The Well-Tempered Ear

Classical music: Two weeks of choral music and world premieres start this week at the UW-Madison

April 17, 2017
2 Comments

By Jacob Stockinger

The last two weeks of April look to be a busy time, with several world premieres of new music taking place – one in chamber music this week, then next week one in choral music and one by the Wisconsin Chamber Orchestra in orchestral and piano music.

It is also a busy time for choral music, especially with back-to-back performances next week by the Concert Choir and the community-campus UW Choral Union.

All UW-Madison concerts scheduled for this week are FREE and OPEN TO THE PUBLIC.

Here — with an unfortunate lack of details about programs — is the UW-Madison lineup for this week:

TUESDAY

At 7:30 p.m. in Music Hall, the University Opera presents its spring program of “Opera Scenes” done by the UW-Madison Opera Workshop. Sorry, no word about specific operas, scenes or singers. Staging is minimal and accompaniment is done by a piano.

WEDNESDAY

At 7:30 p.m. in Mills Hall, the UW Pro Arte Quartet (below top) will give the world premiere of “The Cross of Snow,” written by John Harbison (below middle) and commissioned by local businessman William Wartmann in memory of his late wife.

The new work, scored for string quartet and voice, features guest mezzo-soprano Jazmina Macneil (below bottom).

Also on the program are: String Quartet in E Major, Op. 54, No. 3 (1788), by Franz Joseph Haydn; and the String Quartet in A Minor Op. 16 (1874) by Antonin Dvorak.

For more information about the new work, including the text of the poem “The Cross of Snow” by Henry Wadsworth Longfellow, go to:

http://www.music.wisc.edu/event/pro-arte-quartet-7/

FRIDAY

At 8 p.m. in Mills Hall, Chorale and the Madrigal Singers (below) team up for a joint concert under director Bruce Gladstone. Sorry, no word about composers or works.

SATURDAY

At 4 p.m. in Mills Hall, the All-University Strings – an amateur group of non-music majors — will perform its annual spring concert. Sorry, no word on the program.

At 8 p.m. in Mills Hall, the Women’s Chorus (below), Masters Singers and University Chorus will give a joint concert. Sorry, no word on the program.

SUNDAY

From 2 to 5 p.m. in Mills Hall, University Bands will perform under directors Darin Olson, Nathan Froebe and Justin Lingre will perform. Sorry, no word on specific programs.

This week, The Ear also counts 10 different student degree recitals on tap, from piano and violin to percussion and voice. Some listings mention programs, but others do not. For more information, go to:

http://www.music.wisc.edu/events/


Classical music: This year’s Token Creek Chamber Music Festival celebrates local ecological restoration with “water music”

August 22, 2016
3 Comments

By Jacob Stockinger

Here is an overview of the upcoming 27th Token Creek Chamber Music Festival, which starts this Saturday, Aug. 27, and runs through Sunday, Sept. 4.

TOKEN CREEK, WIS. – Years in the planning, summer 2016 marks the completion of a major ecological restoration project on the Token Creek Festival property in the northeast corner of Dane County, part of the watersheds vital to the hydrology of Madison and southeastern Wisconsin.

TokenCreekentrance

TokenCreekbarn interior

During the 1930s, one of the most important feeder streams in the area, and its only cold-water trout stream, was ruined when it was widened to support short-lived commercial interests and development. Now, decades later, in a monumental effort, that stream has at long last been relocated, restored and rescued.

Festival-goers will be able to experience the project firsthand on the opening weekend, when each concert is preceded by an optional stroll along the new stream, with conversation guided by restoration ecologists and project managers.

Celebrating this monumental ecological project, the season theme of this year’s Token Creek Chamber Music Festival is: Water Music. Virtually all of the works programmed evoke brooks and streams and rivers and water in its many forms, with its ritual meanings, associations, allusions, and as metaphor.

In keeping with the theme, the Festival has adopted Franz Schubert (below) as the summer’s featured composer. His poetic, melancholic, ultimately organic and inevitable relationship to the natural world was expressed in composition after composition, wedded to his intense involvement with the poetry of his era, itself so infatuated with birds, fields, clouds and streams.

