The Well-Tempered Ear
Classical music: On Saturday night and Sunday afternoon, the Madison Bach Musicians explore the miracle of Mozart across his lifetime and across different genres
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By Jacob Stockinger
The Madison Bach Musicians concludes its 15th season on this coming Saturday night, April 6, at 8 p.m. and Sunday afternoon, April 7, at 3:30 p.m. with The Mozart Miracle .
The program features performances of beloved music by Wolfgang Amadeus Mozart (1756-1791, below) with an all period-instrument chamber orchestra in the magnificent acoustic setting of the First Congregational United Church of Christ (below), 1609 University Avenue, near Camp Randall Stadium.
Period-instrument specialists hailing from Madison, Milwaukee, Chicago, Omaha, Seattle, Philadelphia and New York City will perform on natural or valveless horns, classical oboes, gut-strung violins, violas, cellos and a double bass played with 18th-century transitional bows.
Early music specialist and bassoon professor Marc Vallon (below to, in a photo by James Gill) of UW-Madison Mead Witter School of Music will lead the orchestra (below bottom, in a performance last year at the First Unitarian Society of Madison).
Internationally acclaimed soprano Ariadne Lih (below), from Montreal, Canada, will join the ensemble for Exsultate Jubilate — a ringing example of how Mozart could seamlessly fuse religious zeal with vocal pyrotechnics. (You can hear Renée Fleming sing “Exsultate Jubilate” in the YouTube video at the bottom.)
The program also features dance sequences, choreographed by Karen McShane Hellenbrand (below) of the UW-Madison, from Mozart’s ballet Les Petits Riens (The Little Nothings).
Also included are pre-concert lectures: On Saturday, April 6, at 7:15 p.m. there is a lecture by MBM artistic director Trevor Stephenson with an 8 p.m. concert . On Sunday, April 7, his lecture is at 2:45 p.m. with the concert at 3:30 p.m.
Advance-sale discounted tickets are $35 for general admission.
Tickets are available at Orange Tree Imports and Willy Street Coop (East and West). You can also buy advance tickets online at www.madisonbachmusicians.org
Tickets at the door are: $38 general for adults, $35 for seniors 65-plus, and student rush for $10, on sale 30 minutes before lecture.
MBM artistic director Stephenson (below) sent the following remarks to The Ear:
Here are two fantastic quotations about Mozart:
“Together with the puzzle he gives you the solution.” Ferrucio Busoni on Mozart
“It may be that when the angels go about their task of praising God, they play only Bach. I am sure, however, that when they are together as a family, they play Mozart…” Karl Barth
Both quotes underline, I believe, Mozart’s charismatic generosity of spirit, his sense of play and camaraderie. We’re all in this together! Mozart’s music is a perfect fusion of melodic inspiration — tunes so good they can stay in your head for joyous weeks at a time, or even a lifetime — and structural clarity.
His sense of proportion — when to display 18th-century balance and when to step outside the frame — is uncanny and always a delight. And for me, as a five-year-old-boy, dancing about the living room to the old LP vinyl — dancing lightly, though, so the record wouldn’t skip — it was Mozart’s boundless energy and joy, pouring out of the speakers, that really revved me up.
The Madison Bach Musicians program on this coming Saturday and Sunday will explore several sides of Mozart’s genius: master orchestrator and symphonist; aficionado of fugues; virtuoso keyboard player and mesmerizing improviser; ballet composer; and the greatest fashioner of material for the soprano voice.
MBM has assembled a Classical-period chamber orchestra, replete with gut strings and transitional bows, natural horns, and classical oboes. To this we’ll add: a fortepiano — the type of instrument Mozart toured with; an elegant dancer — for dance was an integral part of 18th-century living; and a magnificent soprano — Mozart was virtually besotted with the magic of the high female voice, and he wrote for it throughout his life with imagination and a sense of thrilling experiment that has never been equaled before or since.
Here is a bit about each selection:
Symphony No. 1 in E-flat major – Composed 1764 when Mozart was just eight years old (below), during an extended stay in London with his father Leopold and sister Nannerl. Strongly influenced by the symphonies of C. F. Abel and J. C. Bach (The London Bach, youngest son of Johann Sebastian).
Symphony No. 29 in A major – Composed 1774 when Mozart was 18 years old (below). It is often considered the pinnacle of his early symphonic writing.
Exsultate Jubilate for soprano and orchestra – Written 1773 in Milan for the castrato, or male soprano, Venanzio Rauzzini, it is an elegant fusion of rapturous melodies and vocal display.
Adagio & Fugue in C minor for strings – Composed in 1788, certainly the latest Mozart work on the program when the composer was 32. Mozart had by this time — largely through the Sunday soirees at Baron van Swieten’s—been studying Bach’s fugues closely for several years. This fugue is an arrangement of a work for two fortepianos, K. 426, which Mozart had composed five years earlier in 1783. Mozart added the opening Adagio for the strings version.
