, respect and education than of sociopolitical change and social justice.
That is not to say that those of us in classical music don’t see a need to correct the racism and sexism of the past, to foster diversity and inclusiveness. White has a point. Still, the whole idea of using both names in all cases seems more than a bit naïve, superficial and simplistic as a solution to racism and sexism.
It sounds a lot like the kind of theoretical speculation and contrarian thinking you might expect from an assistant professor trying to get noticed and make his mark on big contemporary issues so that he can get tenure and become an associate professor. A high public profile certainly helps that.
But whatever you think of White’s motives or purpose, his essay is causing a “meltdown” on Twitter: https://mybroadband.co.za/forum/threads/‘fullnaming’-mozart-and-beethoven-to-fight-sexism-and-racism-twitter-squabbles-over-slate-article.1108776/
Should you want to know more about Professor White or to leave a message of either support or disagreement, here is a link to his home website: http://www.chriswmwhite.com
What do you think about the idea of using first names for all composers as a way to combat racism and sexism in classical music?
The Ear wants to hear.
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Classical music: The Token Creek Festival will “harvest” gardens of music from next Saturday through Sept. 2
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By Jacob Stockinger
The summer season for classical music in Madison has gotten busier and busier. But the summer still ends on the same high note — the Token Creek Chamber Music Festival that is co-directed by John Harbison and Rose Mary Harbison.
Here is the announcement about this year’s festival, the 29th, that begins this coming weekend:
“The late-summer garden inspires the 2018 season theme of “Harvest” at this year’s Token Creek Chamber Music Festival.
“Both garden and festival share much in common: risk, patience, experimentation, disappointment, and finally amazement that a piece —whether a piece of ground or a piece of music — is capable of such nourishment, abundance and variety.
“In the musicians’ garden, with its unpredictability and surprise, there is always the hope of reducing the variables — but they persist, and the richness of choice, the endlessness of the resources we inherit drive us to continue to create.
“One of the advantages of our season title is that it implies a summing up, a reaping of things planted, but of a kind that can occur each year,” writes co-artistic director and composer John Harbison (below). “Each planting retains certain elements and adjusts others with the hope of increased productivity. But so many of the adjustments made in hope of improvement do not work, but create new problems, require new approaches. What a fine analogy for the making of art.”
Here are this year’s Concert Programs. Please note something new this year: All weekend concerts start at 4 p.m.
Program I: ROOTS – Music of Bach and Primosch. On Saturday, Aug. 25, at 4 p.m. and Sunday, Aug. 26, at 4 p.m.
“Continuing our ongoing exploration of the music of Johann Sebastian Bach (below top) in cantatas and instrumental works, and its reflection in the music of James Primosch (below bottom), one of the few composers in our time able to grasp both the possibilities and responsibilities available in sacred music in a tradition inherited from Bach.”
Program II: NEW GROWTH – The Kepler Quartet (below, with composer Ben Johnston, and playing Johnston’s String Quartet No. 7 in the YouTube video at the bottom) on Wednesday, Aug. 29, at 7:30 p.m.
“A recital of beautifully alluring micro-tonal music “in between the notes.” The attractive and intelligible musical surface, and our experience hearing it, belies the at-times complex compositional methods.
“We are impressed by the pure pleasure of hearing tones combining differently but convincingly. The recital will be augmented with a demonstration and discussion by the Keplers.
Works are by Ben Johnston, Stefano Scodanibbio (below top), Henry Cowell (below middle) and Harry Partch (below bottom).”
Program III: CORNUCOPIA – Saturday, Sept. 1, at 4 p.m. and Sunday, Sept. 2, at 4 p.m.
“Schumann’s beloved and timeless song cycle “Dichterliebe” (A Poet’s Love) with tenor Frank Kelley (below) and his impassioned, enigmatic and exuberant Piano Trio in D minor anchor this program.
“The program also includes the Violin Sonata in G Major, K. 301, by Wolfgang Amadeus Mozart and Piano Sonata in E Major by Franz Joseph Haydn sonatas and the world premiere of John Harbison’s new song cycle, “In Early Evening,” to poems by Louise Gluck.”
The ARTISTS are Mark Bridges, cello; Laura Burns, violin; Ryne Cherry, baritone; Ross Gilliland, bass; John Harbison, portative organ and piano; Rose Mary Harbison, violin; Frank Kelley, tenor; The Kepler Quartet; Karl Lavine, cello; Sharan Leventhal, violin; Jennifer Paulson, viola; James Primosch, piano; Brek Renzelman, viola; Eric Segnitz, violin; Janice Weber, piano; and Sarah Yanovitch, soprano.
Performances take place in the Festival Barn (below top and bottom), on Highway 19 near the hamlet of Token Creek (10 minutes north of Madison, near Sun Prairie).
The charming and rustic venue — indoors and air-conditioned, with modern comforts — is invitingly small; early reservations are recommended, and casual dress is suggested. Ample parking is available.
Tickets are $12-$32, and can be purchased at https://www.eventbrite.com/e/token-creek-festival-2018-harvest-tickets-47217166817
For more information about the performers and specific works on programs, call (608) 241-2525 or go to www.tokencreekfestival.org
ABOUT THE FESTIVAL
The Token Creek Festival has been called “ferociously interesting and important, an ideal musical experience, a treasure nestled in the heart of Wisconsin cornfields.” (Photo below is by Jess Anderson.)
