The Well-Tempered Ear

Classical music: The Choir of Trinity College Cambridge sings a varied program with organ accompaniment this Wednesday night in Overture Hall

September 9, 2019
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By Jacob Stockinger

The new season of the popular Overture Concert Organ series, sponsored by the Madison Symphony Orchestra and curated by MSO organist Greg Zelek, begins this Wednesday night, Sept. 11, at 7:30 p.m. in Overture Hall.

All single tickets are $20. (A subscription to all four organ concerts is $63.)

The opening program features the world-famous Choir of Trinity College Cambridge (below), on tour from its home in the United Kingdom.

Adds Zelek:

“Our season opens with the amazing Choir of Trinity College Cambridge, named by Gramophone Magazine as one of the best choirs in the world.

“Conducted by the choir’s music director Stephen Layton (below top) and accompanied on the mighty Klais concert organ (below bottom), this 25-voice choir will present a program of music spanning many centuries that will display its beauty of tone and depth of feeling. These rich voices will make this varied program soar through Overture Hall and leave everyone in the audience breathless.”


Here are some sample reviews:

Virtuoso is the right word. I, for one, can’t immediately think of any more appropriate way of describing singing of such staggering accomplishment.  – BBC Music Magazine

Sitting front and center at a recent Trinity Choir of Cambridge concert at Grace Cathedral was, sonically speaking, a heavenly experience.                    -The New York Times

Here is Wednesday night’s eclectic program:

William Byrd | Sing joyfully
William Byrd | O Lord, make thy servant, Elizabeth
Thomas Tallis | Salvator mundi
Henry Purcell | Thou knowest, Lord
Arvo Part | Bogoroditse Djévo
John Tavener | Mother of God, here I stand
Vasily Kalinnikov | Bogoroditse Djevo
Robert Parsons | Ave Maria
Eriks Esenvalds | The Heavens’ Flock (You can hear a different Esenvalds work, “Only in Sleep,” sung by the Trinity College Choir, in the YouTube video at the bottom.)
Morten Lauridsen | O magnum mysterium
Jaakko Mantyjarvi | Stuttgarter Psalmen
Herbert Howells | Take him, earth, for cherishing
Herbert Howells | Trinity St. Paul’s

For more information about the Overture Organ Series, detailed background about the Trinity College Choir and how to purchase tickets, call (608) 258-4141 or go to: https://madisonsymphony.org/concerts-events/overture-concert-organ-performances/ or https://madisonsymphony.org/event/organ-trinity-choir/ 


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Classical music: The Karp family turns in a memorable and moving 40th annual Labor Day concert that also took listeners back in time

September 5, 2019
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By Jacob Stockinger

If you missed the free 40th annual Karp Family Labor Day Concert on Tuesday night in Mills Hall, you missed more than music. You missed the kind of event that makes for long and precious memories.

Sure, you can nitpick the program and the performers, who also included daughter-in-law violist Katrin Talbot (below right) and guest violinist Suzanne Beia (below left), who performs with the Pro Arte Quartet, the Madison Symphony Orchestra and the Wisconsin Chamber Orchestra.

You could ask, for example, which cello transcription worked better – the Violin Sonatina, Op. 100, by Dvorak or the Violin Sonata No. 10, Op. 96, by Beethoven. (The Ear votes for the Dvorak.)

And you could also ask which performer stood out the most. (The Ear thinks that is the great-grandmother and matriarch pianist Frances Karp playing in a Mozart piano quartet. At 90, Frances still possesses beautiful tone, the right volume and balance, and the necessary technical chops. They say there is nowhere to hide in Mozart, but Frances Karp did need any place to hide. Her Mozart was, simply, sublime.)

But, in the end, those kinds of questions and critiques really seem beside the bigger point.

What mattered most was the sheer enjoyment of hearing a family perform live some wonderful music by Mozart, Beethoven, Dvorak and Schumann (the passionate Adagio and Allegro in A-flat Major, Op. 70, played by Lynn Harrell in the YouTube video at the bottom).

And what mattered more as The Ear thought about it was the kind of time travel the concert involved.

There were two kinds, really.

One had to do with having watched the various performing Karps – clearly Madison’s First Family of Music – over four decades. It was touching to realize that The Ear has seen cellist Parry Karp, to take one example, evolve from son to husband to father to grandfather. And through it all, the music remained.

In today’s culture of short attention spans, that kind of constancy and persistence — through the inevitable ups and downs of 40 years — is something to celebrate, admire and cherish.

Time travel happened in another way too.

The Ear first watched Frances Karp accompany her son Parry (below top), then watched son Christopher Karp accompany his older brother Parry (below bottom). And it called to mind the days when – before radio or recordings – families made music together in their homes.

Historically, that’s how many great composers and much great music got started. Wolfgang Amadeus Mozart and Felix Mendelssohn played piano duets with their gifted sisters, Nannerl and Fanny, respectively. Jean Sibelius played duets with his sister. And there were surely many more. Hausmusik, or “house music,” played a vital role.

And this is how it felt at the traditional Karp family concert. We felt invited into a loving, close and gifted musical family who were performing as much for each other as for the audience.

We could use more of that.