Fantasy in D minor for fortepiano – Mozart improvised frequently as part of both private and public performance. This Fantasy, with its dark distinctive opening which explores the fantastical low register of the fortepiano, may give us a good idea of what Mozart might have done one night just sitting down to “jam” for his friends.
Two French Songs for soprano and fortepiano — Birds follow the warm weather, so they never cease their courtship. And in the woods one day the protagonist foolishly rouses a sleeping Cupid — and pays a terrible price.
Ballet excerpts from Les Petit Riens – literally The Little Nothings. Mozart composed most, but not all, of this ballet in Paris 1778 for Jean-Georges Noverre, ballet master of the Paris Opera. The work served as an interlude to an opera by Niccolo Piccinni that closed after just four performances.
For more information, go to: www.madisonbachmusicians.org
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Classical music education: NPR gets rid of pianist Christopher O’Riley as a long-time host of “From the Top”
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By Jacob Stockinger
If you are a fan of the award-winning program “From the Top” – which spotlights talented young classical musicians (below) and is broadcast weekly on National Public Radio (NPR) – you will want to know that this season is the last one for pianist Christopher O’Riley (below), who has hosted the show for the past 18 years.
NPR is not renewing his contract and O’Riley will NOT return for the 2018-19 season.
“From the Top” airs locally on Sunday nights — including tonight — at 8 p.m. on Wisconsin Public Radio (WPR).
You might recall that O’Riley — a gifted and award-winning pianist is his own right — has also played his own concerts in Madison.
Years ago, he played his solo piano transcriptions of rock songs by Radiohead at the Wisconsin Union Theater.
This past spring, he played a Mozart piano concerto to close the season of the Madison Symphony Orchestra.
For more about the 61-year-old O’Riley, here is a link to his biography on Wikipedia:
https://en.wikipedia.org/wiki/Christopher_O%27Riley
For the radio program, he accompanied some of the talented young classical musicians who were featured, and also provided short interludes of solo piano music, which were compiled on a CD several years ago.
For more about the show (below), go to: https://www.fromthetop.org and view the YouTube video at the bottom, which features a behind-the-scenes look at the show:
Although it focuses on string players who have appeared on “From the Top,” here is a story, with many names and details, from The Violin Channel:
https://theviolinchannel.com/christopher-oriley-from-the-top-radio-tv-let-go-contract-not-renewed/
One thing worth mentioning is that O’Riley’s departure will NOT mark the end of the show. “From the Top” will continue with guest hosts, some of whom will be successful or famous alumni of the show.
What do you think of the news about Christopher O’Riley?
What do you think of “From the Top”?
What do you think of Christopher O’Riley as a host and a pianist?
The Ear wants to hear.
Tags: #ChristopherO'Riley, #CompactDisc, #FromtheTop, #GuestHost, #MadisonSymphonyOrchestra, #MusicEducation, #NationalPublicRadio, #NPRProgram, #PianoAccompanist, #PianoConcerto, #PianoMusic, #RadioHost, #RockandRoll, #RockBand, #RockMusic, #SoloPianoMusic, #StringMusic, #StringPlayers, #SundayNight, #TheViolinChannel, #Wikipediaentry, #WisconsinPublicRadio, #WisconsinUnionTheater, #WolfgangAmadeusMozart, #YoungPeople, #YouTubevideo, air, alumni, Arts, award-winning, Bach, Baroque, Beethoven, biography, CD, Cello, Chamber music, Classical music, Compact Disc, composer, Early music, famous, Franz Schubert, interlude, Jacob Stockinger, Johann Sebastian Bach, Johannes Brahms, local, Ludwig van Beethoven, Madison, Music education, National Public Radio, night, NPR, Radiohead, show, solo, song, students, Sunday, symphony, The Violin Channel, United States, University of Wisconsin-Madison School of Music, University of Wisconsin–Madison, Viola, Violin, Wikipedia, Wisconsin, wisconsin public radio, Wolfgang Amadeus Mozart, YouTube
Classical music: The UW-Madison’s Pro Arte Quartet delivers a perfect program of superb music by Haydn, Mozart and Schubert
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By Jacob Stockinger
Here is a special posting, a review written by frequent guest critic and writer for this blog, John W. Barker. Barker (below) is an emeritus professor of Medieval history at the University of Wisconsin-Madison. He also is a well-known classical music critic who writes for Isthmus and the American Record Guide, and who hosts an early music show once a month on Sunday morning on WORT-FM 89.9 FM. For years, he served on the Board of Advisors for the Madison Early Music Festival and frequently gives pre-concert lectures in Madison.