“Now in its 29th season, this late-summer series near Madison is known for its artistic excellence, diverse and imaginative programming; a deep engagement with the audience; and a surprising, enchanting and intimate performance venue in a comfortable refurbished barn.”
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Classical music: Today is the Fourth of July. Independence Day is the right time to celebrate American classical composers and patriotic concert music. Here are three ways to do that
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By Jacob Stockinger
Today is the Fourth of July – Independence Day.
That makes it exactly the right time to think about American composers and American patriotic music – both of which have been receiving well-deserved airplay all week on Wisconsin Public Radio.
Here are three items that seem appropriate because they pertain to American composers and American classical music.
ITEM 1
Tonight at 7 p.m. on the King Street corner of the Capital Square in downtown Madison, guest conductor Huw Edwards (below) will lead the Wisconsin Chamber Orchestra in its Concert on the Square for the Fourth of July.
The “American Salute” program includes: “American Salute” by Morton Gould; the Overture to “Candide” by Leonard Bernstein; “Wisconsin Forward Forever” by march king John Philip Sousa; and, of course, “The 1812 Overture” by Peter Ilyich Tchaikovsky.
Blankets can go down on the ground starting at 3 p.m. For more general information about attending the concert including weather updates, rules and etiquette, and food caterers and vendors, go to:
https://wisconsinchamberorchestra.org/performances/concerts-on-the-square-2-2/
ITEM 2
Can you name 30 American classical composers? The Ear tried and it’s not easy.
But thanks to Capital Public Radio in Sacramento, California – which will also play and stream (click on the Listen tab) such music today — it isn’t hard.
Here is a link:
You can click on the link “Playlist for Independence Day” and see the photo of the composers and the titles of compositions that will be played.
You can also click on the composer’s name in the alphabetized list and see a biography in Wikipedia.
Can you think of American composers who didn’t make the list? Leave the name or names – Henry Cowell and Virgil Thomson (below) come to mind — in the COMMENT section.
The Ear wants to hear.
ITEM 3
Finally, given the controversial political issues of the day surrounding immigration, The Ear offers this take on perhaps the most virtuosic piano transcription of patriotic music ever played.
It was done by someone who immigrated permanently to the U.S. in 1939 and then became a naturalized citizen in 1944. He also raised millions through war bonds during World War II.
He was the Russian-born pianist Vladimir Horowitz, here playing his own celebrated virtuoso arrangement – done in 1945 for a patriotic rally and war bonds concert in Central Park — of ”The Stars and Stripes Forever” by John Philip Sousa.
Here is a link to his biography in Wikipedia:
https://en.wikipedia.org/wiki/Vladimir_Horowitz
And here is the YouTube audio of his own performance of the Sousa piece, with the score, including all the special technical demands, especially lots of Horowitz’s famous octaves, to follow along with. It’s a performance that has become justifiably legendary:
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Classical music: Trevor Stephenson explains why Baroque music sounds so good at holiday time. His Madison Bach Musicians will perform their annual Baroque Holiday Concert of Bach, Corelli and Telemann this coming Saturday night. Plus, the Wingra Woodwind Quintet performs a FTREE concert Thursday night at 7:0 p.m. and at noon on Friday you can hear a FREE performance of two sonatas for violin and piano by Beethoven.
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ALERT: On Thursday night at 7:30 p.m. in Morphy Hall, the UW -Madison’s Wingra Wind Quintet will perform a FREE concert of 20th-century music by Henry Cowell, Irving Fine, Robert Muczynski, Alan Hovhaness and Elliott Carter. For more information, here is a link:
http://www.music.wisc.edu/event/wingra-woodwind-quintet/
This week’s FREE Friday Noon Musicale, held from 12:15 to 1 p.m. at the meeting house of the First Unitarian Society of Madison, 900 University Bay Drive, features violinist Wendy Adams and pianist Ann Aschbacher in two sonatas by Ludwig van Beethoven: Op. 30, No. 1, and Op. 96.
By Jacob Stockinger
This coming Saturday night, the Madison Bach Musicians and guest soloists will perform their annual Baroque Holiday concert. (Below is a photo by Kent Sweitzer of the 2014 concert in the same venue.)
The concert is at 8 p.m. at the First Congregational United Church of Christ, 1609 University Ave., near Camp Randall.
Tickets are $23-$28 and can be purchased at the door, with discounts in advance at certain outlets or online.
For more information, visit the MBM website at:
http://madisonbachmusicians.org/december-12-2015/
Trevor Stephenson, who is a master explainer and who will give a pre-concert lecture at 7:15 p.m., recently spoke via email to The Ear:
This is the fifth annual Baroque Holiday Concert by the Madison Bach Musicians. Generally speaking, what is your goal when you program for it?
The idea of the Baroque Holiday Concert is to present an interesting and varied program of Baroque and Renaissance music, some of which pertains to the holiday season and to winter itself.
More importantly we try to program outstanding pieces that Madison audiences may not have had a chance to hear very often in live performance, particularly, played on period instruments and with historically informed performance practices.
Why is Baroque music so popular at the holidays? What is it about the music itself that makes it feel so appropriate to the occasion?
Baroque music, whether it is written specifically for the holidays or not, does indeed sound terrific this time of year. I think the baroque style really strikes the right balance between energy and form — a perfect marriage of theater and church.
