The Well-Tempered Ear
Pianist John O’Conor plays the sublimely beautiful Impromptu in G-Flat Major by Franz Schubert
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By Jacob Stockinger
The Ear loves Franz Schubert, who wrote supremely beautiful music. And one of his most sublime pieces comes from his first set of Impromptus for solo piano, the one in G-Flat Major, D. 899, No. 3.
This beautiful music was superbly performed here in 2018 by the Irish pianist John O’Conor (below), who specializes in the composers of the Classical era — especially Beethoven, Schubert and Mozart. He also has revived the music of the Irish Romantic composer John Field and appeared in Madison with the Wisconsin Chamber Orchestra.
Here is the introduction from the Salon Piano Series at Farley’s House of Pianos, which booked, hosted and recorded the live solo recital performance (below) on May 12, 2018.
“During these uncertain times, we appreciate remembering time spent together enjoying music.
“Please take a break from your day to see and hear John O’Conor perform Franz Schubert’s Impromptu in G-flat, D. 899, No. 3, in the YouTube video at the bottom that was recorded live at Farley’s House of Pianos as part of the Salon Piano Series on May 12, 2018.
“To see how the 1908 Chickering concert grand played by John O’Conor was restored, click here: https://www.youtube.com/watch?v=a5RJWeve6R8
“Over the years, you have supported Salon Piano Series with your attendance, individual sponsorships and donations (you can link to https://salonpianoseries.org/donate).
“We look forward to bringing you world-class musical performances in our unique salon setting again soon.
Sincerely,
Salon Piano Series
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Classical music: As we say goodbye to summer, YOU MUST HEAR THIS: Irish composer Joan Trimble’s “Pastorale” homage to the summery French composer Francis Poulenc
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By Jacob Stockinger
One week from today is Labor Day.
So it is time to start saying goodbye to summer and hello to fall — even though the autumnal equinox won’t arrive until Monday, Sept. 23, at 2:50 a.m. CDT.
The Ear’s favorite summertime composer is the French master Francis Poulenc (below), whose accessible and tuneful music possesses in abundance that Gallic sense of lightness and lyricism, of wit and charm, of modern Mozartean classicism and clarity — complete with trills and ornaments — that seems so appropriate to the summer season.
But then recently on Wisconsin Public Radio, The Ear heard for the first time something inspired by Poulenc that he thinks many of you will appreciate, especially during the transition between the seasons.
It is, appropriately, a 2-1/2 minute “Pastorale” for two pianos – a form Poulenc himself used in his most famous piano concerto — by the underplayed and little known Irish 20th-century composer and pianist Joan Trimble (below). And it has many of the same qualities that distinguish Poulenc.
Here is a link to a Wikipedia entry with more about Trimble: https://en.wikipedia.org/wiki/Joan_Trimble
You can hear her homage to Poulenc in the YouTube video, from a Marco Polo CD distributed by Naxos Records, that is below.
Here’s hoping you enjoy it.
If you have a reaction, positive or negative, please share it.
The Ear wants to hear.
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Classical music: This Tuesday night, May 21, at 7:30 the Wisconsin Chamber Orchestra and the Wisconsin Youth Symphony Orchestras perform an impressive Side-by-Side concert that is FREE and UNTICKETED in Overture Hall
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By Jacob Stockinger
This coming Tuesday night, May 21, at 7:30 p.m. in Overture Hall of the Overture Center, 201 State Street, is another event that can’t help but build audiences and generate good will for classical music.
That is when, once again, the professional musicians of the Wisconsin Chamber Orchestra and the student musicians of the Wisconsin Youth Symphony Orchestras will play side-by-side (below, in a rehearsal), under the baton of WCO music director Andrew Sewell, in an inspiring example of apprenticeship and cooperation.
The Ear has been to the concert before, and loved the experience, which he found moving and excellent. He highly recommends it.
The ensemble repertoire to be played is ambitious and impressive.
In addition, soloists on the program are winners of the WYSO Concerto Competition: flutist Brian Liebau and violinist Benjamin Davies Hudson (below).
Says the WCO website: “Supporting young musicians in our community is essential to the future of music and the arts in Madison. We welcome all in the community to join us at this FREE concert.”
TICKETS
There is no charge for this concert, and no ticket is necessary to enter. Seating is general admission. Doors open at 6:45 p.m., and the concert begins at 7:30 p.m.
REPERTOIRE
Antonin Dvorak, “Slavonic Dances,” Op. 46, Nos. 1, 3 and 8 (1878)
Hamilton Harty, “In Ireland,” a fantasy for flute, harp and orchestra (1935)
Camille Saint-Saens, “Introduction and Rondo Capriccioso,” Op. 28 (1863), for violin and orchestra. (In the YouTube video at the bottom, you hear the catchy, tuneful and virtuosic work performed by violinist Itzhak Perlman.)