By John W. Barker
While snow may have restricted the audience attending the Pro Arte Quartet (below, in a photo by Rick Langer) on Saturday night, those who came were amply rewarded with a virtually perfect program of superb music.
The program brought together three Austrian works, two by those Classical-era titans, Franz Joseph Haydn and Wolfgang Amadeus Mozart, and the third by the Austrian early Romantic Franz Schubert.
The combination of the first two was particularly stimulating, an opportunity to reckon how different from each other were these composers who are so often bracketed together.
The E-flat Quartet is No. 3 in the Op. 50 set that some commentators have viewed as the response by Haydn (below) to the set of six quartets that Mozart had recently published in Haydn’s honor.
Deliberately, Haydn chose to avoid matching Mozart’s lyricism and rich imagination, turning instead to statements of strength in austere textures.
Composed in 1790, a year before his death and only three years after the Haydn work, the Quartet in B-flat, K. 589, by Mozart (below) was his penultimate quartet, part of a series to be written for the King of Prussia who played the cello, which is featured prominently in the quartet.
Here we have a Mozartian style that is expansive and exploratory. Amid music of great lyric beauty and even vivacity, we have a Menuetto third movement whose Trio, or midsection, is remarkably dark and ambiguous. (You can hear a period-instrument performance of the third movement in the YouTube video at the bottom)
The Pro Arte players brought out the individuality of the two different styles quite beautifully. To my ears, the viola lines were delivered with notable strength and color by Sally Chisholm.
The final work, and the longest, was one of Schubert’s amazing late quartets. The No. 13 in A minor, D. 804), from 1824 is known as the “Rosamunde” Quartet because the second movement is the elaboration by Schubert (below) of the lovely melody in the well-known interlude in his incidental music for the play of that title.
Despite a somewhat moody first movement, the work as a whole is suffused with Schubert’s very special, very personal lyricism. Analyses of it can be instructive, but ultimately this remains music for the soul, not just the brain, I think.
The Pro Arte understands that well, and gave a generous demonstration of its beauties.
It proved such a wonderful concert, for which we can only give warm thanks to the UW-Madison’s Mead-Witter School of Music where the Pro Arte Quartet has been an artist-in-residence since World War II.
Tags: #ChamberMusic, #FranzJosephHaydn, #FranzSchubert, #MadisonEarlyMusicFestival, #MeadWitterSchoolofMusic, #ProArteQuartet, #SecondWorldWar, #StringQuartet, #UniversityofWisconsin-Madison, #WorldWarII, amazing, ambiguous, American Record Guide, analyses, analysis, artist, artist-in-residence, Arts, austere, Austria, Austrian, beauty, bracket, Brain, Cello, Chamber music, Classical, Classical music, color, composer, Concert, critic, dark, death, demonstration, drama, elaboration, emeritus, expansive, exploratory, fina, Franz Schubert, generous, Haydn, historically informed performance practices, History, honor, imagination, incidental, incidental music, individuality, instrument, interlude, Isthmus, Jacob Stockinger, John W. Barker, King, late, lecture, line, long, longest, lovely, lyrical, lyricism, Madison, Medieval, melody, minuet, moody, morning, Mozart, Music, opportunity, perfect, period, period-instrument, personal, play, Pro Arte Quartet, professor, program, Prussia, residence, response, reward, Romantic, Rosamunde, Saturday night, section, set, snow, soul, statment, strength, String quartet, style, Sunday, texture, thanks, Titan, trio, United States, University of Wisconsin-Madison School of Music, University of Wisconsin–Madison, Viola, Violin, vivacity, warm, Wisconsin, Wolfgang Amadeus Mozart, World War II, WORT-FM 89.9, YouTube
Classical music: Madison Opera scores a big artistic and commercial success with the Midwest premiere of “Charlie Parker’s Yardbird.” How about seeing and hearing more new music and new operas?
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By Jacob Stockinger
Here is a guest review by The Opera Guy, who is himself a senior and who has followed opera for many decades and across several continents, including North America, Europe and Asia. Performance photos are by James Gill for the Madison Opera.
By Larry Wells
On Sunday afternoon I attended the second, and final, of two sold-out performances of Daniel Schnyder’s “Charlie Parker’s Yardbird,” presented by Madison Opera, which gave the Midwest premiere of the new work.
Although it is a chamber opera featuring only 16 instrumentalists and running a little over 90 minutes, it was an engaging, satisfying and often hypnotic operatic experience.
The orchestral and vocal music were readily accessible. As a compliment to the composer, I was reminded of the later work of the great British composer Michael Tippett.