The Bach cantatas, two of which we’ll be playing on this upcoming concert, are perhaps the strongest examples of this fusion. The bearing of these pieces is always devotional, while the compositional technique—the process of invention in them—is always searching, exploratory, even avant-garde.
Look at the opening of Cantata 61, Nun komm der Heiden Heiland (Now Come Savior of the Heavens) where Bach (below) begins by firing up a martial-sounding dotted-rhythm French overture and then layers in the voices, one at a time, in long moaning tonally-veering chant lines. And yet, this all seems to operate within a framework that can accommodate it.
Briefly and in non-specialist terms, what would you like the public to know about each of the works?
In addition to Johann Sebastian Bach’s Cantata 61, the more grand-scale Advent Cantata discussed above, we’ll also be presenting the more intimate Cantata 151, Süßer trost, mein Jesus kömmt (Sweet Comfort, My Jesus Comes) composed for the third day of Christmas), which opens with an elegant and extended aria for soprano and obbligato baroque flute. We’re thrilled that this will be performed by outstanding soprano Chelsea Morris and baroque flutist extraordinaire Linda Pereksta.
We’ll also perform the rightly beloved “Christmas” Concerto in G minor, Op. 6, No. 8, by Arcangelo Corelli. The melodic material, the sequential dance-movement structure and the unsurpassed beauty of the string writing in this concerto grosso are perfect in the extreme. MBM concertmaster Kangwon Kim will lead this from the first violin.
By the way, if you’re familiar with Peter Weir’s 2003 movie Master and Commander you’ll notice that the Corelli “Christmas” Concerto pops up a couple of times in the movie score. (You can hear the “Christmas” Concerto, conducted by Trevor Pinnock, in the Youtube video at the bottom.)
Also on the program is Telemann’s E minor quartet from Tafelmusik. Tafelmusik, literally “table music” refers to the domestic and unassuming everyday quality of the writing. Chelsea Morris (below) will also perform three movements from George Frideric Handel’s Gloria.
Other musicians featured on the program are alto Margaret Fox, tenor William Ottow, bass Luke MacMillan, violinists Brandi Berry, Nathan Giglierano, and Olivia Cottrell, violists Marika Fischer Hoyt and Micah Behr, cellists Martha Vallon and Andrew Briggs, and (yours truly) harpsichordist Trevor Stephenson.
I’ll also give a pre-concert lecture at 7:15 p.m. about the music, the composers and the period instruments.
Is there something else you would like to say about the works or the performers?
I’d also like to mention that the concert will be given in the wonderful sanctuary of Madison’s First Congregational United Church of Christ. The acoustics there are absolutely terrific. Wisconsin Public Radio will be recording the concert and will broadcast it later in the holiday season, date to be announced.
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Classical music: Ringing cell phones and coughing made Saturday’s concert by the UW-Madison’s Clocks in Motion enthralling and unforgettable.
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By Jacob Stockinger
Loyal readers of this blog know well the name of Mikko Utevsky. The young violist and conductor is a sophomore at the University of Wisconsin School of Music, where he studies with Pro Arte Quartet violist Sally Chisholm and plays in the UW Symphony Orchestra.
Utevsky, who has won awards and impressive reviews for his work in music education since his days at Madison’s East High School,, is the founder and conductor of the Madison Area Youth Chamber Orchestra, which will perform its fourth season next summer. He has also been named the new Music Director of a local community orchestra, The Studio Orchestra, effective two weeks ago. The ensemble has an out-of-date website here (www.disso.org).
You can check out his many honors and projects by typing his name into the search engine on this blog site.
Utevsky offered The Ear a guest review of an unusual percussion concert this past weekend by Clocks in Motion. I immediately took him up on the offer. After all, he is a fine and perceptive writer who, you may recall, blogged for this post when he was on tour two summers ago with the Wisconsin Youth Symphony Orchestras tour to Vienna, Prague and Budapest.
Here is the review by Mikko Utevsky (below):
By Mikko Utevsky
When we go to a concert, we go to listen and to watch. Perhaps with the very best performers we hope to be touched by the music, for the musicians on stage to speak to us through their playing.
But the role of the audience in classical music is generally passive: we expect to sit quietly, clap when a piece ends, cough politely between movements. We certainly do not walk in the doors expecting to be part of the performance.
At Saturday afternoon’s free performance in Mills Hall of “Percussion is Revolution” by UW-Madison resident ensemble Clocks in Motion (below, in concert), however, all this was turned on its head, and the result was an experience unlike anything I have ever witnessed. (For more information, visit: http://clocksinmotionpercussion.com)
The ideas of John Cage (below) and his colleagues have not penetrated the conscious of the concert-going public, by and large, and we are comfortable with our music on its pedestal, secure in the rituals surrounding a symphony concert or string quartet recital. The opportunity to see it toppled, however briefly, is notwithstanding an event not to be missed.
I, like many audience members, was slightly skeptical about the idea of a participatory concert. I went unsure of what to expect, but I had thoroughly enjoyed the ensemble’s other concerts I had attended, and thought it best to approach with an open mind.
After an exciting opener of “Pulse” by Henry Cowell (below), th group’s music director Sean Kleve explained the structure of the remainder of the program to the audience.
The next four works, all by John Cage , would be played without break and without applause. However, they would be separated by interludes of audience sound. We were asked to make sure our cell phones were turned ON – unthinkable in any other context – and permitted to make one call to another audience member during the course of the performance of Cage’s notorious 4’33” that would follow the next piece.
