The Well-Tempered Ear

Classical music: The Madison Early Music Festival will present a Grand Tour of musical styles to mark its success after 20 years. The “tour” starts this Saturday, July 6, and runs through Saturday, July 13. Part 1 of 2

July 5, 2019
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By Jacob Stockinger

A big anniversary deserves a big celebration – and that is exactly what the organizers of this year’s Madison Early Music Festival (below, the All-Festival Concert in 2018) have come up with.

Co-artistic director Cheryl Bensman-Rowe recently wrote about the festival in a Q&A interview for this blog. Here is Part 1 of 2:

This summer marks the 20th anniversary of the Madison Early Music Festival. Can you briefly summarize the progress of the festival over all those years and how you – through audience size, participants, media coverage – measure the success it has achieved?

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

What can you say about where the festival will go in the coming years?

As the 20th Madison Early Music Festival approaches, we have looked back at how far we have come from 1999 when we were a little festival of 60 participants and faculty. We have grown to our current size of 140 faculty members and participants — fellow lovers of early music.

Last year, we had the largest group of participants when 120 students enrolled. MEMF now attracts students of all ages, from 18 to 91, amateurs and professionals, from all over North America and Europe.

Our success is due to the help and support of many individuals and outside organizations. We could not manage MEMF without the amazing staff at the Division of the Arts at UW-Madison. They help with everything from printed materials, website design and management, social media, grant writing, fundraising, proofreading and on-site assistance at all of our events and more.

Paul and I (below) work with Sarah Marty, the Program Director of MEMF, who keeps things organized and running smoothly throughout the year.

Also, we are grateful to our dedicated MEMF Board, donations from many individuals, grants, and the generosity of William Wartmann, who created an endowment for the festival, and after his death left an additional $400,000 for our endowment. It takes a village!

Not only have we become an important part of the summer music scene in Madison, but we have contributed to the national and international early music community. The 2019 concert series will be featuring artists from California to New York, Indiana to Massachusetts, and from Leipzig, Germany.

We hope to have many old and new audience members join us for this exciting celebration of our 20th year. For future seasons our motto is “To infinity and beyond!” as we continue to build on our past successes.

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

This year we have a new program, the Advanced Voice Intensive, which provides an opportunity for auditioned advanced singers who are interested in a capella vocal music from the Renaissance – singing sacred polyphony and madrigals to improve their skills as ensemble singers.

Twenty singers from all over the country will be joining the inaugural program to rehearse and perform music from Italy, England and Germany.

At the end of the week they will sing in a masterclass with the vocal ensemble Calmus (below) on Thursday, July 11, at 11:30 a.m. in Morphy Recital Hall. On Saturday, July 13, they will perform in a FREE concert with the popular Advanced Loud Band ensemble in Morphy Recital Hall.

Here’s the link for all the information about MEMF: https://memf.wisc.edu/

All concerts include a pre-concert lecture at 6:30 p.m. and the concerts in Mils Hall begin at 7:30 p.m. Tickets are $90 for an all-event pass; each individual concert is $22, for students $12. Tickets are available for purchase online and by phone at 608-265-ARTS (2787) with a $4 service fee, or in person at the Campus Arts Ticketing Box Office @ Memorial Union.

We also have two Fringe Concerts this year featuring new vocal ensembles from Wisconsin. On Monday, July 8, at 7 p.m. at Pres House, Schola Cantorum of Eau Claire (below), a 12-voice ensemble directed by UW-Madison graduate Jerry Hui, will perform “Mystery and Mirth: A Spanish Christmas.”

And on Wednesday, July 10, at 7 p.m. at Luther Memorial Church, 1021 University Avenue, the Milwaukee-based Aperi Animam (below) perform “Libera Nos,” a program of sacred vocal music.

The Fringe Concerts are FREE with donations accepted at the door.

Why was the theme of “The Grand Tour” chosen for the festival? What is the origin of the conceit, and what major composers and works will be highlighted?

We decided to celebrate the 20th anniversary by choosing a theme that would be broader than previous years and portray what people might experience when they are 20 years old – traveling abroad on a gap year.

We were also inspired by Englishman Thomas Coryat, aka “The First Tourist.” He published his travelogue Crudities in 1611, an amusing and thorough account of his five months of travel throughout Europe. This tradition of the Grand Tour of Europe continued through the 17th and 18th centuries, especially when wealthy young aristocrats finished their formal schooling.

