The Well-Tempered Ear

Classical music: Prodigy violinist Julian Rhee performs a recital of Bach, Beethoven and others in Spring Green on Monday night

June 24, 2017
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By Jacob Stockinger

The Ear has received the following announcement from the Rural Musicians Forum:

“His performance knocked our socks off.”

That remark came two years ago from the Wisconsin Chamber Orchestra about the competition performance by violinist Julian Rhee (below, at 14) with the orchestra. This February he played the entire Violin Concerto by Johannes Brahms with the WCO.

Then in March, Rhee (below at 16) won first place in the Madison Symphony Wisconsin Young Artists Final Forte competition with his brilliant performance of the first movement of Peter Tchaikovsky’s virtuosic Violin Concerto in D Major. And that is just 2017!

Now 16 and a junior at Brookfield East High School, Julian Rhee has been winning violin competitions almost every year since he was 7.

And he has received accolades to match, such as this quote from classical music blog The Well Tempered Ear: “What makes Rhee so outstanding is that the level of his musicality matches his high technical mastery.” (You can hear him talk about himself and his playing in the YouTube video at the bottom.)

His recital on this coming Monday night, June 26, at 7:30 p.m. in Spring Green will feature beautiful works by Johann Sebastian Bach, Ludwig van Beethoven, Henryk Wieniawski and Eugene Ysaye. (Sorry, no word on specific works.)

He will be performing at Taliesin’s Hillside Theater (below), at Frank Lloyd Wright’s Taliesin compound in Spring Green.

This will be the second concert of the Rural Musicians Forum 2017 Summer Series, “Beautiful Music in a Beautiful Space.”

A free-will donation will be requested.

The Hillside Theater is located at 6604 County Highway 23, in Spring Green.

Don’t miss this concert. You’ll be able to say, “I heard him before he became famous!”

For more information about the Rural Musicians Forum, go to: http://ruralmusiciansforum.org


Classical music: The third and final week of the Bach Dancing and Dynamite Society’s 26th season offers vocal music, four-hand piano music and instrumental chamber music of four centuries plus a Midwest premiere

June 22, 2017
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By Jacob Stockinger

Building on the success of the past two weekends and previous four programs, the Bach Dancing and Dynamite Society chamber music festival, which features top local and guest performers, concludes its season this weekend with a typically eclectic mix of vocal and instrumental music that ranges from the late 18th century up to today, including a Midwest premiere.

As usual, the BDDS venues are suitably intimate for chamber music: The Playhouse (below top) at the Overture Center at 201 State St.; the jewel box historic Stoughton Opera House (below middle) at 381 East Main St.; and Frank Lloyd Wright’s Hillside Theater (below bottom) at Taliesin on County Highway 23 in Spring Green.

Concerts are spiked with stories about the music, mystery guests and even door prizes.

This season’s theme is Alphabet Soup, because it’s BDDS’ 26th year and there are 26 letters in the alphabet. Each program is named after a combination of letters used in everyday language. Sometimes the musical interpretation of those letters is literal and sometimes it’s quite loose.

The final weekend of concerts welcomes back audience favorites Hye-Jin Kim, violin; Ara Gregorian, viola; Randall Hodgkinson, piano (below top); and Timothy Jones, bass-baritone (below bottom).

They are joined by the acclaimed local violinist Soh-Hyun Park Altino (below top), a new member of the UW-Madison music faculty, and by Madison Symphony Orchestra cellist Madeleine Kabat (below bottom, in a photo by Christian Steiner), who is filling in for UW-Madison professor and Pro Arte Quartet cellist Parry Karp, who has sustained a finger injury.

“Cs the Day” includes the Midwest premiere of “Cool Fire” for flute, string quartet and piano by Paul Moravec (below), and Mozart’s  “Coronation Piano Concerto” arranged for the entire ensemble.

Timothy Jones will be featured in the song cycle, “Let Us Garlands Bring” by Gerald Finzi. These are settings of carpe diem poems of Shakespeare. (Carpe diem is Latin for “seize the day” = “Cs the Day”— get it?) You can hear the songs in the YouTube video at the bottom.

At the center of this program is Carl Czerny’s Sonata in C minor for piano four-hands. BDDS will suspend a camera over the keyboard so the audience can see how the hands of the pianists cross and interlock throughout this virtuosic masterpiece. (Below is a view of a similar set up six seasons ago.)