At another juncture, we were asked to read from the program notes in a whisper. Elsewhere we were invited to make noise using whatever we had in our pockets, and later to cough and clear our throats, as inevitably occurs between movements during a conventional classical music concert.
A video would be projected on the back wall during the performance – a potpourri of more or less random short clips (rain dripping from a rooftop, a turtle, a can rolling off a table, quotes on the nature of music, screensaver-like digital images) – which Kleve (below top) informed us had not been timed to match the music, nor had it been viewed by any members of the ensemble other than Dave Alcorn (below bottom), who assembled it.
Our role as audience, then, was to experience. We had music to listen to, video to watch, spaces to participate (as well as permission to accept accidents – a phone ringing, dropping a program – as part of the concert), and an ensemble of visually engaging performers to observe.
The effect was totally immersive, hypnotic, and utterly enthralling. I have never experienced such a powerful performance, or been so completely engaged by the performers on stage.
Clocks in Motion (below, playing outside the UW-Madison’s George Mosse Humanities Building, and at bottom in YouTube video where the group discusses its mission and goals) ) is a virtuosic ensemble, made up of incredibly talented and dedicated musicians (including multiple Collins Fellows). Their performances are unfailingly engaging, energetic, and executed with a precision befitting their excellent training and intense rehearsals.
(Clocks in Motion is running an IndieGoGo crowdfunding campaign for a new studio album, featuring two premieres; a link is below:)
http://www.indiegogo.com/projects/clocks-in-motion-s-first-album
Not a piece on the program was dull, though there were highlights: Cage’s “Imaginary Landscape 1″ and “First Construction in Metal” were personal favorites, along with the Cowell opener.
During “Imaginary Landscape 1,” I could not tell at one point whether the synthesized pitches were coming from in the room or inside my own head. Elsewhere, this would have been disconcerting; here, it simply allowed me to immerse myself in the landscape the performers were inviting me to imagine with them. I think John Cage would approve, both of the effect and of the superb performances of so much of his music.
I realize it is difficult to write authentically about music such as this without sounding trite or ridiculous, and that I may come across as such here. Discarding the accumulated pomp and circumstance with which we dress our music in the classical world does not come easily, at least when reading about it, and if indeed my assessment seems laughable, so be it. The risk of being laughed at is one worth taking for music like this.
For a young musician such as myself, performances like “Percussion is Revolution” are formative experiences – albeit few and far between.
For the veteran concertgoer, perhaps they are powerful enough to challenge the rituals of concert music, at least for an afternoon. If (when?) the program is offered again, it is not to be missed. Attend with an open mind, and be prepared to take part and to accept your experience as a kind of music not played at a symphony concert.
And if you laugh a little, you’re among friends.
Tags: audience participation, Budapest, cell phone, Classical music, Clocks in Motion, Concert, coughing, George Mosse, Henry Cowell, Jacob Stockinger, John Cage, Madison, Mikko Utevsky, Music education, Orchestra, percusssion, Prague, Pro Arte Quartet, program notes, Studio Orchestra, University of Wisconsin–Madison, whisper, Wisconsin Youth Symphony Orchestra, YouTube
Classical music: “New Music Saturday” is rich with FREE concerts at the University of Wisconsin-Madison.
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By Jacob Stockinger
Think of this coming Saturday as “New Music Saturday.”
That is because fans of new and contemporary classical music have a busy day of MUST-HEAR concerts ahead of them.
Two FREE concerts will be featured in Mills Hall on the University of Wisconsin-Madison campus.
CLOCKS IN MOTION
The first concert is in the afternoon and will be given by the UW-Based percussion group “Clocks in Motion” (seen below in concert).
The “Clocks” concert is at 3 p.m. in Mills Hall and will present a FREE concert highlighting the music of American composers Henry Cowell (below top) and John Cage (below bottom).
Here are some program notes provided by Clocks in Motion:
“The performance will be interactive. Audience participation will be a central focus in the performance, resulting in a seamless sound tapestry that will transform the concert experience into a fully immersive event.
“Clocks in Motion’s ability to use virtually any object as an instrument will be extended to the audience, who will be encouraged to use their cell phones, keys, voices, hands, and other objects to contribute musical sounds throughout the performance.
“Hailed as “nothing short of remarkable” (ClevelandClassical.com), Clocks in Motion is a group that performs new music, builds rare instruments, and breaks down the boundaries of the traditional concert program.
“Formed in 2011, Clocks in Motion now serves as the ensemble in residence with the UW-Madison percussion studio.
“The individual members of Clocks in Motion’s unique skill sets and specialties contain an impressive mix of musical styles including, rock, jazz, contemporary classical music, orchestral percussion, marching percussion, and world music styles including Brazilian, Afro-Cuban, Middle Eastern, West African, and Indian.
“Among its many recent engagements, the group served as resident performers and educators at the Interlochen Arts Academy, Rhapsody Arts Center, University of Michigan, Baldwin-Wallace University, and the Madison Museum of Contemporary Art.
”For more information on Clocks in Motion, including repertoire, upcoming events, biographies, and media, visit www.clocksinmotionpercussion.com
IOWA’S CENTER FOR NEW MUSIC
But that isn’t the end of new music on Saturday.
Also on this coming Saturday, Sept. 21, at 8 p.m. in Mills Hall, the acclaimed Center for New Music (below) at the University of Iowa will return to the University of Wisconsin-Madison for a FREE concert.