Peter Ilyich Tchaikovsky, Symphony No. 4 in F minor, Op. 36 (1877-78), movements 3 and 4
Modest Mussorgsky, selections from “Pictures at an Exhibition” (1874; arranged by Maurice Ravel in 1922)
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Classical music: Irish pianist John O’Conor charms and excels in solo works by Haydn, Schubert, Beethoven and John Field. Ancora String Quartet plays Nielsen and Debussy Friday night.
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ALERT: The Ancora String Quartet will close out its 17th season with a performance this Friday night at 7:30 p.m. in St. Andrew’s Episcopal Church, 1833 Regent Street. The program features the String Quartet No. 4 in F Major, Op. 44, by Danish composer Carl Nielsen and the String Quartet in G Minor, Op. 10, by Claude Debussy. Tickets are available at the door and are $15, $12 for seniors, $5 for children. A reception follows the concert. For more information, go to: https://www.ancoraquartet.com
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 Isthmusand 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
Lovers of piano music were given a special treat this past weekend — a double-header, allowing access to two different dimensions of one of the important pianists of our time.
John O’Conor (below), the Irish pianist, appeared on Friday evening with the Wisconsin Chamber Orchestra (WCO), presenting a stimulating performance of the Piano Concerto No. 3 by Ludwig van Beethoven.
Then, the following evening, at the Salon Piano Series at Farley’s House of Pianos, O’Conor gave a solo recital that showed the more personalized aspects of his art.
O’Conor concentrates particularly on the early Romantics in both his performing and recording activities, and from such concentrations was the recital program derived.
He began it with a reach back to an early favorite, Franz Joseph Haydn, in the Sonata No. 32 in B minor. In this work from 1776 O’Conor could find hints of the Romantic spirit to come — in a composer usually more identified with High Classicism.
The pianist was more fully in his own comfort zone, however, with the four Impromptus that make up the Op. 90 (D. 899) by Franz Schubert.
Dating from 1827, the composer’s last year, these are simply marvelous gems, and they made me realize that part of their delightfulness is what differentiates them from Schubert’s larger-scale piano works (sonatas,a fantasy, etc.).
The latter correspond to his efforts at music of grand scope and structure, as in the string quartets and symphonies, whereas the shorter piano pieces correspond to Schubert’s Lieder, or art songs, in their greater directness and intimacy. O’Conor played them with conviction and affection.
After the intermission came music by two composers with whom O’Conor has his most-established affinity. He has been the outstanding and crucial champion in the revival of interest in the piano music — both concertos and the pace-setting nocturnes — by John Field (1782-1837, below), the Irish pianist and composer who is recognized now as an important forerunner to Chopin.
Three of Field’s nocturnes (Nos. 5, 6, and 18) were presented, the last a kind of picture of party life in old Russia — where Field spent his later years — ending at the tolling of midday chimes. (You can hear John O’Conor play the lyrical and lullaby-like Nocturne No. 6 in the YouTube video at the bottom.)
Beethoven’s music is O’Conor’s other speciality. He has recorded all of the sonatas and the concertos, among other things. For this program, he performed the Sonata No. 14 in C-sharp minor (1801), a work nowadays cursed by the nickname given its first movement, “Moonlight.” He reminded us that the other two movements are the more fascinating and important ones.
As an encore, he suggested the John Field connection with one of Chopin’s own nocturnes.
Before each half of the program, the pianist gave his own comments, on both personal and analytical matters, and laced with his delightful Irish charm.
O’Conor performed on the amazing 1906 Chickering concert grand piano that Tim Farley has so lovingly restored. The post-recital conversation I had with O’Conor suggested that he had had too little time to adjust to the very remarkable individualities of the instrument. We may hope that he will return to Madison to fill out that acquaintance.
And we hope for more examples of the fruitful cooperation between the WCO and Farley’s in jointly bringing so fine a performer as this to the Madison scene.
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Classical music: This coming weekend, pianist John O’Conor returns to play a Beethoven concerto with the Wisconsin Chamber Orchestra on Friday night and then a solo recital at Farley’s on Saturday night
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By Jacob Stockinger
The acclaimed Irish pianist and teacher John O’Conor (below) returns to Madison this weekend for two concerts that will close out the season for the Wisconsin Chamber Orchestra on Friday night and the Salon Piano Series at Farley’s House of Piano on Saturday night.
For more about John O’Conor‘s impressive background as a performer, a recording artist, a pedagogue and a juror for international piano competitions, go to: https://en.wikipedia.org/wiki/John_O%27Conor
The first event with O’Conor is an all-Beethoven concert by the Wisconsin Chamber Orchestra (below) under the baton of music director Andrew Sewell.
The WCO concert is on Friday night, May 11, at 7:30 p.m. in the Capitol Theater of the Overture Center, 201 State St.
The program features the Overture to “King Stephen”; the Piano Concerto No. 3 in C minor, Op. 37, with O’Conor as soloist; and the popular, dramatic and iconoclastic or even revolutionary Symphony No. 5 in C minor.
Such repertoire from the Classical period is one of O’Conor’s strong suits as well as one of the WCO’s. When the two last performed together in 2016 O’Conor and the WCO played works by Wolfgang Amadeus Mozart and the Irish early Romantic John Field.