Several of the concert programs this summer feature quotes from different travelogues, including Coryat’s, as an organizational concept. If you search all over Europe, you find an American at Versailles learning courtly manners, and a fictional Englishman, born in 1620, sending postcards from the Grand Tour.

We will also have a stop at Notre-Dame Cathedral in Paris with the silent film version of The Hunchback of Notre-Dame, and a musical tour of sacred vocal music and madrigals. This theme allowed us to include music from many different time periods from all over Europe — a rich Grand Tour of musical offerings!

The opening concert on this Saturday, July 6, features Dark Horse Consort returning to Madison with Wanderlust, their newly created program for MEMF’s Grand Tour theme.  The program follows the misadventures of an English gentleman as he embarks on a continental Grand Tour adventure in search of love and fulfillment.

Our hero’s travelogue includes springtime consort songs by Alfonso Ferrabosco and William Byrd; Erasmus Widmann’s beguiling German dances dedicated to women; the wooing songs of the Italian gondolier; and sultry Spanish airs.

On Sunday, July 7, Alchymy Viols (below) performs “American at Versailles,” an original ballet masque of French baroque music, dance and drama written and choreographed by Sarah Edgar, featuring Carrie Henneman Shaw, soprano; Sarah Edgar, director and dancer; and guest soprano Paulina Francisco. The American on the Grand Tour encounters the exotic world of French baroque manners, dress, dance and love.

TOMORROW: Part 2 explores the rest of the festival next week, including a rare book exhibit and the All-Festival finale on Saturday night


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Classical music: The Mendota Consort’s outstanding concert of music by the early Baroque master Johann Schein left one wanting more of both the music and the singers

July 25, 2018
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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. He also took the performance photographs.

By John W. Barker

The Mendota Consort is to some extent a spin-off of the Madison Early Music Festival, first in 2017 and now this year.

Its membership has been shifting, though the versatile Jerry Hui has been a cornerstone, and the drive for its continuity has been the work of Maya Webne-Behrman.

The group’s concert at Luther Memorial Church on last Saturday night was the last of three performances given around the state. There are plans for several concerts in the season ahead, around the country, despite the members’ diverse and far-flung individual residences.

The group performing this latest program are five singers. As shown in the photograph below, they are (from left): sopranos Webne-Behrman and Chelsie Propst; bass Matt Chastain, alto Hui, and tenor Drew Ivarson.

Their program for these current concerts was devoted to selections from the collection Fontana d’Israel, or Israel’s Brünnlein, published in 1623 by Johann Hermann Schein (below, 1586-1630), one of the important composers of the early German Baroque, and a distant predecessor of Johann Sebastian Bach in his position in Leipzig.

The collection’s title is conventionally translated as the “Fountain of Israel” but might also be rendered as “Israel’s Wellspring.” It consists of 26 relatively short pieces setting texts that the composer selected from various books of the Old Testament, texts with messages both personal and communal between Jehovah and His Chosen People.

These five-voice pieces — with optional basso seguentefor organ — might readily be construed as choral works in the post-Renaissance polyphonic style. But that would be a mistake, for the publication’s long subtitle stipulates that these are “in a special, graceful Italian manner.”  In other words, they are madrigals, not motets. (You can hear a sample in the YouTube video at the bottom.)

They show a German composer learning particularly from Claudio Monteverdi, constantly using his early trick of turning the five-voice writing into exchanges between two “trios,” consisting of Soprano-Soprano-Alto against Alto-Tenor-Bass, with the alto voice singing in both.  (So Jerry Hui never got any rest!)

The clever part-writing deserves to be heard with absolute clarity. And that is what these five singers gave us, with admirably precise German diction as well. They performed only nine selections from the full 26, effectively only one hour’s worth of music, but demanding the most disciplined part-singing, which can be very tiring for the vocalists.

This seemingly short program left one craving more, but it was a beautiful treasure in itself. It makes one hope earnestly for the Mendota Consort to continue to flourish and mature — and to return to Madison as soon as possible.


Classical music: Early music group Eliza’s Toyes offers a fascinating exploration of the role of music in medicine from Medieval though Baroque times.

May 24, 2015
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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, who also took the performance photos. 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 for 12 years hosted an early music show every other Sunday morning on WORT FM 89.9 FM. He serves on the Board of Advisors for the Madison Early Music Festival and frequently gives pre-concert lectures in Madison.