The Center for New Music at the University of Iowa was established in 1966 with funds from the Rockefeller Foundation. Its purpose is to promote contemporary to audiences rarely exposed to such repertoire. The Center also resulted in a tight collaboration between composer and musician. During the past 47 seasons, the Center has performed over 400 concerts and presented over 2000 compositions. It has commissioned and premiered works by composers such as Berio, Crumb, Messiaen and Carter, and continues to serve as a vehicle for contemporary music in the Midwest.
The concert of late 20th-century and early 21st-century repertoire features Viennese violinist Wolfgang David and pianist-composer David Gompper (below).
The program includes “Nuance” for solo violin (2012) by David Gompper (below); the Violin Sonata No. 1 in F minor, Op. 80 (1938-46) by Sergei Prokofiev; “Ikona” for violin and piano (2008) by David Gompper; and “Dikhthas” for violin and piano (1979) by Iannis Xenakis (1922-2001).
Here is a note about “Nuance” — heard at the bottom in a YouTube video — from composer David Gompper (below) and reprinted courtesy of the UW School of Music:
“Nuance (2012) for solo violin is based on a simple descending melody heard in the opening bars. The three-part form explores timbral resources of the instrument through an extended series of character developments. Written in London in January 2012, it has undergone a number of expansions and a “filling out”. Very much in my mind was the application of the ratio 1.414 (the square root of 2), the same portion found in many of Bach’s works.”
Classical music Q&A: Composer and violinist Andrew Waggoner talks about the importance of improvisation and his upcoming concerts at the Token Creek Chamber Music Festival on Sunday, and then next Tuesday and Wednesday.
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By Jacob Stockinger
You might think of it as a form of musical archaeology: Recovering, reclaiming and exhibiting the time-honored tradition of improvisation that for centuries was essential to composers and performers alike.
“Improvisations on a Theme” is a watchword that shapes the programs of the 2013 Token Creek Chamber Music Festival. Nowhere is that more apparent than in the concert presented by guest ensemble from New York, Open End (below), three of whose members will be in residence for a week at this summer’s festival.
Essential to the Open End mission is the reclaiming of improvisation as the central skill of all musicians. Audiences at Open End concerts come to think of spontaneous creation as being part of a natural, ongoing dialogue between performers creating in the moment and a written body of work that continues to expand, to transform.
At home in venues from galleries and living rooms to concert halls, Open End seeks nothing less than to engage audiences in an experience that is wonderful, intimate, challenging and beautiful.
On this coming Sunday, August 25, at 4 p.m. Open End members Andrew Waggoner (violin), Caroline Stinson, (cello), and Molly Morkoski (piano) will present a program of recent works and improvisations in a program including music of Charles Ives, Henry Cowell (below), Anna Weesner, Andrew Waggoner, and Bach, concluding with the premiere of a new work by Waggoner.
Waggoner has been characterized by The New Yorker magazine as “the gifted practitioner of a complex but dramatic and vividly colored style” His new piano quintet, inspired by the acclaimed Canadian short story writer Alice Munro, was written this summer for the 2013 Token Creek Festival and is dedicated to Co-Artistic Directors John and Rose Mary Harbison.
Then at 8 p.m. on Tuesday, August 27, and Wednesday, August 28, the Open End members will also participate in one of the Festival’s program of Shakespeare in scenes and songs. The program opens with the premiere of John Harbison’s “Invention on a Theme of Shakespeare” for solo cello and small ensemble, followed by scenes from Shakespeare plays accompanied by new incidental music, and songs and arias on texts from the same plays set by to music by composers from the Renaissance to the present day.
Songs will be offered by composers including Morley, Arne, and Henry Purcell; Franz Schubert, Robert Schumann, Johannes Brahms and Hugo Wolf; and Francis Poulenc, Frank Bridge, Michael Tippett and John Harbison.
All performances take place at the Festival Barn (below), on Highway 19 near the hamlet of Token Creek, with ample parking available. The venue, indoors and air-conditioned, is invitingly small, and early reservations are recommended.
Concert tickets ($30, and $10 for students) may be reserved by phone at 608-241-2525, by email at info@tokencreekfestival.org, or by U.S. mail at P.O. Box 55142, Madison WI, 53705.
More information about the Token Creek Festival can be found at the website, www.tokencreekfestival.org
Violinist-composer Andrew Waggoner (below) recently granted an email interview to The Ear:
Could you briefly introduce yourself and your work to people who don’t know you or haven’t heard about you?
I think the best way for people to approach me and my music is to know going into it is that the two paramount values for me in any musical exchange are strangeness and beauty.
I say “strangeness” because the most arresting, durable encounters we have with creative work are marked by a level of confusion, or of the numinous, of something that immediately strikes us as “other,” but that, hopefully, the work itself gives us the tools to sort out over the course of the experience.
“Beauty” is perhaps a little more self-evident, but it can manifest in myriad ways, of course, including beauty of form, of shape or dramatic arc. Much of the music I love most (J.S. Bach, Beethoven, Stravinsky, Duke Ellington (below), Miles Davis, Harbison (really!), Elliott Carter, Pierre Boulez) moves me at the level of the big shape as much as at that of surface sensuality.
That said, sensuality is hugely important to me, and when I feel I’ve found a unity of shape and surface beauty that makes a listener want to stay with a piece long enough to figure out where its strangeness is coming from and what it means, I feel like I’ve hit the jackpot. This doesn’t happen all the time, of course.