Plus, O’Conor studied Beethoven with the legendary Beethoven interpreter Wilhelm Kempff.
So this concert promises to be a dynamic experience with perfectly paired players.
Tickets are $15-$80 with student tickets available for $10.
For more information about O’Conor and about how to obtain tickets, go to:
https://wisconsinchamberorchestra.org/performances/masterworks-v-3/
SALON PIANO SERIES
Then on Saturday night, May 12, at 7:30 p.m. at Farley’s House of Pianos, located at 6522 Seybold Road, on Madison’s far west side near the West Towne Mall, pianist O’Conor will give a solo recital to close out the Salon Piano Series.
The program includes the Sonata in B minor by Franz Joseph Haydn; Four Impromptus, Op. 90 or D. 899, by Franz Schubert; Nocturnes Nos. 5, 6, and 18 by the Irish composer John Field (below), whose neglected works are a specialty of O’Conor; and the iconic “Moonlight” Sonata in C-sharp minor by Ludwig van Beethoven. (You can hear O’Conor perform the exciting and virtuosic last moment of the “Moonlight” in the YouTube video at the bottom.)
A reception follows the concert.
Tickets are $45 in advance and $50 at the door, with student tickets available for $10.
For more information and to purchase tickets, call (608) 271-2626 or go to these two web sites:
http://salonpianoseries.org/concerts.html
https://www.brownpapertickets.com/event/2995003
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Classical music: The Salon Piano Series at Farley’s House of Piano announces its new season of four concerts
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By Jacob Stockinger
The reliably virtuosic and musically enjoyable Salon Piano Series has just announced its 2017-18 season.
A piano duo, piano soloists and the Pro Arte Quartet provide traditional salon concert experiences with informal seating and restored pianos.
The 2017-18 Salon Piano Series season again includes piano soloists and ensembles typical of 19th-century European salon concerts, with well-known concert artists from Italy, Russia, Israel and Ireland.
According to a press release, the season’s offerings are:
Roberto Plano and Paola Del Negro Duo (below) on Sunday, Sept. 24, 2017 at 4 p.m.
Italian husband and wife piano duo Roberto Plano and Paola Del Negro kick off the season with Schumann’s “Pictures from the East” (Bilder aus Osten, Op. 66), Brahms’ Hungarian Dances 1-5, “The Moldau” by Smetana, and Brahms’ Sonata for Two Pianos, Op. 34b, the earlier version of his great Piano Quintet. The duo will perform on one piano for the first half of the program and on two for the second half. (You can hear them perform Hungarian Dances by Brahms in the YouTube video at the bottom.)
Ilya Yakushev (below) on Sunday, Nov. 12, 2017 at 4 p.m.
Returning by popular demand, Ilya Yakushev will perform an exhilarating program of Haydn’s Piano Sonata in D Major, Tchaikovsky’s “Sentimental Waltz,” Gershwin’s “Rhapsody in Blue” and Mussorgsky’s “Pictures at an Exhibition” in his November concert.
Alon Goldstein (below top) and the UW-Madison’s Pro Arte Quartet (below bottom in a photo by Rick Langer) on Saturday night, March 10, 2018 at 7:30 p.m. and Sunday afternoon, March 11, 2018 at 4 p.m.
To accommodate the crowds, Salon Piano Series booked two performances for Alon Goldstein and the UW-Madison’s Pro Arte Quartet in March. Goldstein will perform selected Scarlatti sonatas solo, then the Pro Arte Quartet and bassist David Scholl will join him for Mozart Concerto No. 23 in A Major, K. 488, in a reduced arrangement, and the Brahms Piano Quintet, Op. 34.
John O’Conor (below) on Saturday, May 12, 2018, 7:30 p.m.
To cap off the season in May, the great Irish pianist John O’Conor will perform Haydn, Beethoven and Schubert in his first Salon Piano Series appearance.
Visit salonpianoseries.org for complete concert programs, and artist information.
All concerts are at Farley’s House of Pianos, at 6522 Seybold Road, on Madison’s far west wide near West Towne Mall. All concert includes a post-concert artist reception.
Tickets are $50 at the door or $45 in advance; season tickets are $150.
You can purchase tickets online at brownpapertickets.com or in-person at Farley’s House of Pianos. Service fees may apply.
About the Salon Piano Series
Now in its fifth season, Salon Piano Series was founded by Tim and Renée Farley to continue the tradition of intimate salon concerts at Farley’s House of Pianos.
The setting replicates that experienced by audiences throughout the 18th and 19th centuries, and offers audiences the chance to hear artists whose inspiring performances are enhanced by the setting and the fine pianos.
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Classical music education: This Sunday the Madison Youth Choirs will present their Winter Concert Series celebrating “Shakespeare 400 “
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By Jacob Stockinger
This winter, the Madison Youth Choirs are joining cultural institutions around the world by celebrating the 400th anniversary of the death of William Shakespeare (below) and his ongoing legacy.