John-Barker

By John W. Barker

Eliza’s Toyes (below top), the consort of voices and instruments devoted to early music, is led by the formidably talented Jerry Hui. The group gave another of its imaginative programs, this time on Friday night at the Wisconsin Institutes for Discovery (below bottom).

eliza's toyes 2015

WID_extr11_1570

The theme and title of this program was “Music: The Miracle Medicine.” Offered were 15 selections, conveying various ideas or beliefs about health (both physical and spiritual), illness, medicine, miracle cures and good living.

Toyes medicine motet JWB

Each selection was preceded by the reading of passages from moral and medical texts of various periods. (I wonder if today’s medical and health-advice writings will sound as comical generations from now as do those of the past to us!)

Toyes medicine physician JWB

Fifteen composers were represented in the course of the program, from Medieval through Baroque: Hildegard von Bingen (below top, 1098-1179), Alfonso El Sabio (1221-1284), Thomas Tallis (1505-1585), Cipriano da Rore (1516-1565),Hubert Waelrant (1515-1595), Orlando di Lassus (1532-1594), William Byrd (1540-1623), Lelio Bertani (1553-1612), John Wilbye (1574-1638), Gabriel Bataille (1575-1630), Melchior Franck (1579-1639), John Maynard (15??-16??), Anonymous 17th-Century (2 items), Marin Marais (1656-1728) and John Eccles (1668-1735).

ST. HILDEGARD OF BINGEN DEPICTED IN ALTARPIECE AT ROCHUSKAPELLE IN GERMANY

The selections were mostly vocal, either solo or ensemble. One instrumental selection stood out as probably the one most likely to be familiar: Marin Marais’ excruciatingly detailed “Representation of the Operation for Gallstone” (below top is Marais, below bottom is the introduction to his work) — complete with narrative headings for each section. (You can hear the narration and the music to the unusual piece in a YouTube video at the bottom.)

Marin Marais 2

Toyes medicine Marais operation JWB

The performances were earnest and often accomplished. But it must be said in honesty that, in motets and madrigals, the vocal ensemble was not balanced or smooth — the singers clearly need to live with this kind of musical writing somewhat longer. Still, the overall effect was certainly entertaining and thematically fascinating.

Toyes medicine motet 2 JWB

There were no printed programs, but the titles and text translations were projected on a background screen. These projections were fully visible and readable, so they worked well.

Toyes medicine projection JWB

This is a program that will be offered again, I understand, at the Chazen Museum of Art on July 15, so that it can be caught and savored once more.

Above all, it is one more tribute to the thoughtful, deeply researched and intriguing program skills of Jerry Hui (below).

Jerry Hui

 


Classical music: The early music group Eliza’s Toyes will explore music as medicine in a concert this Friday night at the Wisconsin Institutes for Discovery.

May 18, 2015
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By Jacob Stockinger

The Ear’s friend Jerry Hui –- a supremely talented individual and graduate of the University of Wisconsin-Madison School of Music who performs, composes and teaches at UW-Stout – sends the following word:

The Madison-based early music group Eliza’s Toyes (below top) has a concert this Friday night, May 22, at 7:30 p.m. at the Wisconsin Institutes for Discovery (below bottom). The concert is titled “Music: The Miracle Medicine.”

eliza's toyes 2015

WID_extr11_1570

Here is an introduction to the program:

“Rediscover the integral role of music as the restorer of health in the early days of medical science during the Medieval, Renaissance and Baroque periods.

“Music has been an integral part of our wellbeing. To this date, many listen to music for its power in relaxation, excitement, and even catharsis. The development of music therapy as a medical profession, as well as increasing research in the physiological and psychological effects of music, signifies our ongoing interest to understand and utilize music.

“As scientists continue to examine music in a utilitarian light, it is worthwhile for us to rediscover how human beings have historically viewed music and its connection with health.”

music and medicine clef

Tickets will be available at the door: $15 for the general public and $10 for students.