The musical and the familial mixed so beautifully, so convincingly, that all one can say after the event is “Thank you” with the ardent wish to hear them again next year.


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Classical music: Here is a year-long list of concerts at the University of Wisconsin Mead Witter School of Music. They start Tuesday night with the 40th annual Karp Family Labor Day Concert

September 1, 2019
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By Jacob Stockinger

Get out your datebooks and calendars.

Here is a complete listing for major concerts and events at the University of Wisconsin Mead Witter School of Music during the new 2019-20 season.

The calendar starts with the FREE season-opening 40th annual Karp Family Labor Day Concert this coming Tuesday night, Sept. 3, at 7:30 p.m. in Mills Hall. The program features chamber music by Mozart, Beethoven, Schumann and Dvorak. For more information about the program and performers, go to: https://www.music.wisc.edu/event/40th-karp-family-concert/

Using the search engine on this blog, you could also consult whenever individual or group you want. You could print it out and have it in hand instead of the usual brochure, which will not be printed this year. See a previous blog post: https://welltempered.wordpress.com/2019/08/19/classical-music-the-uw-madison-school-of-music-will-not-have-a-complete-brochure-for-the-new-season-go-to-the-website-and-sign-up-for-an-email-newsletter-the-30th-karp-family-labor-day-concert-is-s/

Most concerts this season will take place in the new Hamel Music Center (below), which has a three-day opening celebration Oct. 25-27.

Please note that just a few programs are listed. For other programs, and for information about any admission charge, you can go to the School of Music’s home website closer to the event and click on Concerts and Events: https://www.music.wisc.edu/events/

Tuesday, Sep 3, 2019

Karp Family Concert

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7:30 PM

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Mills Hall

Sunday, September 29, 2019,

Jessica Martin & John O’Brien – Nordic song recital

4:00 PM

Morphy Hall

Monday, Sept. 30, 2019

Beth Wiese, Tuba, Guest Artist Recital

7:30 PM

Morphy Hall

Friday, October 4, 2019

Pro Arte Quartet

8:00 PM

Mills Hall

Sunday, Oct. 6, 2019

Chanticleer

7:30 PM

Mead Witter Hall

Tuesday, Oct. 8, 2019

Wind Ensemble

7:30 PM

Mead Witter Hall

Friday, October 11, 2019

UW-Madison Symphony Orchestra

8:00 PM

Mead Witter Hall

Sunday, October 13, 2019

University Bands

2:00 PM

Mead Witter Hall

Tuesday, October 15, 2019

Contemporary Jazz & Blue Note Ensemble

7:30 PM

Collins Hall

Wednesday, October 16, 2019

Wisconsin Brass Quintet – Faculty Concert Series

7:30 PM

Mead Witter Hall

Thursday, October 17

Jazz Faculty Quintet with special guest Michael Dudley, trumpet

7:30 PM

Collins Hall

Monday, October 21, 2019

Afro-Cuban Jazz Ensemble and UW Jazz Orchestra

7:30 PM

Play Circle

Tuesday, October 22, 2019

Concert Band

7:30 PM

Mead Witter Hall

Wed, October 23, 2019

Jazz Composers Group & Jazz Standards

7:30 PM

Collins Hall

Thu, October 24, 2019

Parry Karp with Eli Kalman, piano

7:30 PM

Collins Hall

Friday, October 25, 2019

Opening Celebration Weekend: Hamel Music Center. Please check our website for details.

All Day

740 University Avenue

Saturday, October 26, 2019

Opening Celebration Weekend: Hamel Music Center. Please check our website for details.

All Day

740 University Avenue

Sunday, October 27, 2019

Opening Celebration Weekend: Hamel Music Center. Featured Event: Collins Fellows Concert

1:00 PM

Collins Recital Hall, Hamel Music Center

Wed, October 30, 2019

Master Class with Violist Nobuko Imai

6:30 PM

Collins Hall

Thu, October 31, 2019

Violist Nobuko Imai with Pro Arte Quartet

12:00 PM

Collins Hall

Fri, November 1, 2019

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Madrigal Singers

8:00 PM

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Mead Witter Hall

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Sat, November 2, 2019

Alicia Lee, faculty clarinet

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8:00 PM

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Collins Hall

Sun, November 3, 2019

Wind Ensemble

2:00 PM

Mead Witter Hall

Fri, November 8, 2019

Wingra Wind Quintet

8:00 PM

Collins Hall

Sat, November 9, 2019

UW Chorale

8:00 PM

Mead Witter Hall

Thu, November 14, 2019

UW-Madison Symphony Orchestra

7:30 PM

Mead Witter Hall

Fri, November 15, 2019

University Opera: Benjamin Britten’s A Midsummer Night’s Dream

7:30 PM

Music Hall

Sun, November 17, 2019

University Opera: Benjamin Britten’s A Midsummer Night’s Dream

2:00 PM

Music Hall

Tue, November 19, 2019

University Opera: Benjamin Britten’s A Midsummer Night’s Dream

7:30 PM

Music Hall

Sat, November 16, 2019

Low Brass Ensemble

4:00 PM

Collins Hall

Sat, November 16, 2019

Combined Choirs

8:00 PM

Mead Witter Hall

Sat, November 16, 2019

Timothy Hagen, faculty flute

8:00 PM

Collins Hall

Fri, November 22, 2019

UW Concert Choir

8:00 PM

Mead Witter Hall

Fri, November 22, 2019

Pro Arte Quartet

8:00 PM

Collins Hall

Fri, November 22, 2019

UW Jazz Orchestra

5:00-7:00 PM

Rathskeller

Saturday, Nov 23, 2019

Undergrad Audition Day

All day

Sat, November 23, 2019

World Percussion Ensemble

12:00 PM

Music Hall

Sat, November 23, 2019

Brass Ensembles

1:00 PM

??