Singers of various ages will perform musical settings from the plays Twelfth Night, A Midsummer Night’s Dream, Love’s Labour’s Lost and The Tempest by composers including William Byrd, Thomas Morley, Henry Purcell, Franz Schubert, Felix Mendelssohn, Benjamin Britten, Giuseppe Verdi, Cesar Franck, Ralph Vaughan Williams, Gerald Finzi, John Rutter and others.
Examining the role that motif, tension, structure and rhythm play in the repertoire and Shakespeare’s vast body of work, the choirs will explore the elements that combine to create compelling art that stands the test of time.
The MYC Winter Concerts, “Shakespeare 400,” will take place this Sunday, Dec. 11, at the First Congregational United Church of Christ (below), 1609 University Ave., near Camp Randall stadium.
Here is the schedule: 1:30 p.m. Girl choirs; 4 p.m. Boy choirs; 7 p.m. High School Ensembles
Tickets will be available at the door. Admission to each of the three concerts is $10 for the general public, $5 for students 7-18, and free for children under 7
PROGRAMS
Here is the repertoire for the MYC 2016 Winter Concert Series “Shakespeare 400”:
1:30 p.m. Concert (Featuring MYC Girlchoirs)
Choraliers
“Hey Ho! To the Greenwood” by William Byrd
“Spirits” by Douglas Beam
“Orpheus With His Lute” by Ralph Vaughan Williams
“Double, Double Toil and Trouble” by Leeann Starkey
photo
Con Gioia
“When Icicles Hang by the Wall” by David Lantz III
“You Spotted Snakes” by Toby Young
“Ban Ban Caliban” by Dan Forrest
Capriccio
“Hark! The Echoing Air” by Henry Purcell
“Blow, Blow Thou Winter Wind” by Sarah Quartel
“Philomel with Melody” and “I Will Wind Thee in My Arms” by Cary Ratliff
“It Was a Lover and His Lass” by John Rutter
Cantabile
When Icicles Hang” by Stephen Hatfield
“Che faceste” from Macbeth (sung in Italian) by Giuseppi Verdi
4 p.m. Concert (Featuring MYC Boychoirs)
Combined Boychoirs
“One December, Bright and Clear” Traditional Catalonian carol, arr. By Wilberg
“Panis Angelicus” by Cesar Franck
Purcell
“Chairs to Mend” by William Hayes
“Blow, Blow Thou Winter Wind” by John Rutter (heard in the YouTube video at the bottom)
“The Coasts of High Barbary” Traditional English sea song, arr. By Julseth-Heinrich
Britten
“Blow, Blow, Thou Winter Wind” by Roger Quilter
“Full Fathom Five” by John Ireland
“Who is Silvia” by Franz Schubert
Holst
“Full Fathom Five” by Robert Johnson
“Sing We and Chant It” by Thomas Morley
Ragazzi
“Come Away, Death” by Gerald Finzi
“The Witching Hour” by Brandon Ayres
7 p.m. Concert (Featuring High School Ensembles)
Cantilena
“The Willow Song” by Arthur Sullivan
“Willow, Willow, Willow” by Charles H.H. Parry
“Fair Oriana Seeming to Wink at Folly” by Robert Jones
“You Spotted Snakes” (from A Midsummer Night’s Dream) by Felix Mendelssohn
“Give Them Thy Fingers” by Stefan Kalmer
Ragazzi
“Four Arms, Two Necks, One Wreathing” by Thomas Weelkes
“Come Away, Death” by Gerald Finzi
“And Draw Her Home with Music” by Nancy Hill Cobb
“The Witching Hour” by Brandon Ayres
Cantabile
“Che faceste” from Macbeth (sung in Italian) by Giuseppi Verdi
“Come Away, Death” by Roger Quilter
Selections from A Midsummer Night’s Dream by Benjamin Britten
“When Icicles Hang” by Stephen Hatfield
Cantabile and Ragazzi
“Ave Verum Corpus” by William Byrd
“Jingle, Bells!” by James Pierpont, arr. by David Wilcocks
These concerts are generously endowed by the Diane Ballweg Performance Fund with additional support from the American Girl’s Fund for Children, BMO Harris Bank and the Wisconsin Arts Board.
About the Madison Youth Choirs (MYC): Recognized as an innovator in youth choral music education, Madison Youth Choirs (MYC) welcomes singers of all ability levels, annually serving more than 1,000 young people, ages 7-18, through a wide variety of choral programs in our community.
Cultivating a comprehensive music education philosophy that inspires self-confidence, personal responsibility, and a spirit of inquiry leading students to become “expert noticers,” MYC creates accessible, meaningful opportunities for youth to thrive in the arts and beyond.