The plot features Charlie Parker’s mother, three of his wives, his friend Dizzy Gillespie and his current patroness, the fascinating Baroness Nica de Koenigswarter, as they confront Parker’s spirit after his death but before his removal from the morgue and burial.
(Below, standing in front of the photo-portrait set of the Birdland jazz club, are the major cast members, many of whom were in the original world premiere productions at Opera Philadelphia and the Apollo Theater of Harlem in New York City. From the left, they are: Angela Brown as Addie Parker; Will Liverman as Dizzy Gillespie; Rachel Sterrenberg as Chan Parker; Angela Montellaro as Doris Parker; Joshua Stewart as Charlie Parker; and Krysty Swann as Rebecca Parker.)
A pioneer and innovator of bebop in the world of jazz, saxophonist Parker died young and dissolute, destroyed by drugs and alcohol. Portrayed by Joshua Stewart (below), Parker is unsympathetic and weak, desperate to create but distracted. Stewart is a fine, convincing actor. His singing was often compelling, but his voice was too thin in the higher reaches demanded by the score.
The other characters were ably portrayed and consistently strong vocally. Will Liverman’s Dizzy Gillespie was a standout – lyrical and touching.
Likewise, Krysty Swann (below center with a baby) was solid vocally and emotionally convincing as Parker’s abandoned first wife Rebecca Parker.
Rachel Sterrenberg was moving and gripping vocally as Parker’s final wife Chan.
Julie Miller as Baronness Nica commanded the stage whenever she appeared, perhaps because of her bright red dress in a sea of black garments but also because of her powerful portrayal and expressive singing.
Whenever Angela Brown (below right, with Joshua Stewart as Charlie Parker) was onstage as Parker’s mother, Addie, she was the focus. She owned the role, she sang beautifully, and she had some of the best material to sing.
(You can hear Angela Brown, who has appeared here before with the Madison Symphony Orchestra and the Madison Opera, in the world premiere production in the YouTube video at the bottom.)
One of the finest moments in the opera was an orchestral interlude followed by a vocalise by another of Parker’s wives, Doris, sung by Angela Mortellaro (below). I was totally captivated, as I was by the quintet toward the end with Dizzy, the three wives and Parker’s mother.
Such are the moments for which an opera aficionado waits – several minutes of total aural delight.
Maestro John DeMain was, as always, in full command of the score as he led members of the Madison Symphony Orchestra. I was in a position to watch him conduct, and he was always totally involved in the moment. I repeat what I have said before: Maestro DeMain (below, in a photo by Prasad) is a treasure for which Madison should be constantly grateful.
I personally like newer music and always welcome the chance to hear something other than the tired Brahms overtures, Tchaikovsky symphonies and Mozart piano concertos.
The argument in Madison seems to be that to fill seats, you have to give the audience what it wants; and the belief is that it wants music that is tried, true and safe.
The fact that this new work sold out both performances in the Capitol Theater of the Overture Center and that the audience was not entirely made up of seniors seems to suggest that the halls can be filled if the programming is more adventurous.
I say let’s hear more music of the 20th and 21st centuries, draw in a new audience and give the seniors a little thrill.
What do you think?
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Classical music: YOU MUST HEAR THIS: “Interlude” by Swedish composer Wilhelm Stenhammar.
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By Jacob Stockinger
It happened again.
There I was, writing in the early morning.
I was also listening to Wisconsin Public Radio, which often serves as background music while I write.
But this particular morning host Stephanie Elkins played a piece that I had never heard. It stopped me in my tracks.
It is so beautiful and poignant, and it moves so slowly and movingly that The Ear thought you should also hear it.
It is the Interlude by the Swedish composer Wilhelm Stenhammar from his cantata “The Song.” If his other music is as good, Stenhammar (below) might well deserve a rediscovery. He was a prolific composer with several symphonies and piano concertos to his credit.
This performance of the Interlude, featured in a YouTube video, was done in 2014 by renowned conductor Neeme Jarvi and the Gothenburg Symphony Orchestra.
The Ear hopes you enjoy this rarely performed work as much as he did.
Perhaps my memory is faulty. But I don’t recall hearing it performance live in Madison.
Yet it might make a nice curtain raiser or encore for the Madison Symphony Orchestra, the Wisconsin Chamber Orchestra, the University of Wisconsin-Madison Symphony Orchestra or the Wisconsin Youth Symphony Orchestras.
Tags: Arts, Cantata, Classical music, concerto, Gothenburg Symphony, interlude, Jacob Stockinger, Madison, Madison Symphony Orchestra, Music director, Neeme Jarvi, Orchestra, Piano, Piano concerto, Sweden, symphony, University of Wisconsin-Madison School of Music, University of Wisconsin–Madison, Violin, Wilhelm Stenhammar, Wisconsin, Wisconsin Chamber Orchestra, YouTube
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