Franz Schubert big

The second program emphasis continues the festival’s most persistent theme: the music of Johann Sebastian Bach.

Bach1

Three strands of Bach’s music previously explored at Token Creek will be taken up again. We will present our third complete cantata performance, O heiliges Geist und Wasserbad, a mysterious and poetic piece from early in the composer’s career, with soloists from the Madison Choral Project (below).

Madison Choral Project color

We will conclude our survey of the three Bach violin concertos, this year the E major, co-artistic director Rose Mary Harbison (below top) again as soloist. And we take up our sequence of fugues from The Art of Fugue, co-artistic director and composer John Harbison (below bottom), who has won the Pulitzer Prize and a MacArthur “genius grant,” adding three more to his personal odyssey with this work, due to conclude in 2030.

RosemaryHarbison

JohnHarbisonatpiano

NEW ARTISTS

Token Creek is pleased to introduce several new artists this season, including Grammy Award-nominated mezzo-soprano Margaret Lattimore, who has been praised for her “glorious instrument” and dubbed an “undisputed star…who has it all – looks, intelligence, musicianship, personality, technique, and a voice of bewitching amber color.”

Ms. Lattimore will offer works of Franz Schubert and John Harbison on the Festival’s opening concerts, By the Brook (August 27 and 28), where she will be joined by pianist Molly Morkoski.

www.margaretlattimore.net

Margaret Lattimore

Ms. Morkoski (below), who last appeared at Token Creek in 2013, consistently garners praise for her refined virtuosity and “the bold confidence and interactive grace one wants in a devoted chamber music maker.” In addition to the opening program, Morkoski will also be heard on the season finale in Schubert’s “Trout” Quintet (Sept. 2 and 4).

http://www.mollymorkoski.com/

molly morkoski

On that same concert, tenor William Hite and pianist Kayo Iwama join forces in Schubert’s devastating and tragic song cycle, Die Schöne Müllerin (The Beautiful Miller’s Daughter), in which a brook functions prominently as the protagonist’s confidante. (You can hear the legendary baritone Dietrich Fischer-Dieskau sing “The Miller and the Brook” from the flowing song cycle in the YouTube video at the bottom.)

New York Times critic Anthony Tommasini has called Hite (below) a “breathtaking communicator of spoken nuance” for his ability to reveal the meaning and emotion embodied in the text and the music, solidifying his reputation as an engaging and expressive artist.

http://www.williamhitetenor.com/

william hite

Kayo Iwama (below) is associate director of the Bard College Conservatory of Music graduate vocal arts program, the master’s degree program for classical singers, and she also coordinates the vocal studies program at the Tanglewood Music Center. Her frequent concert partners include Dawn Upshaw and Lucy Shelton.

http://www.bard.edu/academics/faculty/details/?action=details&id=1838

Kayo Iwama

VIOLS AND WILLIAM WARTMANN

Finally, the “technically faultless and consistently sensitive and expressive,” consort of viols, Second City Musick (below), based in Chicago, will offer a guest recital on Tuesday, Aug. 30, anchored by John Harbison’s The Cross of Snow.

Craig Trompeter, Russell Wagner, Anna Steinhoff at the Planetarium, Chicago, May 30, 2013

Craig Trompeter, Russell Wagner, Anna Steinhoff at the Planetarium, Chicago, May 30, 2013

Commissioned by local businessman and philanthropist William John Wartmann (below) in memory of his wife, mezzo-soprano Joyce Wartmann, this evocative new piece, on texts of Henry Wadsworth Longfellow, blends the ethereal lushness of violas da gamba with the haunting clarity of the countertenor voice, here Nathan Medley (below bottom), to explore the emotions of grief, loss and love.

wiiliam wartmann

Nathan Medley

At its first performance in Chicago last May, a local critic praised both the work and the musicians: “The Chicago-based ensemble was ideally suited to premiere this profoundly affecting work, and the shared sensibility between composer and performers was noticeable.”

