The Well-Tempered Ear

Classical music: Starting this Friday, the Madison Early Music Festival will devote a week to exploring familiar and unfamiliar Iberian music during the age of Cervantes. Part 1 of 2

July 2, 2017
1 Comment

By Jacob Stockinger

This coming Friday, when the Madison Early Music Festival (MEMF) starts its week-long exploration of Iberian music during the Renaissance Age of novelist Miguel de Cervantes (below) and his pioneering novel “Don Quixote,” much will be familiar but much will also be new.

To provide a look at what to expect, the longtime co-artistic directors of the festival – wife-and-husband singers soprano Cheryl Bensman Rowe and baritone Paul Rowe (below) – provided the following overview through an email Q&A with The Ear.

All-festival passes are $90 and tickets to individual concerts cost $20, $10 for students.

Click here to buy online, call 608-265-ARTS (2787), or visit the Campus Arts Ticket Box Offices in Memorial Union or Vilas Hall (click here for hours).

(Note: All MEMF Concert Series concerts and lectures are free for participants in the MEMF Workshop. There is a $4 transaction fee per ticket when purchasing online or by phone.)

How successful is this year’s festival compared to others in terms of enrollment, budgets, performers, etc.? How does this program of MEMF’s reach nationally or even internationally compare to previous years?

We will have about 100 students at our workshop this summer, which has been a steady number for the past five years. Our budget increased to cover the big Don Quixote project by Piffaro, which you can read about below.

We continue to attract workshop participants and performers from all over the United States and Canada, and this year our concert series will present Xavier Diaz-Latorre from Spain. For more information, go to: www.xavierdiazlatorre.com

What is new and what is the same in terms of format, students, faculty members and performers?

The following events are new to MEMF this summer:

The Historical Harp Society will be giving a conference before MEMF begins, from Thursday, July 6 through Saturday, July 8, with classes and lectures that will culminate in a concert of Harp Music from the Spanish Golden Age on Friday, July 7, at 7:30 p.m. in Morphy Recital Hall, which is FREE and open to the public. Go to www.historicalharpsociety.org

Master teacher and performer Xavier Diaz-Latorre  will be giving a master class in Morphy Recital Hall on Saturday, July 8, from 10 a.m. to noon. It is free and open to the public.

We have a new partnership with the Latin American, Caribbean, and Iberian Studies (LACIS) Program at UW-Madison. LACIS has helped us translate materials and supported MEMF with two grants. www.lacis.wisc.edu

A new display in the Memorial Library foyer will celebrate the 2017 Madison Early Music Festival with a special exhibit of Don Quixote Through the Ages, featuring a selection of books, musical scores, and other materials from the UW-Madison Libraries. While viewing the exhibition, patrons can scan a QR code and listen to a Spotify playlist featuring music that will be heard at the MEMF 2017 Concert Series! This is a MEMF first, created by co-artistic director Paul Rowe.

We worked with several librarians to select the materials: Paloma Celis-Carbajal, Ibero-American Studies and Romance Languages Librarian; Jeanette Casey, head of Mills Music Library; and Lisa Wettleson from Special Collections at Memorial Library (below, in a photo by Brent Nicastro).

Dates: June 26 – August 10, 2017

Location: Memorial Library foyer | 728 State Street | Madison

Library Hours: 8 a.m.-9:45 p.m.

We have several new performers this year.

Xavier Diaz-Latorre, a vihuela player from Spain, and the ensemble Sonnambula from New York. Xavier is a world-renowned musician, and plays the vihuela, a Spanish Renaissance type of guitar, and the lute.

Xavier will perform a solo recital featuring music of the vihuela by composers Luis Narváez, Alonso Mudarra, Gaspar Sanz and Santiago de Murcia. The link below will give you more information about the predecessors to the guitar:

http://www.cs.dartmouth.edu/~lsa/aboutLute/Vihuela.html

Daphna Mor and Kane Mathis will present a program featuring music from the geographic regions of Andalusia, North Africa, the Ottoman Empire and the Sephardic Diaspora. Based on the monophonic music of modes referred to as the Makam, the audience will be drawn to distinct beauty and great similarities of music from the courts, liturgical forms, dance airs and folk music.