Sun, November 24, 2019

UW Concert Band with Winds of Wisconsin

5:00 PM

Mead Witter Hall

Mon, November 25, 2019

Chamber Percussion Ensemble

7:30 PM

Mills Hall

Tue, November 26, 2019

Opera Scenes

7:30 PM

Music Hall

Mon, December 2, 2019

Piano Studio Recital

6:30 PM

Collins Hall

Tue, December 3, 2019

Jazz Composers & Contemporary Jazz Ensembles

7:30 PM

Collins Hall

Wed, December 4, 2019

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Jazz Standards Ensemble & Afro-Cuban Jazz

7:30 PM

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Collins Hall

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Thu, December 5, 2019

UW-Madison Symphony Orchestra & UW Wind Ensemble

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7:30 PM

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Mead Witter Hall

Fri, December 6, 2019

Saxophonist Greg Ward with the Blue Note Ensemble and UW jazz faculty

8:00 PM

Collins Hall

Sat, December 7, 2019

UW & Madison Metropolitan Jazz Festival

Final Concert, 3:00 PM

Mead Witter Hall

Sat, December 7, 2019

Choral Union: Ralph Vaughan Williams’s “A Sea Symphony”

8:00 PM

Mead Witter Hall

Sun, December 8, 2019

University Bands

2:00 PM

Mead Witter Hall

Sun, December 8, 2019

Choral Concerts at Luther Memorial Church

2:00 PM

Luther Memorial Church

Sun, December 8, 2019

Choral Concerts at Luther Memorial Church

4:00 PM

Luther Memorial Church

Sun, December 8, 2019

All-University Strings

4:30 PM

Mead Witter Hall

BEGIN 2020

Sun, January 26, 2020

Annual Schubertiade

3:00 PM

Mead Witter Hall

Sat, February 1, 2020

Christopher Taylor and Friends — Beethoven Symphony Extravaganza

8:00 PM

Mead Witter Hall

Wed, February 5, 2020

Daniel Grabois, horn

7:30 PM

Collins Hall

Thu, February 6, 2020

UW Symphony Orchestra

7:30 PM

Mead Witter Hall

Sat, February 8, 2020

The Knights

8:00 PM

Mead Witter Hall

Sun, February 16, 2020

UW Wind Ensemble

2:00 PM

Mead Witter Hall

Monday, February 17, 2020

Chamber Percussion Ensemble

7:30 PM

Mills Hall

Tue, February 18, 2020

Concert Band

7:30 PM

Mead Witter Hall

Thu, February 20, 2020

Parry Karp, faculty recital

7:30 PM

Collins Hall

Fri, February 21, 2020

Marc Vallon & Friends

8:00 PM

Collins Hall

Sunday, Feb 23, 2020

Les Thimmig, faculty recital

2:00 PM

Collins Hall

Sat, April 18, 2020

Low Brass Ensemble

4:00 PM

Mead Witter Hall

Fri, February 28, 2020

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Pro Arte Quartet

8:00 PM

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Collins Hall

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Sat, February 29, 2020

Wingra Wind Quintet

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8:00 PM

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Collins Hall

Fri, February 28, 2020,

University Opera – Mozart’s Così fan tutte

7:30 PM

Music Hall

Sun, March 1, 2020

University Opera – Mozart’s Così fan tutte

2:00 PM

Music Hall

Tue, March 3, 2020

University Opera – Mozart’s Così fan tutte

7:30 PM

Music Hall

Sun, March 1, 2020

Winds of Wisconsin

5:30 PM

Mead Witter Hall

Wed, March 4, 2020

Afro-Cuban Jazz Ensemble & Jazz Composers Group

7:30

Collins Hall

Thu, March 5, 2020

Blue Note Ensemble & Jazz Standards Ensemble

7:30 PM

Collins Hall

Sat, March 7, 2020

UW-Madison Symphony Orchestra with guest pianist Wu Han

8:00 PM

Mead Witter Hall

Sun, March 8, 2020

University Bands

2:00 PM

Mead Witter Hall

Tue, March 10, 2020

Percussion Department Recital

7:30 PM

Collins Hall

Weds March 11, 2020

UW Jazz Orchestra

7:30 PM

Play Circle

Wednesday, March 11, 2020

Wisconsin Brass Quintet – Faculty Concert Series

8:00 PM

Mead Witter Hall

Thu, March 12, 2020

UW Wind Ensemble

7:30 PM

Mead Witter Hall

Fri, March 27, 2020

Le Domaine Musicale with Marc Vallon and Friends

8:00 PM

Collins Hall

Sun, March 29, 2020

Concert Band

2:00 PM

Mead Witter Hall

Sun, April 5, 2020

Beethoven Competition Winners’ Recital

3:30 PM

Collins Hall

Sun, April 5, 2020

“Symphony Showcase” Concerto Winners’ Solo Concert

7:00 PM

Mead Witter Hall

Sat, April 11, 2020

Chorale

8:00 PM

Mead Witter Hall

Fri, April 12, 2019

Perlman Trio Chamber Concert

3:00 PM

Collins Hall

Tue, April 14, 2020

Opera Scenes

7:30 PM

Music Hall

Wed, April 15, 2020

Contested Homes: Migrant Liberation Movement Suite

7:30 PM

Mead Witter Hall

Thu, April 16, 2020

Pro Arte Quartet

7:30 PM

Collins Hall

Fri, April 17, 2020