For further information, contact: Nicole Sparacino, Madison Youth Choirs, Nicole@madisonyouthchoirs.org or call (608) 238-7464
Tags: A Midsummer Night's Dream, arrangements, Art, Arthur Sullivan, Arts, Baroque, Benjamin Britten, boy choir, boychoir, boys, Byrd, cantabile, Capriccio, Carol, Catalonia, Cesar Franck, Chamber music, chant, choral music, Classical music, comedy, David Wilcocks, death, drama, elementary school, folk song, Franz Schubert, Gerald Finzi, girls, girls choir, high school, Holst, Ireland, Italian, Jacob Stockinger, John Ireland, John Rutter, legacy, Love's Labour's Lost, lute, Madison, Madison Youth Choirs, Mendelssohn, Middle school, motif, Music, Music education, Orpheus, Parry, plays, Purcell, Ralph Vaughan Williams, rhythm, Schubert, sea, Shakepseare, snake, structure, Tempest, tension, Thomas Morley, tradition, traditional, tragedy, Twelfth Night, United States, University of Wisconsin-Madison School of Music, University of Wisconsin–Madison, Verdi, vocal music, William Shakespeare, William Shakespeare's plays, willow, Wind, winter, Wisconsin, Wisconsin Arts Board, youth choirs, YouTube
Classical music: Madison Youth Choirs will perform immigrant music in “Sounds Like Home: Music in Diaspora” this Saturday and Sunday
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A REMINDER: Subscribers to the Madison Symphony Orchestra‘s current season that just ended have until May 5 — this Thursday — to renew and save their current seats. New subscribers can receive up to 50 percent off and other discounts are available. For more about the programs of the 2016-17 season and about subscribing, visit:
http://www.madisonsymphony.org/16-17
By Jacob Stockinger
The Ear has received the following notice from the Madison Youth Choirs about three concerts this coming weekend:
On this Saturday, May 7, and Sunday, May 8, 2016, in the Capitol Theater of the Overture Center for the Arts, the young singers of Madison Youth Choirs (below, at the winter concert in 2014) will bring to life the musical creations of several groups who have left their homelands throughout history, under a variety of circumstances.
How do we keep our traditions in a place where they may not be tolerated? How do we maintain our identities in the face of great change? How do we preserve our stories and our history for future generations?
We invite you to ponder these questions with us as we explore the rich choral work of the African-American, Indian, Cuban, Arabic, Irish, Jewish and additional musical traditions as well as several works based on the biblical diaspora as told in Psalm 137.
At the Saturday evening performance, MYC will also present the Carrel Pray Music Educator of the Year Award to Dan Krunnfusz (below), former artistic director and conductor of the Madison Boychoir and a longtime choral and general music teacher in Madison and Baraboo public schools.
MYC Spring Concert Series: “Sounds Like Home: Music in Diaspora.” Capitol Theater, Overture Center for the Arts, 201 State Street, Madison, Wisconsin
Saturday, May 7, 2016, 7 p.m.: Boychoirs
Sunday, May 8, 2016, 3:30 p.m. Girl choirs; 7:30 p.m. High School Ensembles
Tickets are $15 for adults, $10 for students ages 8-18. Children 7 and under receive free admission but a physical ticket is required for entry. AUDIENCE MEMBERS WILL NEED A SEPARATE TICKET FOR EACH CONCERT.
Tickets are available through Overture Center Box Office, and may be acquired in person at 201 State Street, Madison; via phone at (608) 258 – 4141; or online at http://www.overturecenter.org/events/sounds-like-home-music-in-diaspora
This project is generously supported by American Girl’s Fund for Children, BMO Harris Bank, the Green Bay Packers Foundation, the Kenneth A. Lattman Foundation, the Madison Community Foundation, the Madison Gas and Electric Foundation, the Pleasant T. Rowland Foundation, and Dane Arts with additional funding from the Endres Mfg. Company Foundation. This project is also supported in part by a grant from the Wisconsin Arts Board with funds from the State of Wisconsin and the National Endowment for the Arts.
About the Madison Youth Choirs (MYC, see below in a photo by Jon Harlow on its tour to an international festival in Scotland in 2014): Recognized as an innovator in youth choral music education, Madison Youth Choirs (MYC) welcomes singers of all ability levels, annually serving more than 1,000 young people, ages 7-18, through a wide variety of choral programs in our community.
Cultivating a comprehensive music education philosophy that inspires self-confidence, personal responsibility, and a spirit of inquiry leading students to become “expert noticers,” MYC creates accessible, meaningful opportunities for youth to thrive in the arts and beyond.