Daphna Mor (below top) sings and plays several historical wind instruments, and Kane Mathis (below bottom) plays the oud, a lute type of stringed instrument with 11 or 13 strings grouped in 5 or 6 courses, commonly used in Middle Eastern music.

Percussionist Shane Shanahan (below) will join them. Shane is an original member of the Silk Road Ensemble with Yo-Yo Ma and a Grammy award winner. https://www.stepsnyc.com/faculty/bio/Shane-Shanahan/

And watch Shane play frame drum in the Cave Temples of Dunhuang at the Getty Museum:

https://www.youtube.com/watch?v=tQjC3y6CXQ8

Hear and read about Daphna Mor: http://www.daphnamor.com/

You can watch Kane Mathis play the oud at this link:

https://www.youtube.com/watch?v=7tHrxEohai8

Sonnambula (below), an ensemble of violins and viol da gambas, has performed at the Metropolitan Museum of Art, and have a regular series at the Hispanic Society of America in New York. It played a sold-out program of Spanish Golden Age works drawn from the over 450 pieces in the Cancionero Musical de Palacio, a manuscript at the Royal Palace of Madrid. This same program will be presented at MEMF on Friday, July 14. (You can hear them perform Spanish music in the YouTube video at the bottom.)

www.sonnambula.org

Why was the theme of the Spain’s Golden Age and The Age of Cervantes and Don Quixote chosen for the festival? What composers and works will be highlighted?

We liked the connection with last year’s theme, Shakespeare 400, because, although they never knew one another, Cervantes and Shakespeare (below) were contemporaries and share a “deathaversary,” as they both died on April 23, 1616. They led quite different lives, as Shakespeare was very successful throughout his lifetime and Cervantes wasn’t well known until the end of his life, when Don Quixote was published in 1605.

http://www.dw.com/en/shakespeare-and-cervantes-two-geniuses-and-one-death-date/a-19203237

Also, the Renaissance band Piffaro (below, in a photo by Church Street Studios) — an ensemble from Philadelphia that is well loved by MEMF audiences — suggested we explore this connection to Don Quixote and present their program The Musical World of Don Quixote, a huge project that they have been researching for several years.

They created a musical soundtrack to the novel in chronological order, and their program will open our 2017 concert series. This link from the Early Music America article “Piffaro Tilts At Musical Windmills” will tell you about their project in depth:

https://www.earlymusicamerica.org/web-articles/emag-piffaro-tilts-at-musical-windmills/

www.piffaro.org

The other concerts in the series draw from the music that is mentioned in Don Quixote and from the Spanish Renaissance, known as Siglo de Oro, or the Century of Gold. Many composers from this time period will be represented: Tomás Luis de VictoriaCristóbal de MoralesFrancisco GuerreroLuis de Milán and Alonso Lobo

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

https://artsinstitute.wisc.edu/memf/concerts.htm

Check out our website for the most up-to-date information and how to get tickets:

www.madisonearlymusic.org

Tomorrow: What makes Renaissance music in Spain different? What composers and music will be featured in concerts?


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Classical music review: The Ear thanks the many University of Wisconsin-Madison students who warmed him with their music during last weekend’s “Carnival” marathon.

March 9, 2012
8 Comments

By Jacob Stockinger

You know how it is. Sometimes it just takes too long to get off a Thank You note.

There’s no good reason for the delay. It just happens and you feel bad.

And that is what this posting is.

So I just want to apologize and say I am sorry and send an overdue Thank You to the several dozen UW students – most of them in music and most of them pianists, but not all – who staged the four-hour “Carnival” marathon concert last Saturday afternoon from noon to 4 p.m. in Morphy Recital Hall. (Below, UW piano professor Martha Fischer kicks off the event with a welcome).

Space won’t allow me to mention all of them, or even most of them, or even just all the highlights, of which there were many, so many.

But it was an enjoyable and informative event I will remember for a very long time, one that impressed me the same way that the Mozart Piano Sonata marathon and the Chopin Mazurka Marathon did. It is great to see students, teachers and the public pulling together and cooperating to make an unusual event successful. We need more of them. (All the Chopin waltzes and nocturnes, or Bach preludes and fugues, anyone?)

Last Saturday was a very cold day and I found my way through ice and wind and slush on the streets. But once inside the concert hall, what greeted me was the warm music from the Iberian Peninsula (Spain, Catalonia and Portugal) and Latin America.