Combined Choirs

8:00 PM

Mead Witter Hall

Sat, April 18, 2020

Low Brass Ensemble

4:00 PM

Mead Witter Hall

Sat, April 18, 2020

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UW-Madison Choral Reunion concert featuring Concert Choir, Madrigals and alumni

8:00 PM

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Mead Witter Hall

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Mon, April 20, 2020

Afro-Cuban Jazz Ensemble & Blue Note Ensemble

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7:30 PM

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Collins Hall

Tue, April 21, 2020

Jazz Standards Ensemble & Jazz Composers Group

7:30 PM

Collins Hall

Wed, April 22, 2020

Chamber Percussion Ensemble

7:30 PM

Mills Hall

Thu, April 23, 2020

UW Jazz Orchestra with the UW Honors Jazz Band

7:30 PM

Music Hall

Fri, April 24, 2020

Concert Band and Wind Ensemble

7:30 PM

Mead Witter Hall

Sat, April 25, 2020

All-University Strings

2:00 PM

Mead Witter Hall

Sat, April 25, 2020

Choral Union: Giuseppe Verdi’s “Requiem”

8:00 PM

Mead Witter Hall

Sun, April 26, 2020

Choral Union: Giuseppe Verdi’s “Requiem”

7:30 PM

Mead Witter Hall

Sun, April 26, 2020

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University Bands 2 PM Mead Witter Hall

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Classical music: The UW-Madison School of Music will NOT have a complete brochure for the new season. Use the website and sign up for an email newsletter. The 40th Karp Family Labor Day Concert is Sept. 3

August 19, 2019
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By Jacob Stockinger

Summer is almost over and the new concert season is about to begin in just a couple weeks.

Just about all the groups in the Madison area, large and small, have announced their upcoming seasons.

But it you are wondering why the brochure for the hundreds of events that will take place at the University of Wisconsin-Madison’s Mead Witter School of Music hasn’t arrived yet, here is the answer.

There isn’t one this year.

For many years the UW-Madison’s SOM  — as the School of Music is often abbreviated – has issued a handsome season brochure (below) with names and dates, if not always complete programs.

In the past couple of years, the brochure has been particularly informative with background about performers and events at the school as well as about students and alumni.

But due to a variety of factors, there will be no season brochure although there will be a special brochure for the opening weekend on the new Hamel Music Center (below), which is Oct. 25-27.

A variety of reasons has caused the lack of a brochure, says Publicist and Concert Manager Katherine Esposito. But the familiar full-season brochure will return for the 2020-21 season.

It the meantime, Esposito recommends that you go to the Concert and Events calendar, which has been updated and made more user-friendly, on the website for the school of music. It also features information about faculty and staff as well as news about the school. Here is a link:

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

On the right hand side is a menu that allows you to view the calendar as a running list or by the month, week or day with maps or photos.

On the left hand side is another menu that allows you to search by musical category (performers and ensemble) as well as concert date, time, venue and admission cost, if any.

Esposito always recommends that you subscribe to the email newsletters. You can see past ones and sign up to receive future ones if you go to this part of the home website: https://www.music.wisc.edu/recent-newsletters/

As usual, the season at the UW-Madison will open with 40th FREE Karp Family Labor Day Concert, which now takes place the day after the holiday, on Tuesday, Sept. 3, at 7:30 p.m. in Mills Hall.

Over four decades, the Karps (below are the brothers pianist Christopher Karp with cellist Parry Karp, who will team up again this year) have never repeated a piece on the the Labor Day concerts.

The program this year includes the sublime Piano Quartet No. 2 in E-Flat Major, K. 493, by Wolfgang Amadeus Mozart (you can hear the first movement with a visual schematic in the YouTube video at the bottom); the late Sonata No. 10 for Violin and Piano in G major, Op. 96, by Ludwig van Beethoven, which has been transcribed by Parry Karp for cello and piano; and lesser known works by Robert Schumann and Antonin Dvorak.