Here is the program, which is organized by theme, and which include singing i English, Latin, French, German and Spanish:

CONCERNING THE FOUR HUMORS

Vos flores rosarum  — Hildegard von Bingen (below top, 1098-1179)

Descendi in hortum meum — Cipriano de Rore

Absterge Domine (1575) — Thomas Tallis (1505-1585)

Turn Our Captivity (1611) — William Byrd (below bottom, 1540-1623)

ST. HILDEGARD OF BINGEN DEPICTED IN ALTARPIECE AT ROCHUSKAPELLE IN GERMANY

William Byrd

MIRACLES AND REMEDIES

Tantas en Santa María — (Cantigas de Santa Maria)

In principio erat Verbum (1566) — Orlando di Lassus (below, 1532-1594)

Caecus quidam (1558) — Hubert Waelrant (1518-1595)

Gehet hin und saget Johanni wieder — Melchior Franck (1579-1639)

Orlando di Lasso

PRACTICING MEDICINE

Le Tableau de l’Opération de la Taille (1725) — Marin Marais (below, 1656-1728; you can hear the piece, with a narration in French, in a YouTube video at the bottom)

Qui veut chasser une migraine — Gabriel Bataille

The nurse’s song — (Pills to Purge Melancholy)

A Wonder: The Physician — John Maynard

Marin Marais 2

GOOD HEALTH THROUGH GOOD LIVING

Chloe found Amyntas lying — (Pills to Purge Melancholy)

My fair Teresa — (Pills to Purge Melancholy)

O Sonno / Ov’e’l silenzio — Marco da Gagliano (1582-1643)

Cara mia Dafne — Lelio Bertani (1553-1612)

Sweet honey sucking bees — John Wilbye (1574-1638)

John Wilbye


Classical music: Music by four Wisconsin composers will be sung by the Festival Choir of Madison this coming Saturday night at the First Unitarian Society.

March 3, 2015
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By Jacob Stockinger

This Saturday night at 7:30 p.m. at the First Unitarian Society of Madison, the Festival Choir of Madison (below) will perform a program of music called “Wisconsin Sings!”

Festival Choir of Madison at FUS

The concert features new and recent works by four composers with strong Wisconsin ties.

The program includes:

“Four Mystical Poems” by Eric William Barnum (below).

Eric William Barnum

“The Night Has a Thousand Eyes” and “Make Me a Dream” (a world premiere finished just a few weeks ago) by Jerry Hui (below), a UW-Madison School of Music graduate who now teaches choral music at UW-Stout and who also performs early music with the Madison-based group Eliza’s Toyes.

Jerry Hui

“Under Your Feet” and “And Dream Awhile” by Blake Henson (below).

blake henson

Adoramus Te, Sanctus Parvulus” by Zach Moore (below)

Zach Moore horizonital

There will be a pre-concert Lecture at 6:30 p.m.

Ticket prices are $9 for students, $15 for general admission and $12 for seniors.

Tickets are available at the door or at: http://festivalchoirmadison.org/Season1415/tickets.htm

Here is the origin of the program, as the choir director Bryson Mortensen (below), who also teaches at the UW-Rock County, explains it:

Bryson Mortensen (1)

“A few years ago, I attended a conference in the Twin Cities where there was a concert composed entirely of pieces by living Minnesota composers.

“After leaving the concert, I thought, “surely Wisconsin could do the same!”

“Since then I have been digging up pieces and meeting composers in Wisconsin who could contribute works to the program.

“After all these years, we have put together a concert that presents the music of four composers who live in, have studied in or come from Wisconsin.

“From the nationally and internationally recognized music of composers like Blake Henson, Jerry Hui and Eric William Barnum to the young and blossoming composer Zach Moore, the concert presents a variety of styles and moods that make for a great evening together.”

For more information about the Festival Choir of Madison, here is a link to the choir’s homepage:

http://festivalchoirmadison.org

In the YouTube video below, you can hear the Festival Choir of Madison singing the Low Mass by French composer Gabriel Fauré:

 


Classical music: This weekend brings concerts of wind music; old and new music for Baroque flute; and early songs about money and poverty.

April 25, 2014
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By Jacob Stockinger

This weekend brings us three big events: two performances by the Madison Opera of Jake Heggie’s opera “Dead Man Walking” (Friday night at 8 p.m. and Sunday afternoon at 2:30 p.m.); a one-time performance of Sergei Rachmaninoff’s rarely heard a cappella “Vespers” by the University of Wisconsin-Madison Choral Union on Saturday night at 8 p.m.; and pianist Ryan McCullough in Ludwig Beethoven’s last three piano sonatas at Farley’s House of Pianos on Saturday night at 8 p.m.

But there are smaller concerts for you to consider too, some of which do not conflict with the others.

WIND MUSIC

Tonight, Friday night, at 7:30 p.m. in Mills Hall, the UW Wind Ensemble (below, in a photo by Katherine Esposito), under director and conductor Scott Teeple, will perform a FREE concert.