Cs the Day will be performed at The Playhouse, Overture Center for the Arts on Friday, June 23, at 7:30 p.m.; and Spring Green at the Hillside Theater, Sunday, June 25, at 2:30 p.m. 

The final program of the season, “R&B,” features “Rounds for Robin, a short work by Kevin Puts (below top) for flute and piano written in memory of comedian Robin Williams, and the Flute Quintet in G minor by Luigi Boccherini (below bottom).

The “Santa Fe Songs” for baritone and piano quartet by Ned Rorem (below, in a photo by Christian Steiner) features the mesmerizing voice of Timothy Jones in one of the great American song cycles.

The 26th season concludes with Johannes Brahms’ towering Piano Quintet in F minor.

R&B will be performed at The Playhouse, Overture Center, Madison, on Saturday, June 24, at 7:30 p.m.; and Spring Green at the Hillside Theater, Sunday, June 25, and 6:30 p.m. 

Photos by Dick Ainsworth of BDDS performances and behind-the-scenes will be on exhibit in The Playhouse through Sunday, July 9.

Single general admission tickets are $43. Student tickets are always $10.

For tickets visit: http://www.overture.org/events/bach-dancing

For more information about the programs, performers, performances and background, visit www.bachdancinganddynamite.org or call (608) 255-9866.

Tickets can also be purchased at Overture Center for the Arts, (608) 258-4141, www.overturecenter.org (additional fees apply).

Tickets are also available at the door at all locations.


Classical music: The Bach Dancing and Dynamite Society offers an clever program that mixes outstanding performances of “primitivistic” modern music with rarely heard cabaret songs

June 19, 2017
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By Jacob Stockinger

This review is by guest contributor Kyle Johnson (below), who also took the performance photographs. As a pianist since elementary school, Kyle Johnson has devoted most of his life to music. Born and raised in Lexington, Kentucky, he is now a doctoral candidate in piano performance at the UW-Madison, where he studies with Christopher Taylor and specializes in modern and contemporary music. He participates in many festivals and events around the U.S. and Europe. Recently, he co-founded the Madison-based ensemble Sound Out Loud, an interactive contemporary music ensemble. For more information, visit: www.kyledjohnson.weebly.com

By Kyle Johnson

If the rule of real estate is “location, location, location,” perhaps the rule for concert planning is “programming, programming, programming.”

Until the finale of Friday night’s Bach Dancing and Dynamite Society performance, the directors lived up to that mantra.

The first half of the program was primarily devoted to greats of the modernist chamber music repertoire: Chansons madécasses (Madagascan Songs) by Maurice Ravel (1875-1937) and the Contrasts by Bela Bartok (1881-1945).

For the former, Emily Birsan, a Chicago-based soprano who was educated at the UW-Madison, provided a dynamic, sensuous rendition even in the score’s most economical, lithe moments.

At the end of the work, Ravel’s inclusion of piccolo (played by Stephanie Jutt) and cello harmonics (played by Jean-Michel Fonteneau at a much higher than the fingered pitch) created an evocatively primitive effect, as the songs detail life in newly colonized Madagascar

The final line of the piece, “The evening breeze rises; the moon begins to shine through the trees of the mountain. Go, and prepare the meal,” received nervous chuckles from several audience members.

(You can hear the Ravel songs performed by Christa Ludwig in the YouTube video at the bottom.)

The effect was also a transition to the Contrasts (1938), a trio for clarinet, violin and piano that was commissioned by jazz great Benny Goodman. As the title aptly describes, the three-movement work cycles between jovial, intense and playful moods.

Most striking in this rendition — played by Axel Strauss on violin, Alan Kay on clarinet and Christopher Taylor on piano (below) — was the second movement, entitled “Relaxation.” Moments of hushed and moody tones created an atmosphere that historians have referred to as Bartok’s “night music.” 

The audience responded with excitement, applauding through two curtain calls, to the climactic and frenzied close of the piece.

The theme this year is “Alphabet Soup” for the 26 letters marking the BDDS’ 26th anniversary. So after intermission, BDDS directors Jutt and pianist Jeffrey Sikes introduced the audience to Madison’s four-time Spelling Bee Champion, Martius Bautista).