For more about the program and the performers, who include guest violinist Suzanne Beia of the Pro Arte Quartet, the Madison Symphony Orchestra and the Wisconsin Chamber Orchestra, go to: https://www.music.wisc.edu/event/40th-karp-family-concert/


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Classical music: Here are the winners of the seventh annual Handel Aria Competition held Friday night before a record audience

June 9, 2019
2 Comments

IF YOU LIKE A CERTAIN BLOG POST, PLEASE SPREAD THE WORD. FORWARD A LINK TO IT OR, SHARE IT or TAG IT (not just “Like” it) ON FACEBOOK. Performers can use the extra exposure to draw potential audience members to an event.

By Jacob Stockinger

Co-founders Orange and Dean Schroeder have sent the following announcement about the winners of the seventh annual Handel Aria Competition that was held Friday night in Mills Hall at the University of Wisconsin-Madison’s Mead Witter School of Music:

The seventh annual Handel Aria Competition was a joyous evening of arias! We had a record audience — we don’t have the final numbers yet, but we ran out of 240 printed ballots and figure there were 250 to 300 people present — despite a widespread power outage on the near west side and severe parking challenges.

The winners, accompanied by the Madison Bach Musicians, were: Australian soprano Morgan Balfour, first prize (below center, in a photo by Tom Miller); soprano Emily Yocum Black, second prize (below right); and bass-baritone Jonathan Woody, third prize and audience favorite (below left).

We are excited to know that Morgan will be singing in St. George’s Church, Hanover Square, next spring thanks to the London Handel Festival. In addition, she will receive $1,500 in cash and – like all finalists — $500 toward travel costs for competing. Other awards were $1,000 for second place, $750 for third place and $500 for Audience Favorite.

Here are the arias, from opera and oratorios, sung by the three winners:

Morgan Balfour: “Spietati, io vi giurai” from “Rodelinda” and “Mean as he was, he is my brother now … Author of Peace” from “Saul”

Emily Yocum Black: “Art thou not Zaphnath? … Prophetic raptures swell my breast” from “Joseph and His Brethren” and “Credete al mio dolore” from “Alcina.”

Jonathan Woody: “Oh memory, still bitter to my soul! … Opprest with never-ceasing grief” from “Belshazzar” and “Why do the nations so furiously rage together?” from “Messiah.”

Schroeder says: “The seven finalists (below in a photo by Tom Miller) were all excellent, presenting a real challenge for audience members picking their favorite as well as for the judges.” (For names and more biographical information about the finalists and judges, go to https://handelariacompetition.com

Adds Schroeder: “The caliber of applicants gets better and better every year. This year everybody was amazing and one of the judges said he was blown away by the quality of the competition. Yet we still try to make the sure that the competition is friendly and most collegial, not cutthroat.”

All the performances from all the finalists as well as the winners were video recorded and, after they are processed, will be posted on YouTube in about a month. (The Ear will let you know when they are available.)

You can also see and hear most of the finalists from the past six years on YouTube now; and more information about the past six years of the competition is on its home website at https://handelariacompetition.com/past-competitions

Did you go to the competition?

Did you agree with the judges about the winners and the Audience Award?

What did you think of the annual competition?

The Ear wants to hear.


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Classical music: The 7th annual Handel Aria Competition, which has grown in international stature and ties, will take place this Friday night at 7:30 p.m. in Mills Hall. Here are the 7 finalists and more information

June 5, 2019
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By Jacob Stockinger

The final round of the seventh annual Handel Aria Competition will be held on this Friday night, June 7, at 7:30 p.m. in Mills Hall at the University of Wisconsin-Madison’s Mead Witter School of Music. (Below is soprano Suzanne Karpov, the winner last year. You can hear her prize-winning performance in the YouTube video at the bottom. To whet your appetite, you can also find many other outstanding competition performances from past years on YouTube.)

As in recent years, the accompaniment will be provided by the Madison Bach Musicians (below), a period instrument Baroque music ensemble under the direction of harpsichordist Trevor Stephenson that uses historically informed performance practices.

Tickets will be $15 each for general admission, and will be available at the door.

The seven finalists were chosen from a field of 100 singers from five countries.

Three prizes are awarded by the guest judges, and the audience also gets to award its own prize — which doesn’t always agree with the judges.

The finalists are (below, from the upper left):

  • Emily Yocum Black, soprano
  • Jonathan Woody, bass-baritone
  • Katherine Cecelia Peck, soprano
  • Scott J. Brunscheen, tenor
  • Sarah Moyer, soprano
  • Morgan Balfour, soprano
  • Ryne Cherry, baritone

To read extensive biographies about each of these singers, go to the competition’s home website.

There is other important news to announce. The competition has a new director, Wisconsin native Sarah Brailey (below), a soprano who is pursuing graduate work at the UW-Madison while maintaining a busy concert schedule and blossoming career. She is also a co-founder of the free monthly Just Bach midday concerts that started this past season.

Read her biography and be impressed: https://sarahbrailey.com/about/

This year also saw the competition foster music education with its first showcase concert by high school singers performing Handel arias at the Capitol Lakes Retirement Community near the Capitol Square.

Finally, an international link has been established.

There is a new cooperative initiative with the esteemed London Handel Festival! The first prize winner of this year’s Handel Aria Competition will be invited to give a lunchtime recital in London at Handel’s own parish church, St. George’s in Hanover Square, next spring. (It is contingent, of course, on being able to coordinate the singer’s schedule with that of the London Handel Festival.)