UW Wind Ensemble Katherine Esposito

The program include “Profanation” by Leonard Bernstein, arranged by Bencriscutto; 
”Concerto for Wind Percussion and Wind Ensemble” by Karel Husa; 
”Colonial Song” by Percy Grainger “Raise the Roof” by Michael Daugherty; and
”Symphony in Three Movements” by retiring UW tubist and composer John Stevens (below).

John Stevens

NEW MUSIC FOR BAROQUE FLUTES

On Saturday from noon to 1 p.m., the FREE concert series Grace Presents will present “New and Historic Music for Baroque Flute” with flutist Millie Chang (below) and others.

Millie Chang

The concert is designed to be a refreshing break, a parenthesis in time and task, from the Dane County Farmers’ Market, which has started up again. Audiences are invited to bring lunch or food.

dane county farmers' market

The venue is the lovely and acoustically resonant Grace Episcopal Church (below are exterior and interior views), at 116 West Washington Avenue, down on the Capitol Square.

grace episcopal church ext

Grace Episcopal harpsichord

Some of Madison’s most talented classical instrumentalists will perform the short but unique recital for baroque flute featuring compositions spanning three centuries.

Performers include Millie (Mi-Li) Chang and Danielle Breisach (below top), Baroque flute; UW-Madison professor Stephanie Jutt, modern flute; UW-Madison professor John Chappell Stowe, harpsichord; and Eric Miller (below bottom), viola da gamba. 

Danielle Breisach

Eric Miller viol

Here is the specific program: David MacBride: “Shadow” for two baroque flutes (1993); Robert Strizich: “Tombeau” for baroque flute and harpsichord (1982); François Couperin, “Concert Royal” No. 2 in D major (1722), which can be heard in a YouTube video at the bottom; University of Wisconsin-Madison School of Music composer Stephen Dembski (below top), “Gits and Piths” for modern and baroque flutes (2014); UW-Madison bassoonist, conductor and composer Marc Vallon (below bottom), “Ami” (2014); and Johann Sebastian Bach: Sonata in B minor for baroque flute and harpsichord, BWV 1030 (1736-37).

For more information, visit www.gracepresents.org

Stephen Dembski

Vallon,M

WOODWIND QUINTET

The fourth concert of the Kat Trio Chamber Music Series features the Veldor Woodwind Quintet. The concert will take place in Memorial United Church of Christ, 5705 Lacy Road, Fitchburg on Saturday night, April 26, 2014 at 7 p.m.

There will be 30-minute Q&A session before the performance.

Suggested donation: $10 adults and $5 students.

Member of the Veldor Woodwind Quintet (below) are: Barbara Paziouros Roberts (flute), Andy Olson (oboe), Joe Kania (clarinet), Brad Sinner (horn), and Brian Ellingboe (bassoon). They combine educational backgrounds in music performance from the Eastman School of Music, DePaul University, Lawrence University, Luther College, and the University of Wisconsin-Madison School of Music with many years of performing experience both locally and abroad.

Now in their fifth year, the Veldor continues to entertain audiences with its dynamic performances of standard and non-traditional repertoire alike.

For additional information, visit www.thekattrio.net/chamberseries

Veldor Woodwind Quintet

EARLY MONEY SONGS

Then on Sunday, April 27, at 2 p.m., at the Mount Olive Lutheran Church, 110 North Whitney Way, the early music group Eliza’s Toyes (below) is performing a program titled “Toss The Pot: Songs About Money, or the Lack Thereof.”

Eliza's Toyes 2012 2

Writes founder singer and conductor Jerry Hui (below): “Through songs from the Medieval, Renaissance and Baroque period, we sing about the age-old problem of money, people’s desire for it, as well as things that are even more precious. There’ll be a “sermon of money” from “Carl Orff’s “Carmina Burana”; selection from Palestrina’s “Canticum Canticorum”; a song by Orlandi di Lassus about hungry musicians stealing food; chansons by Josquin des Prez, Sermisy and Le Jeune; and many more.”

Tickets are $15.

Jerry Hui

 

 

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Classical music: Critic John W. Barker says Eliza’s Toyes impressively surveyed early British music while exploring the religious shift from Latin Catholicism to English Anglicanism. Plus, acclaimed Italian conductor Claudio Abbado dies at 80.