Here is the repertoire of the MYC 2016 Spring Concert Series “Sounds Like Home: Music in Diaspora”
Saturday, May 7, 2016, Capitol Theater, Overture Center for the Arts
7 p.m. Concert (Featuring MYC Boychoirs)
Purcell
Sometimes I Feel Like a Motherless Child…Traditional spiritual, arr. Burleigh
Hashivenu…Traditional Hebrew, arr. Rao
Rolling Down to Rio…Edward German
Britten
The Minstrel Boy…Traditional Irish, arr. Benjamin Britten
Super Flumina Babylonis…Giacomo Carissimi
Duke’s Place…Duke Ellington, arr. Swiggum/Ross
Holst
As by the Streams of Babylon…Thomas Campion
A Miner’s Life…Traditional Irish, arr. Houston
Combined Boychoirs (below, in a photo by Joanie Crump)
The Riflemen of Bennington…Traditional, arr. Swiggum
Babylon…Don McLean
Sunday, May 8, 2016, Capitol Theater, Overture Center for the Arts
3:30 p.m. Concert (Featuring MYC Girlchoirs, below in a photo by Karen Brown)
Choraliers
Babylon…Don McClean
Beidh Aonach Amarach…Traditional Irish, arr. Dwyer
Ani Ma’amin…Traditional Hebrew, arr. Caldwell/Ivory
Gospel Train…Traditional spiritual, arr. Shirley McRae
Alhamdoulillah…Traditional Arabic, arr. Laura Hawley
Con Gioia
Folksong arrangements (2, 3, 4)…Gideon Klein
Hope is the Thing with Feathers…Marye Helms
Wild Mountain Thyme…Traditional Irish, arr. Jay Broeker
Stadt und Land in stille Ruh…Traditional German canon
Capriccio
Mi’kmaq Honor Song….arr. Lydia Adams
Thou Shalt Bring Them In…..G.F. Handel
Iraqi Peace Song…..Lori Tennenhouse
Bring Me Little Water, Silvy…..credited to Leadbelly, arr. Moira Smiley
Capriccio, Cantilena, and Cantabile
Across the Water (world premiere)… UW-Madison alumnus Scott Gendel (below)
7:30 p.m. Concert (Featuring High School Ensembles)
Cantilena
We Are…Ysaye Barnwell
Sometimes I Feel Like a Motherless Child…Traditional spiritual
Jai Bhavani…arr. Ethan Sperry
Hej, Igazitsad…Lajos Bardos
Ragazzi
An Wasserflüssen Babylon…Michael Praetorius
Uz mne kone vyvadeji (from folksong arrangements)…Gideon Klein
Son de Camaguey…Traditional Cuban, arr. Stephen Hatfield
Loch Lomond…Traditional Scottish air, arr. Ralph Vaughan Williams
Cantabile
In a Neighborhood in Los Angeles (from Alarcón Madrigals)…Roger Bourland
Riawanna…Stephen Leek
Barchuri Le’an Tisa…Gideon Klein
Kafal Sviri…Traditional Bulgarian, arr. Liondev
Cantabile and Ragazzi
O, What a Beautiful City…Traditional spiritual, arr. Shawn Kirchner
Tags: African American, Arabic, Artistic director, Arts, Baraboo, Bible, biblical, blues, BMO Harris Bank, boychoir, Britten, Bulgaria, Canon, cantabile, Capriccio, choral music, Classical music, conductor, counterpoint, Cuba, Cuban, Dane Arts, dispora, Duke Ellington, Education, folk song, German, Germany, girl choir, gospel, Green Bay Packers, Handel, Hewbrew, high school, Holst, Home, homeland, hope, immigrant, immigration, indentity, India, Indian, Iraq, Ireland, Irish, Jacob Stockinger, Jewish, Leadbelly, Madison, Madison Symphony Orchestra, Madison Youth Choirs, Music, Music education, National Endowment for the Arts, Overture Center, peace, polyphonic, polyphony, pop music, psalm, Purcell, Ralph Vaughan Williams, Scotland, Scott Gendel, spiritual, tradition, traditional, United States, University of Wisconsin-Madison School of Music, University of Wisconsin–Madison, vocal music, Wisconsin, Wisconsin Arts Board
Classical music: Here are the Top 10 things to know about Handel’s “Messiah.” The Madison Bach Musicians will perform it with period instruments this Friday night and Sunday afternoon.
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ALERT: Tomorrow on Tuesday, April 5, there will be two on-air events about the Madison Bach Musicians’ performances of Handel’s “Messiah”: On Wisconsin Public Radio’s Midday program on WERN (88.7 FM) noon-12:30 p.m., MBM director Trevor Stephenson will be Norman Gilliland’s guest. They’ll play and discuss selections from “Messiah.” Then MBM will perform two arias from “Messiah” live on the CBS affiliate WISC-TV Channel 3 “Live at 4” program 4-5 p.m.
By Jacob Stockinger
This coming Friday night and Sunday afternoon, the Madison Bach Musicians will perform the well-known oratorio “Messiah” by George Frideric Handel (below). The performances feature period instruments and historically authentic performances practices.
Here are the details:
FRIDAY: 6:45 p.m. lecture followed by a 7:30 p.m. concert
SUNDAY: 2:45 p.m. lecture followed by a 3:30 p.m. concert
Both performances are at the First Congregational United Church of Christ (below), 1609 University Avenue, Madison, near Camp Randall Stadium.
The forces and period instruments MBM has assembled for this event are similar in many respects to those used by Handel in the world premiere of “Messiah” in Dublin in April of 1742.