I heard wonderful music by some well-known names including Granados, Albeniz, Piazzolla, Lecuona, Ponce, Golijov, Ginastera, DeFalla, Villa Lobos, Mompou and even Debussy, the French composer who was influenced by Spanish music.

But I also heard some composers and music new to me, including works by Aute, Guerra-Peixa, Terzian, Montsalvatge, Novarro, Toro, Leon, Infante and Alarcon as well as British composer Mike Mower. And I heard a two-piano, eight-hand fantasy on themes from Bizet‘s “Carmen.” What a finale! And then was UW salsa band (below top) playing during Latin food and refreshments at the free reception where you could meet and congratulate the performers.

The crowd was enthusiastic, if small. People came and went, but no more than perhaps three dozen listeners filled the hall at any one time. Too bad! The event deserved better exposure and attendance.

But the small audience didn’t seem to dampen the enthusiasm or energy of the performers, who gave it their all and played with joy and soul, without hesitation or memory lapses.

So let me give some shout-outs to a few stand-outs:

Modern Argentinean literature graduate student Vicente Lopez Abad (below) played his guitar and sang soulful solo songs three different times during the concert. They were beautiful, and as you watched his closed and clenched eyes, you felt the intense intimacy and emotion he brought to his performances and took from the songs.

Jenny Jones (below) played a slow sonata by the Baroque composer Antonio Soler. Slow music sounds easy to play, but it is really very hard. And this performance was a marvel of control and quiet intensity.

Another standout was pianist Sung Ho Yang (below), who mastered the fiercely difficult, knuckle-busting and finger-twisting virtuosity of “Triana” by Albeniz and took listeners beyond technique to the music.

I am also a sucker for the music of Astor Piazzolla, whose “new tangos” invariably tear at my heart with their lyrical bittersweetness and make me weep. So I have to thank Wiiliam Mueller (below) who played his “Ausencias.”

I also have to thank duo-pianists Melody Ng and Hazim Suhadi (below) who played a great and stirring two-piano arrangement of “Adios Nonino,” Piazzolla’s farewell to his father. (Another two-piano version is at the bottom.)

Other duo-pianists, Melody Ng and Evan Engelstad played a piano, four-hand version of Piazzolla’s “Libertango” during which they slapped the piano case and twice changed places while playing.

I also have to thank the trio of violinist Maria Schultz, cellist Mark Bridges and pianist Monica Schultz (all below) in their playing of two of Piazzolla’s “Four Seasons in Buenos Aires.” (Through them, I found I like the chamber version more than the orchestral version.)

Close behind Piazzolla to my taste is Granados, who wrote great lyrical tunes and who died too young during the sinking of the Lusitania. Ciaoyin Cal (below) played his music with beautiful clarity and subtlety.

I also loved the singing of mezzo-soprano Jennifer Sams, accompanied by pianist Kirstin Ihde (below) in five songs by Catalan composer Xavier Montsalvatge. So much of this piano and string music in general seemed very vocal and dance-like in nature.

And there was more, believe me, much more.

Was there any to criticize, any missteps?

A few minor ones.

The formal talk about Salsa and then the actual Salsa dancing (below) by members of Madtown Rueda Salsa just didn’t seem to fit with the tone of the concert, as enjoyable as the well–intended events were.

I would have preferred to hear someone talk about why so much Spanish and Latin Americana music seems to have an undercurrent of sadness that you don’t usually find in the music of other Romance cultures, including France and Italy. (Is it the dark power of the church and Inquisition? The long suppression of democracy? The paradoxically austere sensuality? The “tragic sense of life” as defined by a famous Spanish philosopher?)

There also seemed to be an assumption that the audience read and understood Spanish. So there were no translations on the programs. Too bad! Titles can tell you a lot.

And there was no Scarlatti! No Domenico Scarlatti, who was a great keyboard master and composer, and whose shot and colorful sonatas are so famous for imitating castanets, dancing steps and guitar strumming. And also no Ravel, who also Spanish color and used it in his piano and chamber music.

But those are minor points, given how much there was to praise.

So though it is late, I say to all of you, named and unnamed, pictured and invisible, a hearty and sincere THANK YOU.

Or, should I say, GRACIAS. 


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