The soon-to-be eighth-grader at Edgewood Campus School tested his spelling of a variety of musical terms like crescendo (growing louder) and sforzando (marked emphasis) while Jeffrey Sykes played the theme from Jeopardy on the keyboard. Bautista (below) was successful and, when given a paper crown, turned to place it on the head of Samantha Crownover, who is celebrating her 20th year as executive director of the BDDS.

Sykes and Birsan served the audience a collection of cabaret songs by English composer Benjamin Britten, American composer William Bolcom and Austrian-American composer Arnold Schoenberg. The only thing missing from this portion of the program was chinking wine glasses and swirling smoke.

The programming of cabaret songs with the musical “primitivism” of Ravel and Bartok was a clever idea, and one that had similar roots at a recent concert at the UW-Madison, in which the Chansons madécasses were paired with Schoenberg’s Pierrot lunaire (while some consider Pierrot a feat of highbrow expressionism, a strong case can be made for its cabaret nature – however grotesque and dark it may be).

Anyone weary of Arnold Schoenberg’s oftentimes deterring development of 12-tone and atonal music need only look as far as his own cabaret songs, which are as melodious and lush as music heard in the great black-and-white musicals of early film.

The programming of the final work, Johannes Brahms’s Piano Trio No. 2 in C Major, Op. 87 (1880-1882) – played by the San Francisco Trio (below) — was problematic in a number of ways.

The monolithic nature of the work – a staple of high Romanticism you can hear in the YouTube video at the bottom – seemed off-putting, after the intimacy of works such as the Ravel songs, the Bartok Contrasts, and especially the cabaret numbers.

In a perfect world, Friday evening’s concert would have foregone an intermission and ended with the cabaret hodgepodge. The quirky and understated close would have certainly left the audience charmed and ever-enticed to attend the remainder of BDDS’s programs – the final weekend, of which, runs June 23-25.

For more information about the concluding BDDS weekend and its dates, times, venues, programs and performers, go to:

http://bachdancing.org


Classical music: Maestro Andrew Sewell has been named the new music director of the San Luis Obispo Symphony in California while retaining his longtime post as music director of the Wisconsin Chamber Orchestra

June 16, 2017
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By Jacob Stockinger

The Wisconsin Chamber Orchestra‘s longtime music director Andrew Sewell (below) has been named the new music director of the San Luis Obispo Symphony in California.

The news comes in between the end of a critically acclaimed and very successful Masterworks season in the Capitol Theater of the Overture Center and the start of the upcoming and always popular summer Concerts on the Square on Wednesday evenings from June 29 through Aug. 2.

Sewell, who was born and trained in New Zealand, has been an American citizen for the past 10 years. He led the Wichita Symphony Orchestra for 10 years and the Mansfield Symphony Orchestra in Ohio, and he also guest conducts in Hong Kong and many other cities in the U.S. and abroad.

Asked if the move means there will be guest conductors for the WCO, Sewell told The Ear:

“I will be conducting all concerts this year. The schedules for both orchestras work surprisingly well together.

“The situation is not unlike the first 10 years of my tenure in Madison when I was music director of the Wichita Symphony concurrently with the Wisconsin Chamber Orchestra. I’ll share my time between both communities.” 

For more about Sewell’s impressive and extensive background, go to:

https://wisconsinchamberorchestra.org/about/andrew-sewell/

Here is a statement from the WCO:

“When Maestro Sewell raises his baton at Concerts on the Square this month, he will also be embarking on a new position as music director of the San Luis Obispo Symphony. (At bottom, he seen conducting the San Luis Obispo Symphony.)

“Fans of the Wisconsin Chamber Orchestra need not worry, though, as he will retain his position and residence here in Madison. 

“We’re very proud of Andrew and what he has accomplished here in Madison, around the nation and abroad” said Mark Cantrell, CEO of the WCO. “This appointment reinforces what we already know about Andrew, that he is an exciting and impressive director and musician.

“We’re fortunate to retain him here as music director, and we look forward to many more years of him behind the baton with the Wisconsin Chamber Orchestra. We wish him the best of luck in San Luis Obispo.”