January 21, 2014
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NEWS: As you have probably heard by now, the acclaimed Italian conductor Claudio Abbado (below) has died at 80. Here are links to some stories about this maestro who had such a varied and prolific career:

The New York Times

http://www.nytimes.com/2014/01/21/arts/music/claudio-abbado-italian-conductor-dies-at-80.html?_r=0

The Washington Post:

http://www.washingtonpost.com/local/obituaries/claudio-abbado-age-italian-conductor-who-led-european-orchestras-into-modern-era/2014/01/20/d23c267c-30f7-11e3-8627-c5d7de0a046b_story.html

Claudio Abbado

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 every other Sunday morning on WORT FM 89.9 FM. He serves on the Board of Advisors for the Madison Early Music Festival and frequently gives pre-concert lectures in Madison.

John-Barker

By John W. Barker

It was a great pity that no more than 25 people turned out at the Gates of Heaven on Sunday afternoon for the latest program offered by Jerry Hui’s early-music group, Eliza’s Toyes (below, inside Gates of Heaven).

His program this time was a post-Christmas survey of English sacred music. The range of material ran from late-Medieval three-voice pieces through composers of the early 17th century, adding up to 13 selections in all.

Toyes in Gates - 2

This is the kind of music most regularly performed by a choir of some or another size, sometimes of mixed voices, sometimes in the British-cathedral style of all-male voices, with boys on the upper parts.

Hui (below) fielded a consort of six singers (three female, three male), so that each item was sung one singer per part — with a couple cases of a little doubling, I believe. While the result favored clarity against sonority, it must be said that, in certain full-textured items, some very lovely sonority was achieved.

Jerry Hui

My principal reservation was that the ordering of the program seemed aimed at a smooth variety of sounds, rather than at a demonstration of the momentous changes in English sacred composition. The key to those changes was the liturgical shift in the Anglican Reformation from motets setting traditional Latin texts to the new anthems with English texts.

The shift could be noted in the dominant composer of the program, the great William Byrd (1540-1623, below), represented by two Latin motets, and then an English anthem. “Sing joyfully”, which served as the dazzling finale (see the YouTube video at the bottom).

William Byrd

Byrd’s teacher, and then partner, Thomas Tallis (below), likewise spanned the reforming shifts, but was heard in one Latin motet, “O scrum convivium”, and a gorgeously harmonized Latin hymn, “O nata lux de lumina”. Earliest in the pre-Reformation lineup was Robert Fayrfax (1464-1521), whose five-voice setting of the Magnificat was in the traditional alternatim setting (odd-numbered verses of the canticle sung in chant, the even-numbered ones set polyphonically).

Thomas Tallis

On the other hand, a poignant victim of the Reformation was Peter Philips (1560-1628, below), a staunch Roman Catholic who fled his homeland for a successful career in Catholic music on the Continent. His five-voice “O beatum et sacrosanctum Deum” made a noble closer to the first part of the program.

Peter Philips

As for the Anglican, English-language composers, besides the case of Byrd, and besides the 15th-century para-liturgal songs, we had a rousing anthem by Christopher Tye (1505-1573, below top), “A sound of angels,” and, finally, a six-voice secular piece, “Music divine”, by the last survivor of the great era of Tudor music, Thomas Tomkins (1572-1656, below bottom).

christopher tye bw small

Thomas Tompkins

The six singers who have been making up Eliza’s Toyes have settled into a beautifully balanced and smooth ensemble. They listen to, and sing in sync with, each other. There is nothing else like them, as a continuing performing group for early sacred ensemble music in Madison. Although he is a UW-Madison graduate who now teaches at University of Wisconsin- Stout, Hui has kept up his association with the group, convinced of its need for continuity.

It is one more of those blessings that make Madison’s musical life so wonderfully rich!

 

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Classical music: The early music group Eliza’s Toyes celebrates winter this weekend with two performances of Medieval and Renaissance British vocal music.

January 14, 2014
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By Jacob Stockinger

The Madison-based early music group Eliza’s Toyes (below) will be performing British sacred choral music from the Medieval and Renaissance eras in two performances – one FREE and one with admission — this coming weekend.

Eliza's Toyes 2012 1

Here is a press release from the group:

“Titled “A British Winter,” the performances will take place on Saturday, Jan. 18, at 7:30 p.m. at the Chocolaterian Café, 2004 Atwood Ave.; and again on Sunday, Jan. 19, at 4 p.m. at the historic Gates of Heaven Synagogue (below), 302 East Gorham Street in James Madison Park.