For more information, including a complete list of performers, visit:
http://madisonbachmusicians.org/april-8-10-2016/
The concerts feature an all-baroque orchestra ─ with gut strings, baroque oboes, natural trumpets and calf-skin timpani ─ plus eight internationally-acclaimed soloists, and the Madison Boychoir (part of Madison Youth Choirs), which will collaborate in the “Hallelujah” Chorus and Amen, under the direction of early-music specialist Marc Vallon (below, in a photo by James Gill), professor of bassoon at the University of Wisocnsin-Maidson School of Music.
![Marc Vallon 2011 James Gill (baroque & modern)[2]](https://welltempered.files.wordpress.com/2012/03/marc-vallon-2011-james-gill-baroque-modern2.jpg)
Pre-concert lectures at both events will be given by MBM founder and artistic director Trevor Stephenson (below), who is as entertaining as he is enlightening.
Advance-sale discount tickets are: $33 general, $28 students and seniors (65+). They are available at Orange Tree Imports, Farley’s House of Pianos, Room of One’s Own, and Willy Street Co-op (East and West)
You can also buy advance sale tickets online at www.madisonbachmusicians.org
Tickets at the door are $35 general, $30 students and seniors (65+), Student Rush: $10 on sale 30 minutes before lecture (student ID required) Visit or call www.madisonbachmusicians.org at 608 238-6092.
To prepare you to appreciate the oratorio, here is Trevor Stephenson’s Top 10 list of things – a la David Letterman — that you should know about it:
TOP 10 THINGS TO KNOW ABOUT HANDEL’S ‘MESSIAH‘
#10. Its title is “Messiah” not “The Messiah”
#9. Handel, at 56 years of age, wrote Messiah in just 24 days in the late summer of 1741.
#8. Some of the pieces ─ like “For unto us a child is born” and “All we like sheep” ─ Handel borrowed or adapted from pieces he had composed earlier, usually by laying the new text over the existing musical material. This technique, known as “parody,” was employed by most composers as a way of recycling good musical material.
#7. The original words to the tune we know as “For unto us a child is born” were (Italian) “No, di voi non vo’ fidarmi, cieco Amor, crudel Beltà” — meaning roughly “No, I won’t trust you, blind Love, cruel Beauty” (Hear the YouTube video at bottom.)
#6. Messiah premiered in 1742 in Dublin, Ireland two weeks after Easter (March 25 that year) on April 13. By uncanny dumb luck, this 2016 period-performance of Messiah by MBM will also take place two weeks after Easter (March 27) on April 8 and 10.
#5. Handel divided this oratorio into three parts. Part I: a world in need of salvation; the promise that salvation is on the way; arrival of the savior in the world; Part II: Christ’s passion and crucifixion, descent to hell and resurrection, beginnings of the church, triumph of truth over death (Hallelujah); Part III: Faith and the world to come; the awakening of all souls (The Trumpet Shall Sound), paean to the Lamb of God; closing, majestic meditation on Amen.
#4. In a baroque orchestra the string instruments use gut strings—made from dried and carefully processed sheep intestine. Gut strings assist in the performance of baroque music in two important ways: 1) because gut as a material is very supple, the tone it produces is naturally “warm” in an acoustic/aesthetic sense; therefore, vibrato is not necessary in order to produce a pleasing sound and the player’s attention can focus more on pitch. 2) Gut strings, because they are very textured, produce a natural friction with the hair of the baroque bow which ensures that the instant the player’s bow hand moves the pitch is in the air. This optimizes the sense of directness in performance.
#3. The harpsichord and organ were used as continuo instruments in baroque music. MBM will be using both instruments in the upcoming Messiah performances. 18th-century keyboard tunings were generally of the un-equal/circulating variety known as Well Temperaments, as in “The Well-Tempered Clavier” of Johann Sebastian Bach. In these tunings, every tonality has a unique acoustic color, ranging from the transparently clear and harmonious keys (C major, A minor and other keys near the top of the circle of fifth, unencumbered by accidentals), then shading all the way down to the lugubriously opaque and gnarled keys in the basement of the circle of fifths, like G-flat major and E-flat minor. Notice in Messiah the contrast between the acoustical openness of the initial Sinfonia in E minor (one sharp) and the rigid density of the passion-of-Christ choruses near the beginning of Part II, “Surely, He hath borne our griefs” and “And with His stripes we are healed” both in F minor (four flats). 18th-century temperament will bring such differences into keen relief.
#2. Messiah was very successful and greatly admired in Dublin at its premiere. When Handel led performances of it in London several months later, the reception was much cooler. Nevertheless, from there on the popularity of Messiah grew steadily and it was performed often in Handel’s lifetime under his direction. Though much of Handel’s music was widely published in his lifetime, Messiah was not published until a few years after Handel’s death in 1759.
#1. In Messiah, the balance between the sense of play and sense of purpose is unrivalled (though a different animal in many ways, a blood brother of Messiah in the movie domain might be The Wizard of Oz). Indeed, it is almost as if in Handel’s world, these two elements — play and purpose — do not oppose, but rather fuel each other. Handel’s descendent in this regard is Wolfgang Amadeus Mozart, whose also could consistently fuse melodic joy with harmonic and theatrical pacing, pushing scene after scene ever-higher until it seems the roof opens to the realms of limitless joy.