What are the guiding principles – improvisation — and the performance goals behind the Open End Ensemble? How do they reflect your opinion of the state of contemporary classical music today?
The thing we most wanted with Open End was to have a group that played like a group — always the same players — and that could move easily between written-out music and free improvisation and not miss a beat.
We wanted the audience to hear the improvisations as pieces, and to hear the pieces as having the same level of listening and spontaneous response as the improvs. We make an issue of improv, in part, in order to get the audience to the point where they no longer hear it as unusual.
With regard to the state of things today, I’d just say that the only criterion we bring to programming a piece is whether or not we like it. If we believe in it, we play it. We have the luxury of not taking things on for any purpose other than what we want a program to sound like, how we want it to move, to flow.
If there are specific contemporary currents that seem not to flow through our programs, it’s most likely because we’re not interested in them.
What would you like the general public to know about your performances and specific programs (Ives, Cowell, Weesner, Waggoner’ world premiere and Bach; also Harbison’s Shakespeare music) and works at the Token Creek Chamber Music Festival?
We like programs that mix contemporary works with 20th-century classics, along with different instrumental combinations that provide relief and perspective on each other.
In this way we’re no different from anyone else, it must be said, except that, again, there are no “isms” guiding our programming, so we can be very free about the kinds of combinations we find.
So the works by Charles Ives and Henry Cowell make a natural pair (culturally and temperamentally, and in their dogged sense of exploration), and they provide a nice come-down from the energy of the work by Anna Weesner (below), which is volcanic.
The improvs will work in some way yet to be discovered to bridge these different expressive worlds, with John and Rosie’s Bach offering both a stylistic distance and expressive weight specific to it — though listeners will recognize Cowell’s affectionate nod to Bach in his little pieces, so to some degree we go in widening gyres here.
The premiere of my own work, “Floating Bridge,” is a very personal homage to John and Rosie, to John and my (and Carrie’s) shared love of the award-wining Canadian short story writer Alice Munro, to the festival’s rural setting, and to Ellen Singer, a dear friend at our own rural festival, Weekend of Chamber Music, whom we lost this past spring. All these threads were evoked for me and somehow float together in Munro’s story, also called “Floating Bridge.”
The Shakespeare program will mash-up an astonishingly diverse group of Shakespeare songs with dramatic monologues, acted by Madison native Allison Shaffer (below), with Carrie and me improvising, joined by John at the piano. We’ve done this kind of thing a lot, and we love it. We have no idea how the musical environment for the texts will take shape. We’ll find that in the moment.
How would you characterize the style and interest of your own compositions and particularly the work that you will premiere here in Madison?
My own work, as I mentioned earlier, hopefully offers the listener something strange and compelling that is made comprehensible through a surface that is beautiful, and often sensual.
One person’s beauty is another’s caterwauling, of course, so not everyone will hear this music in the same way I do. But I am working to make the music as powerful and communicative as possible, not by trying to anticipate everyone’s varied tastes and levels of musical experience, but simply by responding to my own work as a listener.
The old modernist dichotomy of composer vs. listener bores me, in part because it always was mostly, and has now become entirely, meaningless, and because it overlooks the obvious fact that composers are listeners too.
So that’s where I start with any piece: what do I want to hear, where do I want to go with this, how do I want this to make me feel? I can only really respond to those questions as a listener, as someone who will hear the piece in performance and judge it in those terms, not as the product of a wonderfully complex compositional process.
In terms of style, the composers referenced above have all had a profound effect on me. To that list, I’d add Copland and Messiaen; if one morphs all of those different characters (Bach, Beethoven, Stravinsky, Copland, Messiaen, Miles Davis, Carter, Boulez, Harbison (below)) one might actually come up with something like Waggoner!
What else would you like to say about yourself and the ensemble, about your programs and work, and about the festival?
We’re crazy excited to come out to Token Creek. For us it’s both an extension of our relationships to John and Rosie Harbison (below, in a photo by Katrin Talbot)and to John’s music, and an expression of how we most love to work as a group: in intimate, imaginative settings, close to the audience, able to work with the energy they give us, to shape an experience that is site-specific. For us it’s really the ideal, and we get to do only a few times a year under very special circumstances. So this is a rare privilege.
Tags: Andrew Waggoner, Charles Ives, Duke Ellington, Elliott Carter, Franz Schubert, Henry Cowell, Jacob Stockinger, Johann Sebastian Bach, John Harbison, Madison Wisconsin, Miles Davis, Music festival, New York, New Yorker, Robert Schumann, Token Creek Chamber Music Festival, William Shakespeare
Classical music: The Token Creek Chamber Music Festival opens this Wednesday and runs through Sept. 1. It will feature members of Boston’s Open End Ensemble as artists-in-residence; the music of Andrew Waggoner and John Harbison; music about and readings of Shakespeare; and the world premiere of completed versions of unfinished works by Mozart. Plus, retired UW-Madison singer and teacher Ilona Kombrink has died.