For more about this story, use the following links:

Here is a WCO posting about the news:

Global Search Yields Symphony’s Ninth Conductor

And here is a newspaper story with many details about Sewell and his plans for the new position, including where he will live, as well as his plans for sharing repertoire and guest soloists:

SLO Symphony has a new director


Classical music: The second week of programs by the Bach Dancing and Dynamite Society offers vocal and instrumental music that spans four centuries and includes a world premiere

June 15, 2017
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By Jacob Stockinger

Last weekend, the Bach Dancing and Dynamite Society opened its 26th season with two programs in three venues that all proved highly successful.

Building on that success, the chamber music festival with top local and guest performers, now turns to vocal and instrumental music that ranges from the late 18th century up to today, including a world premiere.

As usual, the BDDS venues are suitably intimate for chamber music: The Playhouse (below top) at the Overture Center at 201 State St.; the jewel box historic Stoughton Opera House (below middle) at 381 East Main St.; and Frank Lloyd Wright’s Hillside Theater (below bottom) at Taliesin on County Highway 23 in Spring Green.

Concerts are spiked with stories about the music, mystery guests and even door prizes.

This season’s theme is Alphabet Soup, because it’s BDDS’ 26th year and there are 26 letters in the alphabet. Each program is named after a combination of letters used in everyday language. Sometimes the musical interpretation of those letters is literal and sometimes it’s quite loose.

The second weekend of concerts features the San Francisco Piano Trio (below) Axel Strauss, violin; Jean-Michel Fonteneau, cello; and Jeffrey Sykes, piano).

They are joined by UW-Madison’s pianist Christopher Taylor, soprano Emily Birsan (another Madison favorite and a graduate of the UW-Madison and Lyric Opera of Chicago) and internationally acclaimed clarinetist Alan Kay.

TWO PROGRAMS

Two Bs or not Two Bs includes evocative songs by Maurice Ravel for soprano, flute, cello and piano and an entertaining bouquet of earthy cabaret songs by composers Benjamin Britten, William Bolcom and Arnold Schoenberg, sung by Emily Birsan.

The program also features Bela Bartok’s “Contrasts” for clarinet, violin and piano, a work commissioned by the legendary jazz clarinetist Benny Goodman (below), and Johannes Brahms’ epic Piano Trio in C Major, Op. 87. (You can hear a historic recording of Benny Goodman performing the Bartok work, with the composer playing the piano, in the YouTube video at the bottom.)

Two Bs or not Two Bs will be performed at The Playhouse, Overture Center for the Arts, on Friday, June 16, 7:30 p.m., and at the Hillside Theater, Taliesin, Spring Green, on Sunday, June 18, 2:30 p.m.


Special K is a showcase for Alan Kay, principal clarinetist of the renowned Orpheus Chamber Ensemble.

It includes “The Shepherd on the Rock” for soprano, clarinet and piano by Franz Schubert; the hip tour-de-force “Techno Parade” by Guillaume Conneson (below) for flute, clarinet and piano; and the Midwest premiere of “Living Frescoes” for clarinet, violin, cello and piano by American composer Kevin Puts.

Many will remember that Kevin Puts (below) was the Pulitzer Prize-winning composer BDDS commissioned for the song cycle “In At The Eye” in its 25th season last summer.

The program is rounded out with Mozart’s Piano Trio in E Major and three songs by Erich Wolfgang Korngold (below) sung by Emily Birsan, accompanied by Jeffrey Sykes.

Special K will be performed at The Playhouse, Overture Center for the Arts, on Saturday, June 17, 7:30 p.m., and at the Hillside Theater, Taliesin, in Spring Green, on Sunday, June 18, 6:30 p.m.

Photos by Dick Ainsworth of BDDS performances and behind-the-scenes will be on exhibit in The Playhouse through Sunday, July 9.

Single general admission tickets are $43. Student tickets are always $10.

For tickets visit: http://www.overture.org/events/bach-dancing

For more information about the programs, performers, performances and background, visit www.bachdancinganddynamite.org or call (608) 255-9866.

Tickets can also be purchased at Overture Center for the Arts, (608) 258-4141, www.overturecenter.org (additional fees apply).

Tickets are also available at the door at all locations.


Classical music: Bach, Beethoven and Brahms join beer and brats at the Wisconsin Union Theater’s new FREE Summer Serenades starting this Sunday afternoon at the Union Terrace

June 13, 2017
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By Jacob Stockinger

Spread the word but get your seat early!