Tuesday’s program will also include works of Henry Purcell, William Byrd, John Jenkins and Johann Sebastian Bach.

www.secondcitymusick.org

Other festival artists this season include vocalists Rachel Warricke, Sarah Leuwerke, Daniel O’Dea, and Nathan Krueger; violinists Rose Mary Harbison, Laura Burns, and Isabella Lippi; Jen Paulson, viola; Karl Lavine, cello; Ross Gilliland, bass; Linda Kimball, horn; and John Harbison, piano.

HERE ARE FESTIVAL PROGRAMS AT A GLANCE:

Program 1: By the Brook – Schubert, Bach and Harbison

Saturday, Aug. 27: 6:45 p.m. – optional guided stream stroll*; 8 p.m. – concert

Sunday, Aug. 28:  2:45 p.m. – optional guided stream stroll*; 4 p.m. – concert

*(The stream stroll is free, but reservations are recommended)

Program 2: Music for Viols, Then & Now

Tuesday, Aug. 30, at 7:30 p.m.

Program 3: Water Colors = Two Schubert Masterworks

Friday, Sept. 2 at 7:30 p.m.

Sunday, Sept. 4 at 4 p.m.

Concert tickets are $32 (students $12). The preview stream stroll on opening weekend is free to concertgoers, but advance reservations are recommended.

Reservations can be made in several ways:

  • Online:    https://www.eventbrite.com/e/token-creek-chamber-music-festival-2016-tickets-26070692142
  • Website (printable order form): www.tokencreekfestival.org
  • Phone: 608-241-2525 (voicemail only, please leave a message)
  • Email: info@tokencreekfestival.org
  • U.S. mail: P.O. Box 5201, Madison WI, 53705

Performances take place at the Festival Barn, on Highway 19 near the hamlet of Token Creek (10 minutes north of Madison) with ample parking available. The venue, indoors and air-conditioned, is invitingly small—early reservations are recommended.

Token Creek 2011 Mozart Trio, Levin, Harbison, Ryder

More information about the Token Creek Festival and all events and artists can be found at the website, www.tokencreekfestival.org or by calling 608 241-2525.


Classical music: So, what symphony should be next? Maestro John DeMain, guest actors and the Madison Symphony Orchestra score a sold-out triumph with the Beyond the Score presentation of Dvorak’s “New World” Symphony. Plus, read the reviews of John W. Barker for Isthmus and Greg Hettmansberger for Madison Magazine.

January 28, 2014
6 Comments

By Jacob Stockinger

On Sunday, we saw the “New World” Symphony in a new light.

I think I can speak for both seasoned concertgoers and novices.

And what I say is no overstatement in describing the triumphant Sunday afternoon multi-media performance of the popular work by Antonin Dvorak (below).

dvorak

It was turned in by the Madison Symphony Orchestra (below top, with the Jumbotron screen behind it) under the baton of its longtime music director and conductor John DeMain (below bottom, in a photo by Prasad), along with guests actors and the inaugural use of the Chicago Symphony Orchestra’s almost decade-old “Beyond the Score” format.

MSO Dvorak

John DeMain full face by Prasad

In a one-time only performance, the house in the Overture Hall of the Overture Center was sold-out, something that has happened in recent years only with the Christmas concerts. And it was an enthusiastic audience that offered two long standing ovations: the first, after the 60-minute background presentation; and the second, after the post-intermission 40-minute complete performance, which was an exemplary reading that was convincingly dramatic in the fast movements and movingly lyrical in the songful slow movement.

The Ear listened not only to what the actors and players said and did, but also to what other audience members had to say. And the judgment seemed unanimously positive.

Everyone agreed that the multi-media part of the program was very well constructed and very well presented. It was remarkably tight. There were no awkward silences or lapses or pauses. This was not like when the A-V Club used to come to your middle school science or history class and you stared at your shoes while they figured out how to make the technology work.

Instead this was a thoroughly professional presentation that proceeded smoothly from start to finish. It was well researched and well written. It incorporated historical still photos and historical film footage. It used primary sources such as the music’s score and Dvorak’s own letters; and it used secondary sources such as newspaper stories and the American poet Henry Wadsworth Longfellow’s “Song of Hiawatha” and its influence on the impressionable and culturally curious Dvorak and his interest in American Indian music and Negro spirituals.