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ALERT: Singer and Edgewood College voice teacher Kathleen Otterson writes: “It is with sadness that I announce the death of Emeritus Professor Ilona Kombrink (below) on Friday, August 9, in Stoughton, Wisconsin. She passed away after being in poor health for the last several years. There has been no obituary posted yet, and no plans for a service that I am aware of. She was my teacher and one of my primary vocal and musical influences. Ilona was a longtime member of the University of Wisconsin-Madison voice faculty, and counted among her students hundreds of singers and teachers – many of us in Wisconsin — working all over the world today. A native of St. Louis, Missouri, her natural vocal gifts were evident at an early age, and she entered the Curtis Institute at age 17, where among her classmates were Samuel Barber and Giancarlo Menotti. She loved to retell stories of her arrival in the big city of Phildelphia – “just a country girl from ‘St. Louie‘” – and the establishment there of friendships which would last through her life. She came to the UW in the late 1960s, seeking a more stable life than that of a touring singer for herself and daughter, Nancy, retiring in 2003. She performed frequently with the Madison Opera, the Madison Symphony Orchestra, and UW ensembles as well as in recital alone or with her UW faculty colleagues. As an artist, she was uncompromising in her search for vocal artistry and honesty. In her teaching, she never stopped encouraging her students to seek and find the same.
By Jacob Stockinger
The rustic yet sophisticated Token Creek Chamber Festival, which is now about 25 years old, has become the traditional closing of the local summer concert season that offers the last major events before the new fall season gets underway after Labor Day.
The festival -– which is co-directed by the husband-and-wife team of composer-violist John Harbison and violinist Rose Mary Harbison (below, in a photo by Katrin Talbot) -– features talented local artists and imported guest artists, and the programs are more unusual than the typical concert fare.
This year is no exception.
Here is a list of events. More information can be found by calling (608) 241-2525 or visiting www.tokencreekfestival.org
Program I: Jazz – Music of Harry Warren (below) with the Vocal Jazz Ensemble on Wednesday August 21, at 5 p.m. and 8:30 p.m.; Thursday, August 22, at 5 p.m. (sold out) and 8:30 p.m.
This summer the Festival’s jazz program surveys composer Harry Warren, an especially appropriate choice for a 10th anniversary celebration. The program includes some of his best-known hits (“I Only Have Eyes for You,” “At Last,” “Lulu’s Back In Town”), while also – as always – offering some choice little-known treasures like “I Want to be a Dancing Man,” “You’re Gettin’ to be a Habit” and “This Heart of Mine.”
The Vocal Jazz Ensemble (below) was formed at MIT in the spring of 2011, and has been coached since its inception by Institute Professor John Harbison. The 10 singers, each of whom passes a rigorous audition process by peers, have quickly risen to notoriety not only on campus but throughout Boston.
Recent performances include an appearance in May with the Boston Pops at Boston’s Symphony Hall, and a professional recording with the Festival Jazz Ensemble. Five members of the VJE will perform at Token Creek with the house band, made up of John Harbison (piano), John Schaffer (bass), Todd Steward (drums), Tom Artin (trombone), and Rose Mary Harbison (violin).
Performances take place at the Festival Barn (below), on Highway 19 near the hamlet of Token Creek, with ample parking available. The venue, indoors and air-conditioned, is invitingly small, and early reservations are recommended. For the jazz program the barn is transformed into an authentic jazz club, complete with small tables, candles, dim lighting, and refreshments served during sets.
The jazz concert is offered on Wednesday, August 21 at 8:30 p.m. (a waiting list is being compiled for a possible added performance that day at 5 p.m.), and on Thursday August 22 at 5 p.m. (sold-out) and 8:30 p.m. Tickets are $40 for café seating, and $35 for balcony seats. A limited number of student tickets are available for $10.
More information about the Token Creek Festival and this event can be found at the website, www.tokencreekfestival.org. Tickets can be reserved by phone at 608-241-2525, by email at info@tokencreekfestival.org, or by U.S. mail at P.O. Box 55142, Madison WI, 53705.
Program II: Open End Ensemble – New Works & Improvisations on Sunday, August 25, at 4 p.m.
“Improvisations on a Theme” is the watchword that shapes the 2013 Token Creek Festival: in the opening jazz program; in incidental music to accompany Shakespeare scenes; and in the completions of unfinished works of Mozart.
But perhaps nowhere is it more baldly and boldy evident than in the concert presented by guest ensemble from New York, Open End (below and in a YouTube video at the bottom), three of whose members will be in residence for a week at this summer’s Token Creek Festival.
Essential to the Open End mission is the reclaiming of improvisation as the birthright of all musicians. Audiences at Open End concerts come to think of spontaneous creation as being part of a natural, ongoing dialogue between performers creating in the moment and a written body of work that continues to expand, to transform. At home in venues from galleries and living rooms to concert halls, Open End seeks nothing less than to engage audiences in an experience that is wonderful, intimate, challenging and beautiful.
On Sunday August 25 at 4 p.m. Open End members Andrew Waggoner (violin), Caroline Stinson, (cello) and Molly Morkoski (piano) will present a program of recent works and improvisations in a program including music of Charles Ives, Henry Cowell, Anna Weesner, Andrew Waggoner, and Johann Sebastian Bach, concluding with the premiere of a new work by Waggoner (below).
Waggoner has been characterized by The New Yorker as “the gifted practitioner of a complex but dramatic and vividly colored style” His new piano quintet, inspired by the acclaimed Canadian short story writer Alice Munro, was written this summer for the 2013 Token Creek Festival and is dedicated to Artistic Directors John and Rose Mary Harbison.
Program III: Shakespeare – The Bard in Songs and Scenes will be presented on Tuesday, August 27, at 8 p.m. and Wednesday, August 28, at 8 p.m.