Tags: Amen, Arts, Bach, Baroque, Bassoon, CBS, Cello, Channel 3, choral music, Christ, church, Classical music, concerto, crucifixion, David Letterman, Dublin, Early music, Easter, George Frideric Handel, God, gut strings, Hallelujah Chorus, harpsichord, historically informed performance practices, Ireland, Jacob Stockinger, Jesus, Johann Sebastian Bach, Madison, Madison Bach Musicians, Madison Boychoir, Madison Youth Choirs, Marc Vallon, Messiah, Messiah Part II, Midday, Mozart, noon, Norma Gilliland, Oboe, Orchestra, Passion, period instruments, Piano, salvation, savior, strings, symphony, temperament, The Well-Tempered Clavier, timpani, Trevor Stephenson, Trumpet, trumpets, tuning, United States, University of Wisconsin-Madison School of Music, University of Wisconsin–Madison, vibrato, Viola, Violin, vocal music, Well-Tempered Clavier, WERN-FM 88.7, WISC, Wisconsin, wisconsin public radio, Wizard of Oz, Wolfgang Amadeus Mozart, YouTube
Classical music: A FREE CD and a dedicated concert are perfect memorial tributes for flutist Robin Fellows — or for any musician
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By Jacob Stockinger
There was so much to like about last Friday night’s concert by the Wisconsin Chamber Orchestra (below), including a fantastic performance of the sublimely beautiful Violin Concerto by the American composer Samuel Barber.
The concerto, with its soaring melodies, poignant harmonies and spiky perpetual motion finale, was played superbly by Russian-born, London-based virtuoso Alexander Sitkovetsky (below), who received a masterful accompaniment from longtime music director and conductor Andrew Sewell and the WCO. (As an encore and change of pace, Sitkovetsky played the soulful Sarabande from the Partita No. 2 in D Minor for Solo Violin by Johann Sebastian Bach.)
Here are two very positive reviews, written by John W. Barker for Isthmus and Greg Hettmansbeger for Madison Magazine, with which The Ear agrees:
http://isthmus.com/music/dashing-brilliance-wisconsin-chamber-orchestra/
But The Ear notes this: Perhaps the most touching moment came off-stage.
As you may have heard, last October Robin Fellows died of cancer at 66. For 26 years, he had been the principal flutist of the Wisconsin Chamber Orchestra and also taught at the University of Wisconsin-Whitewater. He also played and taught at many other places.
If you went to the indoor classical Masterworks concerts by the WCO, you heard him.
And if you went to the popular summertime Concerts on the Square, you heard him.
So it was right and fitting, as they say, for the WCO to dedicate the concert to Fellows (below). Indeed, the program seemed perfect in its homage.
We heard a new principal flutist and heard lots of prominent flute playing in works by Irish composer Joan Trumble, Swedish composer Lars-Eric Larsson and especially the Symphony No. 4 by Ludwig van Beethoven.
But the most stirring tribute happened off-stage.
That is because the family gave out a FREE memorial tribute CD of 20th-century flute music – with singers, bassoonists, clarinet, harp and piano — that was played by Fellows, recorded and released in 2002.
It includes music by Aaron Copland, Walter Piston, Albert Roussel, Ernst Toch, Daren Hagen (a UW-Madison alumnus) and Vincent Persichetti.
Out in the lobby of the Capitol Theater of the Overture Center was a table with not only the new season brochures for 2016-17, but also many stacks of FREE CDs. The audience was invited to take one by a current WCO flutist and oboist.
And as you entered and left the theater, there was a large poster with a picture of Fellows and a paragraph about his life and accomplishments.
The Ear is still sampling all the pieces on the CD.
So far, it is both enjoyable and enlightening. The Ear would include a sample, but unfortunately he doesn’t see that any tracks have been uploaded to YouTube.
Still, one cannot imagine Fellows — or any musicians, for that matter — wishing for a better tribute.
The Ear says: Kudos to the Fellows family and to the Wisconsin Chamber Orchestra for providing such memorable memorials.
Tags: Aaron Copland, Albert Roussel, Alexander Sitkovetsky, Arts, Bach, Barber, Bassoon, Beethoven, cancer, CD, Cello, Chamber music, clarinet, Classical music, Compact Disc, concerto, Daren Hagen, encore, Ernst Toch, flute, Greg Hettmansberger, harp, Ireland, Irish, Isthmus, Jacob Stockinger, Joan Trumble, John W. Barker, Lars-Erik Larsson, London, Ludwig van Beethoven, Madison, Madison Magazine, memorial, Music, Music director, Oboe, Orchestra, Overture Center, partita, Piano, Robin Fellows, Russia, Samuel Barber, sarabande, singer, Sweden, Swedish, symphony, tribute, University of Wisconsin-Madison School of Music, University of Wisconsin–Madison, Vincent Persichetti, Viola, Violin, Walter Piston, Wisconsin Chamber Orchestra, YouTube
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