The winner will receive a travel grant of up to $750, and the London Handel Festival will provide a home stay, professional accompaniment and even a small stipend.

The Handel Festival in London, now in its 18th year, was one of the inspirations in starting the Handel Aria Competition in the U.S.


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Classical music: Thursday night, the Middleton Community Orchestra closes its season with duo-pianists in music by Mozart and Saint-Saens, and the latter’s “Organ” Symphony. Wednesday is the last Just Bach concert of the season 

May 28, 2019
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ALERT: This Wednesday, May 29, at 1 p.m. in Luther Memorial Church, 1021 University Avenue, is the last FREE Just Bach concert of the season. The one-hour early music program includes: the cantata “Jauchzet Gott in allen Landen” (Praise Ye God in All Lands), BWV 51; Duetto II in F Major, BWV 803; and the cantata “Wachet! Betet! Betet! Wachet!” (Watch! Pray! Pray! Watch!), BWV 70. For more information, go online to the home website: https://justbach.org

By Jacob Stockinger

This Thursday night, May 30, the largely amateur but critically acclaimed Middleton Community Orchestra (below, in a photo by Brian Rupert) will close its ninth season with a special family-friendly concert.

The concert, under the baton of conductor Steve Kurr (below), takes place at 7:30 p.m. in the Middleton Performing Arts Center that is attached to Middleton High School, 2100 Bristol Street.

Guest artists are University of Wisconsin-Madison students and duo-pianists Satoko Hayami (below top) and Thomas Kasdorf (below bottom). They will perform the witty and entertaining “Carnival of the Animals” by Camille Saint-Saens and then the Concerto for Two Pianos, K. 365, by Wolfgang Amadeus Mozart.

Wisconsin Public Radio host Norman Gilliland (below) will be the narrator in “The Carnival of the Animals.” (In the YouTube video at the bottom, you can hear the opening Introduction and Royal March of the Lion, with the late Sir Roger Moore — aka James Bond or 007 — as the narrator plus an all-star cast of musicians and some very cool animal videos in back-and-white.) 

The concert concludes with the always impressive, ambitious and popular Symphony No. 3  — the famous “Organ” Symphony – by Saint-Saens (below, seated at the piano in 1900).

Adds MCO co-founder Mindy Taranto: “We are really excited to share a special concert with the community as we celebrate the end of MCO’s ninth season.

“It took a village to make this concert possible. Farley’s House of Pianos is donating the use of an 1890 Steinway to match the Steinway at the hall. WPR radio host Norman Gilliland is generously volunteering to narrate the ‘Carnival of the Animals’ and Full Compass is offering us a discount on the sound equipment we need to play the “Organ” Symphony. Our very own recording engineer, Alex Ford, is playing the organ.

“Please bring your kids and share this information to invite all students free of charge to hear this concert.”

Admission is $15 for adults; all students get in for free. Tickets are available at the Willy Street Coop West and at the door. The box office opens at 6:30 p.m. and the auditorium opens at 7 p.m.

As usual, after the concert there will be a free meet-and-greet reception for musicians and the public.

For more information about this concert, and about how to join or support the Middleton Community Orchestra, call 608 212-8690 or go online to: http://middletoncommunityorchestra.org


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Classical music: Today is Memorial Day – a good time to remember the civilian dead as well as the military dead. The Ear likes Ravel’s “Le Tombeau de Couperin.” What music would you listen to to mark the holiday?

May 27, 2019
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By Jacob Stockinger

Today is Memorial Day, 2019, when the nation honors the men and women who died in military service. The Ear would like to see much more attention and remembrance paid to the huge number of civilians — much higher than military personnel and soldiers — who have died in wars and military service, whose lives weren’t given but taken.

In fact, why not establish and celebrate a separate holiday to honor civilian deaths in war? Perhaps it would help to know the detailed history and background of the holiday, since it is not as straightforward or modern as you might expect:

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

What piece of classical music would you listen to in order to mark the holiday?

There is a lot to choose from.

The Ear especially likes “Le Tombeau de Couperin” by the early 20th-century French composer Maurice Ravel. It is a “tombeau” – a metaphorical “tomb” or “grave” used by the French to mean paying homage to the dead – in two senses.

Its neo-Classical or neo-Baroque style recalls the 18th-century world of French composers and harpsichordists including Jean-Philippe Rameau and Francois Couperin. But in a second sense, Ravel (below, in 1910) dedicated each of the six movements to a friend – in one case, two brothers — who had died during World War I. So part of its appeal is that it is a very personal statement of grief.

Here is more detailed background about the piece:

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

The work was orchestrated later, which added sonic color but cut out two movements. The Ear prefers the original piano version, which seems a little more percussive, austere and straightforward — less pretty but more beautiful, and more in keeping with the holiday by evoking sentiment without sentimentality.

In the YouTube video at the bottom, you can hear it in a live performance by Canadian pianist Angela Hewitt.