Open End members (see Program 2) participate in one of the Festival’s most unusual programs ever offered: William Shakespeare (below) in scenes and songs. The program opens with the premiere of John Harbison’s “Invention on a Theme of Shakespeare” (solo cello and small ensemble), followed by scenes from Shakespeare plays accompanied by new incidental music, and songs and arias on texts from the same plays set by to music by composers from the Renaissance to the present day. The plays include “As You Like It,” “Hamlet,” “Cymbeline,” “The Merchant of Venice,” “Two Gentlemen of Verona” and “The Tempest.”
The two principal performers for the evening both were born and raised in Madison and return for this Token Creek Event: Guthrie Theatre-trained actor, Allison Schaffer (below) will dramatize the play excerpts, and New York soprano Mary Mackenzie (below), together with pianists Molly Morkoski, will offer songs by composers including Morley, Arne, and Purcell; Schubert, Schumann, Brahms and Wolf; and Poulenc, Bridge, Tippett and Harbison.
All performances take place at the Festival Barn, on Highway 19 near the village of Token Creek, with ample parking available. The venue, indoors and air-conditioned, is invitingly small, and early reservations are recommended.
Concert tickets ($30, and $10 for students) can be reserved by phone at 608-241-2525, by email at info@tokencreekfestival.org, or by U.S. mail at P.O. Box 55142, Madison WI, 53705.
More information about the Token Creek Festival can be found at the website, www.tokencreekfestival.org.
Program IV: Finale – “The Old and Unfamiliar” will be performed on Saturday, August 31, at 8 p.m. and on Sunday, September 1, at 4 p.m.
It’s not a contradiction. In a program titled “The Old and Unfamiliar,” the Token Creek Festival will offer world premieres, both of a new work and of completions of old works never heard before.
What composer is more beloved and performed than Mozart (below)? Yet he was in the habit of leaving pieces unfinished, to be taken up later. He was above all practical and pragmatic — if he was working on a violin sonata when a commission for a wind piece came in, he’d suspend work on the sonata, planning to return to it later.
There is now conclusive evidence that some of his pieces lay unfinished for 10 years. His early death prevented the completion of many of them. Can they be recovered, “new” Mozart works that add to our sense of his prolific variety? The Token Creek musicians think so.
Three Mozart completions anchor the last concerts of the Festival:
• The violin sonata in C, K. 403 (1784-85), in which Mozart composed the first two movements and the first 20 measures of the last; the final movement was completed by John Harbison (below) in 1968.
• The Allegro in A major (K. Anh. 48), the opening 35 measures of this violin sonata first movement written by Mozart, the remainder completed in 2012 by Harvard University scholar and classical period keyboard expert and improviser Robert Levin (below), who is a frequent guest at Token Creek.
• The Allegro in G Major (K. Anh. 47), another sonata first movement begun by Mozart (the first 31 measures), also completed by Levin last year.
“Revisiting these pieces I think is interesting,” says Levin. “The idea of course is not to suggest to people whom you’re going to write something which is as audacious, as inspired, as pleasurable to listen to as what Mozart would surely have done had he lived to complete these pieces but it gives you an idea. It’s like an artist’s conception of an idea before the building is actually constructed.”
“And of course there is this combustible attitude of improvisation in which one realizes that no text that Mozart wrote was really sacrosanct,” Levin adds. “He did not write pieces down so that people would play exactly what he wrote and nothing else. This was not the way music was done in the 18th century, and in the early 19th century it wasn’t done that way either. That is, just the way every performance invited improvisation so, in a sense, the score was a blueprint.”
In addition to the completion premieres, the program also includes the premiere of John Harbison’s Violin Sonata No. 2 (2013), some rare old things — Purcell sonatas for two violins – and Mozart’s infrequently heard and bizarrely scored Horn Quintet (for two violas, one violin, and cello.
All performances take place at the Festival Barn, on Highway 19 near the town of Token Creek, with ample parking available. The venue, indoors and air-conditioned, is invitingly small, and early reservations are recommended. Arrive early and tour the beautiful setting and farm fields (below in a photo by Jess Anderson).
More information about the Token Creek Festival can be found at the website, www.tokencreekfestival.org.
Concert tickets are $30, and a limited number of student tickets are available for $10. Tickets can be reserved by phone at 608-241-2525, by email at info@tokencreekfestival.org, or by U.S. mail at P.O. Box 55142, Madison WI, 53705.
More information about the Token Creek Festival and all events can be found at the website, www.tokencreekfestival.org or by calling 608-241-2525.
Tags: Alice Munro, Anna Weesner, Boston, Chamber music, Charles Ives, Curtis Institute of Music, Edgewood College, Francis Poulenc, Frank Bridge, Franz Schubert, Harry Warren, Harvard University, Henry Cowell, Henry Purcell, Hugo Wolf, Jazz, Jazz band, Johann Sebastian Bach, Johannes Brahms, John Harbison, Madison Opera, Madison Symphony Orchestra, Massachusetts Institute of Technology, Michael Tippett, MIT, MIT Vocal Jazz Ensemble, New York City, Open End Ensemble, Robert Levin, St. Louis, Sunday August 25, Thomas Arne, Thursday August 22, Token Creek Chamber Music Festival, University of Wisconsin–Madison, Wednesday August 21, William Shakespeare, Wolfgang Amadeus Mozart, YouTube
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The Well-Tempered Ear 