The orchestral excerpts that underlined the points were precisely played, and such starting-and-stopping is not an easy thing to do unless you are well rehearsed.

The Ear does have one minor concern with this Musicology for the Masses: The “Beyond the Score” format tends to turn all music into program music. Still, there is no questioning that it enhances one’s appreciation of a masterpiece by putting a frame around the painting, by providing a historical context. A specialist could probably pick out small flaws or gaps, but lengthy scholarship was not the point.

All in all, this new format seems exactly what a lot of American symphony orchestras need right now, especially at a time when so many of them are financially troubled and have to figure out a way to attract new and younger audiences.

And this presentation-performance combination sure did that. Remarkably few audience members left at intermission and it was inspiring to see so many, right up to the balcony, filled. Except for an all-Gershwin concert two seasons ago, it has been a few years since such a packed house showed up for a non-holiday MSO concert.

So, who gets credit and whom do we thank? The list is long and, happily, no one got into the kind of postured declaiming that can make it feel false, too staged and overly dramatic. Distraction was kept to a quiet minimum, the characters sitting on stools on the prone of the stage. Theatricality was minimal.

Wisconsin Public Radio host Anders Yocom (below, in a photo by Jim Gill) delivered the goods as a resonant and articulate but calmly expressive narrator.

anders yocom studio  head shot cr Jim Gill

American Players Theater actor David Daniel (below) did an outstanding job of playing the composer without overdoing the Czech accent and using only a bit of a costume suit.

david daniels color

Another APT actor, James Ridge (below), played Dvorak’s son who also commented on his father’s American adventures, but never overshadowed him.

James Ridge

And local mezzo-soprano Jacqueline Colbert (below), who graduated from the University of Wisconsin-Madison School of Music and who directs the Mt. Zion Gospel Choir, sang Negro spirituals beautifully in a way that proved less showy and concert hall-like than you often hear today. She sang in a subdued, simple and traditional manner that seemed more authentic, more true to the music’s roots.

Jacqueline Colbert

Even conductor John DeMain got into the act playing the German conductor Anton Seidl, who headed the New York Philharmonic Orchestra and in 1893 conducted the world premiere of the symphony in New York City, with a German accent.

But perhaps the person we have to thank the most is the one whose checkbook made it possible: the Anonymous Donor, who suggested trying the format and who underwrote it financially.

It was a thoroughly enjoyable and thoroughly enlightening event. The Ear hopes it will get perhaps a second performance from the MSO (below in a photo by Greg Anderson) next season if the audience interest warrants it, and that it might even be incorporated into the regular subscription season. (The MSO, by the way, is using an email link to an on-line survey to sample the opinion of those who attended the concert, something i do not trembler them doing before.)

John DeMain and MSO from the stage Greg Anderson

So the question now becomes: What symphony do you want to see done next in the new format?

In an interview I posted last week, John DeMain told The Ear that 22 symphonies have been performed this way in Chicago since the “Beyond the Score” format started in 2005. (At bottom is a YouTube video in which no less a musician than composer-conductor Pierre Boulez introduces, explains and defends the format. And you can find many other videos of Beyond the Score performance on YouTube.) 

So I vote for Beethoven’s Third and Ninth Symphonies and the “Emperor” Piano Concerto; Tchaikovsky’s Fourth and Sixth “Pathetique” symphonies; Shostakovich’s Fifth; Brahms’ First and Fourth; Mozart’s “Jupiter”; and Schubert’s “Unfinished” and Ninth or “The Great.”

Which symphony would you like to hear in the Beyond the Score format?

Tell The Ear.

Tell the MSO.

In the meantime, you can read what some other critics said about the performance:

Here is a link to a review by John W. Barker (bel0w) for Isthmus:

http://www.thedailypage.com/daily/article.php?article=41921&sid=69de797c613436f12703124d949ffd66

John-Barker

And here is a link to the review by Greg Hettmansberger (bel0w) for his blog “Classically Speaking” blog for Madison Magazine:

http://www.madisonmagazine.com/Blogs/Classically-Speaking/January-2014/Madison-Debut-of-Beyond-the-Score-Opens-New-Worlds-of-Dvorak/

greg hettmansberger mug

 

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