Admission is free on Saturday at the Chocolaterian; tickets are $15 ($10 for students) on Sunday, sold at the door.

For more information about the concert, please visit the website of Eliza’s Toyes at toyes.info, or its Facebook page at facebook.com/elizastoyes.

Gates of Heaven

In this program, Eliza’s Toyes revisits its founding mission of a cappella early music. The musicians who will perform are sopranos Deb Heilert and Chelsie Propst; Sandy Erickson, alto; Peter Gruett, alto/tenor; Jerry Hui (below), tenor/bass; and Mark Werner, baritone.

Jerry Hui

A vocal sextet will perform music with Latin and English text composed by William Byrd, Robert Fayrfax, Peter Phillips, Thomas Tallis, Thomas Tomkins, and Christopher Tye. A few anonymous pieces likely of British origin are also included.

The choice of composers spans at least 200 years, and highlights the development of polyphonic British music. Tallis (below) in his early age took works of Fayrfax as a model for his own Latin sacred music; Byrd studied with and worked for Tallis; and both Tomkins and Philips were students of Byrd’s.

Thomas Tallis

Here is the complete program of “A British Winter”:

Anon.: Regina caeli (chant)

Anon.: Regina caeli à 3

William Byrd (1540-1623): Memento salutis auctor

Byrd: O magnum mysterium (sung in a YouTube video at the bottom)

Robert Fayrfax (1464-1521): Magnificat “O bone Jesu”

Peter Philips (1560-1628): O beatum et sacrosanctum Diem (1612)

Thomas Tallis (1505-1585): O sacrum convivium (1575)

Christopher Tye (1505-1573): A sound of angels

Tallis: O nata lux (1575)

Thomas Tomkins (1572-1656): Music Divine (1622)

Anon.: Tidings True

Anon.: There is no rose

Byrd: Sing Joyfully (1641)

Among the selection of music is a rarely heard piece, Magnificat “O bone Jesu” by Fayrfax. Likely composed around 1500-1502, it is a setting of Magnificat text whose musical material is based on Fayrfax’s own motet (survived only in fragments). The piece is a fine example of English choral music of its time: polyphonic settings are only written for the even verses, while the odd verses remain as plainchant; and much of the piece features a trio texture, with intricate rhythmic interactions among voices.

Eliza’s Toyes is a Madison-based early music ensemble specialized in performing vocal and wind music from before 1700. Its creative concert programs often feature geographical or narrative themes, partnering with both music and non-music academic fields. Now in its fifth season, Eliza’s Toyes has been performing at least twice a year, in various venues including UW-Madison Memorial Library, the Chazen Museum of Art, and the Gates of Heaven. It has also been featured on Wisconsin Public Radio’s “Sunday Afternoon Live from the Chazen” concert series.

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Classical music: The Madison Choral Project celebrates the holidays and the winter solstice with “A Light in the Darkness” concert this Saturday night.

December 19, 2013
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By Jacob Stockinger

The recently formed Madison Choral Project (below) will perform “A Light in the Darkness” concert this Saturday night at 7 p.m. in the First Congregational Church, 1609 University Ave., that features traditional holiday music combined with secular pieces focusing on the theme of light and darkness to mark the winter solstice — which falls on the same Saturday.

Madison Choral Project color

Perhaps Madison’s newest choral ensemble, the Madison Choral Project, is a fully professional 17-voice ensemble, under the direction of Dr. Albert Pinsonneault (below), who teaches and conducts at Edgewood College. You can hear the new choral group performing a work from Felix Mendelssohn‘s oratorio “Elijah” live in a concert this past May in a YouTube video at the bottom.

Albert Pinsonneault 2

MCP is a professional chamber choir dedicated to bringing international-caliber choral performances to southern Wisconsin.

Along with spoken texts, narrated by Noah Ovshinsky (below), assistant news director of Wisconsin Public Radio, the evening weaves together an eclectic range of old and new designed to be both balm and hope, joy and inspiration, on the darkest day of the year, December 21, the Winter Solstice.

Noah Ovshinsky

A world premiere performance (of a work by David Evan Thomas, below (will be featured among favorite composers such as Herbert Howells, Henry Purcell, Charles Ives, Sergei Rachmaninoff, and Moses Hogan. (Update: The world premiere of a new work by Madison composer Jerry Hui has been taken off the program.)

Tickets are $20 general admission and $5 for students (with valid ID), and can be purchased online at www.themcp.org or at the concert.