But there are lots of other works to choose from by many composers: John Adams (“The Wound Dresser” after poetry of Walt Whitman); Samuel Barber (Adagio for Strings); Ludwig van Beethoven (slow movements of Symphonies 3 and 7, and of the Piano Sonata Op. 26); Johannes Brahms (“A German Requiem”); Benjamin Britten (War Requiem);  Frederic Chopin (Funeral March from Sonata No. 2, polonaises, preludes and the “Revolutionary” Etude); Aaron Copland (“Fanfare for the Common Man” and “Letter From Home”); Edward Elgar (“Nimrod” from “Enigma Variations”); Gabriel Faure (Requiem and Elegy for cello); Franz Joseph Haydn (“Mass in Time of War”); Paul Hindemith (“When Lilacs Last in the Dooryard Bloom’d – A Requiem for Those We Love”);  Charles Ives (Variations on “America” and “Decoration Day”); Henry Purcell (“When I Am Laid in Earth”); John Philip Sousa (“Honored Dead” March); Ralph Vaughan Williams (Symphony No. 3 “Pastoral”); and many others, including Johann Sebastian Bach and Wolfgang Amadeus Mozart.

Here is a list from the British radio station Classical FM:

https://www.classicfm.com/discover-music/occasions/memorial/remembrance-day-music/war-requiem-britten/

Here is a list of patriotic music from Nashville Public Radio:

https://www.nashvillepublicradio.org/post/classical-music-remembrance-and-loss-memorial-day-playlist#stream/0

Here is another list from an American source:

http://midamerica-music.com/blog/five-classical-works-memorial-day/

Here are more sound samples from NPR:

https://www.npr.org/templates/story/story.php?storyId=104341851

And here is another one from Northwest Public Radio:

https://www.nwpb.org/2015/05/22/memorial-day-music-commemorate-celebrate/

What do you think of a holiday commemorating civilian deaths in war?

What favorite piece of classical music would you play and listen to as you mark Memorial Day?

Let us know, with a YouTube link if possible, in the COMMENT section.

The Ear wants to hear.


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Classical music: The future of Western classical music is in Asia – specifically China, South Korea, Japan and Taiwan. Why is that?

May 25, 2019
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By Jacob Stockinger

It’s not just about Lang Lang.

The signs are everywhere.

They were present at a recent piano recital by elementary school, middle school and high school students that The Ear attended.

You see it at the University of Wisconsin-Madison’s Mead Witter School of Music and at top music schools, including the Curtis Institute of Music, across the U.S. and Western Europe. And you see it in youth groups such as the Wisconsin Youth Symphony Orchestras (below).

Western classical music recording labels, such as Deutsche Grammophon and Sony Classical, are looking to develop new markets and so are signing more Asian musicians, such as the Shanghai Symphony Orchestra and Shanghai String Quartet, and releasing more Asian performances. (Below is the Taiwanese-Australian, prize-winning violinist Ray Chen, who is also a master at using social media to build his meteoric career.)

All these items point to the same conclusion: The future of Western classical music looks more and more likely to be found in Asian culture and in Asia  – specifically in China, South Korea, Japan and Taiwan. (Next season, prize-winning South Korean pianist Joyce Yang (below) returns to Madison, where she first gave a recital at the Wisconsin Union Theater, to solo with the Madison Symphony Orchestra.)

Consider some of the following:

There are, The Ear read somewhere, now more piano students in China than in all of Europe, North America and South America combined. And he is reading about more and more concert tours of China and other Asian countries by Western performers — even while in the U.S. the number of pianos in homes are on the decline.

Increasingly the winners of major international competitions — such as the Chopin competition, the Van Cliburn competition, the Tchaikovsky competition, the Queen Elizabeth of Belgium competition and the Leeds competition – come from Asia or are Asian. (Below, in a photo by Simon Fowler, is American pianist George Li, who immigrated from China as a child and attended Harvard and the New England Conservatory before winning a silver medal at the Tchaikovsky Competition. His concert career is now blossoming fast.)

In recent years, China has been building a lot of first-rate concert halls, opera houses and music schools. And the famed Juilliard School in New York City will open its second campus this fall in Tianjin, near Beijing.

China has certainly come a long way from the days of the Cultural Revolution when people could be imprisoned for listening to Beethoven, who is now a cultural icon in China — as you can hear at the bottom in the YouTube video of Li Jing Zhan conducting the orchestra at the Chinese National Opera in Beethoven’s No. 7. (Below is the striking new National Center for the Performing Arts in China.)

https://www.interlude.hk/front/culture-construction-chinas-new-concert-halls/

Nineteen of the 24 final competitors, ages 13-17, in the second Van Cliburn Junior Competition – which starts in Dallas, Texas, on May 31 and ends on June 8 – are Asian, Asian-American and Asian-Canadian, all with astonishingly impressive credentials and experience. It will be streamed live and free. Take a look and listen:

https://www.cliburn.org/2019-cliburn-junior-competitors/

Why this Asian shift is happening remains somewhat of a mystery to The Ear, although he had been thinking about for a long time.

Then he came across a op-ed column confirming the prevalence of Asian classical musicians. It was written by the American concert pianist and teacher Inna Faliks (below), who teaches at UCLA and who wrote convincingly about her recent concert experiences in China in The Washington Post.