This coming Sunday afternoon, beer and brats are about to mix with Bach, Beethoven and Brahms at Madison’s premier summer watering hole when the new FREE Summer Serenades begin at the landmark Union Terrace (below).

The Ear likes that combination a lot along with classical concerts that last only about an hour. No details on the programs yet, but hey — for an hour you can be a sport and chance it.

“Casual high-brow” increasingly seems the way to go, especially in Madison. And fittingly, a lot of the performers chosen by the Wisconsin Union Theater have ties to the UW-Madison as professors, graduates and students.

All hour-long concerts are FREE and take place on Sundays at 5 p.m., except on July 2, which will begin at 5:30 p.m.

The Willy Street Chamber Players (below)
Sunday, June 18, 2017

Named 2016 Musicians of the Year by The Well-Tempered Ear Blog, their programming is adventurous, combining beloved classics and new music from contemporary composers.

Stephanie Jutt, flute (below top) and Thomas Kasdorf, piano (below bottom)

Sunday, July 2, 2017 at 5:30

Two of Madison’s most esteemed musicians will delight with melodies from their upcoming CD and will celebrate the Fourth of July weekend with patriotic tunes.

 Isthmus Brass

Sunday, July 16, 2017

Comprised of the finest professional brass players in the Midwest, Isthmus Brass (below) is Wisconsin’s premiere large brass ensemble. It has performed on concert series and music festivals throughout the Midwest.

An Evening of Arias and Art Songs

Sunday, July 30, 2017

Hear a fun night of comic and classic melodies from your favorite operas. It features extraordinary lead singers from the School of Music and UW Opera Theater. Among them: Katie Anderson, soprano (below top); Courtney Kayser, mezzo-soprano (below middle); José Muñiz, tenor (below bottom); and accompanist Thomas Kasdof, piano.

Sound Out Loud and Lucia String Quartet

Sunday, August 13, 2017

Sound Out Loud (below) specializes in contemporary music from the early 20th century to the present. They expand the realm of possibilities within contemporary chamber music repertoire through the implementation of experimental techniques, the incorporation of a variety of instruments and musical styles from the Middle East and Asia, innovative performance practice, and the use of live electronics.

The Lucia String Quartet (below) has been performing at events throughout the Midwest for over 15 years. The string quartet’s repertoire puts a fresh spin on many favorite rock/pop songs as well as eloquently performing classical pieces.

Summer Serenades are presented by the Wisconsin Union Directorate’s Performing Arts Committee with support from the Bill and Char Johnson Classical summer Concert Series Fund.

This is the inaugural season But Ralph Russo, director of the Wisconsin Union Theater, adds: “The 2017 Summer Serenades is a pilot program. The coordinator has put together an excellent program in a very short time and I’m confident we’ll see a good audience response.

“Assuming all goes well I’m hopeful it will continue for many summers to come. But we won’t know for certain until we do a thorough evaluation at the end of summer and determine if the donor is interested and willing to continue funding the program.”


Classical music: The Bach Dancing and Dynamite Society opens its 26th season with a bang worthy of its name. Plus, TONIGHT the Willy Street Chamber Players open the summer season of the Rural Musicians Forum in Spring Green

June 12, 2017
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A REMINDER: Tonight at 7:30 p.m. in the Hillside Theater at Frank Lloyd Wright’s Taliesin compound in Spring Green, six members of the Willy Street Chamber Players will open the summer season of the Rural Musicians Forum. The program features works by Johannes Brahms, American composer Charles Ives, and Argentine composer Alberto Ginastera. A free-will donation will be requested. The Hillside Theater is located at 6604 County Highway 23, Spring Green. For more information about the Rural Musicians Forum, go to: http://ruralmusiciansforum.org/home

By Jacob Stockinger

This guest review is by a new contributor, Kyle Johnson (below). As a pianist since elementary school, Johnson has devoted most of his life to music. Born and raised in Lexington, Kentucky, he is now a doctoral candidate in piano performance at the UW-Madison, where he studies with Christopher Taylor and specializes in modern and contemporary music. He participates in many festivals and events around the U.S. and Europe. Recently, he co-founded the Madison-based ensemble Sound Out Loud, an interactive contemporary music ensemble. For more information, visit: www.kyledjohnson.weebly.com

By Kyle Johnson

The Bach Dancing and Dynamite Society’s 26th season — themed “Alphabet Soup” for 26 letters — began on Friday evening at the historic Stoughton Opera House (below bottom) with a program of underprogrammed French, German and Russian works.