David Evan Thomas

The program, arranged into four groups, includes:

Long, Long Ago (Herbert Howells)
; Silent Night (arr. Malcolm Sargent); 
Angels We Have Heard on High (arr. Matthew Culloton)
; Hear My Prayer (Henry Purcell); 
The Celestial Country: Double Chorus A Cappella (Charles Ives)

Prepare the Way (arr. Margareta Jalkeus); A Christmas Carol (Charles Ives)
; In Dulci Jublio (arr. Matthew Culloton); Jingle Bells (arr. David Moore)

“From Light to Light: Earth” by J. Aaron McDermid; and the 
WORLD PREMIERE of “Confirmatum est” by David Evan Thomas.

Go and Tell John (arr. Carolyn Jennings)
; Liturgy of St. John Chrysostom Op. 31, No. 12 “We Hymn Thee” (Sergei Rachmaninoff); This Little Light of Mine (arr. Moses Hogan)
; Glory, Glory, Glory to the Newborn King (arr. Moses Hogan)

 


Classical music: Wisconsin Public Radio’s weekly chamber music and recital series “Sunday Afternoon Live From the Chazen” Museum starts its next season this coming Sunday from 12:30 to 2 p.m. with the early music group Eliza’s Toyes. As always it will be broadcast statewide and on WERN FM 88.7 in the Madison area.

September 6, 2013
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By Jacob Stockinger

This coming Sunday, Sept. 7, Wisconsin Public Radio will once again do live broadcasts of a new season of weekly chamber music and recital series from the Elvehjem Building of the Chazen Museum of Art on the University of Wisconsin-Madison campus. The concert take place from 12:30 to 2 p.m. In the Madison area, tune into WERN 88.7 FM.You can also hear it live-streamed at www.wpr.org

SAL3

Because of technical difficulties in redesigning its web page, WPR has not yet listed a calendar for the year or even the first semester. But once it is posted, I will tell you and provide a link.

In the meantime, here is a notice I got from Jerry Hui, a UW-Madison graduate and a Madison-based composer, conductor and performer.

Jerry Hui

Hui writes:

“Just want to send you a reminder that our early music group Eliza’s Toyes (below) will be the first concert of the season on Sunday Live From the Chazen this Sunday, 12:30-2 p.m.

Eliza's Toyes 2012 2

“We are performing our comedy show “Casino Royale” as a radio story, narrated by WPR host Lori Skelton (below).

Lori Skelton

The featured music is all from Venice around early 17th century, including works by Rossi, Monteverdi (below), Gabrieli, Baccusi, Uccellini, and Rigatti.”

Monteverdi 2

Below is the description and text from the Chazen website – www.chazen.wisc.edu — with links that should work soon. It has details about reserving seats, performance times and places, intermission interviews and podcasts.

There is also usually a small and informal cookies and coffee or tea reception (below) after the concert, so audience members can get to meet the musicians.

SAL snacks

SAL, as the series is known, is one of The Ear’s favorite events. It is free, and it reaches the biggest classical music audience in the state. It allows you to become acquainted with performers and repertoire you might not otherwise get to know. And it gives you the chance to hear live music while you also view the terrific permanent collection and touring art shows.

SALmicrophone sign

In short, “Sunday Afternoon Live” embodies the very kind of high-quality populism and accessibility that makes Madison and its cultural life so attractive.

Sunday Afternoon Live from the Chazen

Sunday Afternoon Live from the Chazen is a weekly chamber music concert performed in the museum’s Brittingham Gallery III on Sunday afternoons from September through mid-May. Performances begin at 12:30. The gallery seats approximately 100 people; admission is free and first-come, first-served. Please note that Gallery III and the adjacent Gallery II are closed on Sunday before the performances for setup and rehearsal.

Members of the Chazen Museum or Wisconsin Public Radio may reserve seats ahead of time. The concert series, which is co-sponsored by Wisconsin Public Radio and the Chazen Museum of Art with the collaboration of UW–Madison School of Music, features Wisconsin artists and is broadcast live throughout the state on public radio stations.

See our calendar or the WPR program page for concert listings.

Listen to concert intermission interview podcasts led by museum director Russell Panczenko.

To reserve your seats please fill out our seat reservation form and a staff member will contact you.

Here’s to enjoyable listening whether at the museum, in your home, your car or elsewhere.

It is the perfect way to spend a Sunday afternoon.

SALProArteMay2010


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