Read it and see what you think, and tell us whether you agree:

https://www.washingtonpost.com/opinions/the-future-of-classical-music-is-chinese/2019/03/22/2649e9dc-4cb5-11e9-93d0-64dbcf38ba41_story.html?utm_term=.7f149e0f8eb9

Why are Asians so interested in Western classical music and music education? And why do they respect it or even revere it so much?

Does it have to do with the “tiger mom” phenomenon of strong parental pressure to succeed and achieve?

Is it largely a function of population?

Is it because of the collective teamwork required to make a lot of chamber music and orchestral music, or with the intense and instructive teacher-student relationship?

Is it because the cultural depth and seriousness in Western music education – ing contrast to the increasingly pop culture of the West – that prepares students well for the training and intellectual discipline required in other educational fields and careers, including the STEM areas (science, technology, engineering and mathematics)?

Is Asia simply fascinated by Western culture the same way that Western culture was fascinated by the exotic Asian cultures – especially in China and Japan — during the 19th century and earlier? Or is the West increasingly ignoring its own culture. (The Ear can’t recall any classical musicians performing at President Donald Trump’s White House. Can you?)

How do you see the situation and react to it? And what do you think about the causes and effects?

Please leave your reactions and thoughts in the COMMENT section.

The Ear wants to hear.


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Classical music: “Into the Woods” proved a complete, first-rate theatrical experience

February 26, 2019
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By Jacob Stockinger

Larry Wells – the very experienced Opera Guy for The Well-Tempered Ear blog  – attended two performances of “Into the Woods” at the Wisconsin Union Theater, and filed this review. (Photos are by Beau Meyer for the UW-Madison Department of Theatre and Drama.)

By Larry Wells

The University Theatre and University Opera’s recent joint production of “Into the Woods” was a feast for fans of Stephen Sondheim (below). It was a complete theatrical experience with excellent singing, a nuanced orchestral accompaniment, skilled acting and enchanting staging.

The nearly three-hour work is an amalgamation of several well-known fairy tales exploring themes such as parent-child relationships, loss of innocence, self-discovery, the consequences of wishes being fulfilled, and death – but all in an amusing, literate, fast-paced kaleidoscope of witty dialogue, catchy music and sophisticated lyrics.

The production employed an attractive, ever-changing set, designed by John Drescher, that was vaguely reminiscent of Maurice Sendak.

Stage director David Ronis (below, in a photo by Luke DeLalio) utilized the large cast and what had to be an equally large number of backstage crew members in a captivating succession of ensemble pieces and solo numbers. I was never aware of the passing of time. Not looking at my watch is my acid test of a production’s success.

Among the many standout performances, Bryanna Plaisir (below) as the Witch was comical in her delivery and quite amazing in the physicality of her performance. There were a number of times when she flew, and each time I was taken by surprise at her effortlessness. Her initial song, accompanied mostly by percussion, was mesmerizing.

There were two roles that were double cast: Elisheva Pront and Miranda Kettlewell (below) as the Cinderellas; and Meghan Stecker and Zoe Bockhorst as the two Little Red Riding Hoods.

Both Pront and Kettlewell possess excellent voices.

Stecker was the more girlish of the two Red Riding Hoods, whereas Bockhorst (below left) portrayed a slightly more canny character.  Both were very funny in their encounter with Cobi Tappa’s Wolf (below right).

Tappa is a physical actor whose tall lankiness conveyed the Wolf’s lupine nature flawlessly. He also portrayed the Steward, and I was completely captivated by his performance, as was the appreciative audience.

Joshua Kelly (below) was the narrator and also played the baker’s father.  His was a professional quality performance from beginning to end – enunciating so clearly that he was completely understandable throughout.

Jack was played by Christian Michael Brenny. His portrayal of a simple-minded boy was touching, and his singing was outstanding.

Emily Vandenberg (below left) as the wife of the baker (played by Michael Kelley, below right) was another outstanding performer – an excellent comic actress and an accomplished vocalist.

Mention must also be made of Rapunzel and Cinderella’s princes, Tanner Zocher  and Jacob Eliot Elfner. Their two duets, “Agony” and “Agony Reprise,” were enthusiastically received by the audience not only for their delivery but also for such lyrics as “…you know nothing of madness ‘til you’re climbing her hair…”.

Sondheim’s way with words continues to amaze me. In describing a decrepit cow, Jack’s mother gets to sing “…while her withers wither with her…”.  The Wolf gets to sing the line “…there’s no possible way to describe what you feel when you’re talking to your meal…”

Chad Hutchinson (below) conducted the orchestra in a finely shaded performance – never overpowering and always supportive.

There were many other excellent performances and memorable moments. Suffice it to say that altogether cast, crew, artistic and production staff created a show that I enjoyed on two consecutive evenings. In fact I was completely entranced both times.

Postscript: The first evening I sat in front of a person who coughed more or less continually the entire first act.  Mercifully she left at the intermission. Next to me was a woman who alternated between audibly clearing her throat and blowing her nose — when she wasn’t applying moisturizer to her hands — throughout the entire show. Stay home if you’re sick. And remember that you are not at home watching your television.  You are in a theater.


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