BDDS is led by artistic directors (below) Stephanie Jutt, UW-Madison’s newly-retired flute professor and principal flute of the Madison Symphony Orchestra, and Jeffrey Sykes, pianist of the San Francisco Piano Trio who studied at the UW-Madison. The two musicians assembled a “dynamite” group of musicians for their opening concert.

First on the program was Médailles antiques (Old Medals) for flute, violin and piano from 1916 by Philippe Gaubert (below). Like the weather throughout the day on Friday, the piece provided a sunny and spry start to the program in the centennial year of World War I.

At times, I wanted the ends of phrases to have a little more stretch and grace to them. However, the richness of sound from each musician, as well as the ensemble’s superb blend, made up for any small qualm I may have had.

The next piece, Gideon Klein’s String Trio (1944), featured three “apprentice” musicians from BDDS’s Dynamite Factory. Violinist Misha Vayman (below top), violist Jeremy Kienbaum (below middle) and cellist Trace Johnson (below bottom) are the program fellows for this year’s series.

Striking about the work was Klein’s musical optimism amid stark reality – the piece was written at the Auschwitz concentration camp just a few months before the death of the composer (below).

The Dynamite Factory artists gave a spirited rendition of the weighty work, which at times resembles the rollicking intensity of Bela Bartok’s folk dances.

Before the intermission, the audience was treated to Sergei Prokofiev’s chilling Sonata No. 1 in F Minor, Op. 80, for violin and piano. Like the preceding piece, Prokofiev’s sonata was written during the strife of World War II. (You can hear the first movement, played by Maxim Vengerov, in the YouTube video at the bottom.)

Prokofiev labeled one passage at the end of the first movement as “wind passing through a graveyard”; the passage (a series of quick violin scales) returns at the close of the piece. Under the hands of violinist Carmit Zori (below top) and pianist Jeffrey Sykes (below bottom), the sonata seemed both devastating and human.

A brief, unprogrammed presentation began the second half of the concert, which was a performance of “Arrival of the Queen of Sheba” from the oratorio Solomon by George Frideric Handel.

The work was lauded and produced by the Fourth Earl of Sandwich in the mid-1700s. Fittingly, during the music, characters clad in 18th-century attire roamed the Stoughton Opera House to hand out sandwiches.

Last on the program was Johannes Brahms’s Piano Quartet No. 2 in A Major, Op. 26, played by violinist Zori; Pro Arte Quartet violist Sally Chisholm (below top); Toronto Symphony principal cellist Joseph Johnson (below bottom); and pianist Sykes.

The quartet brimmed with musical swells and overlapping layers of sound. There are a number of memorable themes that allow the listener to simply ride the wave of sound throughout the 40-minute work.

All of the musicians were fully deserving of the ovation (below, in a photo by Kyle Johnson) they received in Stoughton, as all technical demands were met with superb musicality and passion.

Future BDDS concerts run through June 25 and are not to be missed! For more information about programs and about performers, performance dates, times and venues, go to www.bachdancing.org


Classical music: The 26th season of the Bach Dancing and Dynamite Society chamber music festival opens this weekend with two programs in three locations

June 6, 2017
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By Jacob Stockinger

The Bach Dancing and Dynamite Society (BDDS) presents its 26th annual summer chamber music festival — Alphabet Soup — starting this weekend.

It will run from this Friday, June 9, through Sunday, June 25. The festival features 12 concerts over three weekends, and each weekend offers two different programs.

Concerts will be performed in The Playhouse at the Overture Center in Madison, the Stoughton Opera House in Stoughton and the Hillside Theater at Taliesin in Spring Green.

In the three-weekend festival, you can hear great classical masterpieces and fine contemporary works. A roster of musicians with national and international reputations will perform.

The venues are suitably intimate for chamber music: The Playhouse (below top) at the Overture Center at 201 State St.; the jewel box historic Stoughton Opera House (below middle) at 381 East Main St.; and Frank Lloyd Wright’s Hillside Theater (below bottom) at Taliesin on County Highway 23 in Spring Green.

Added attractions include stories about the music, mystery guests and even door prizes. As BDDS puts it, “It’s chamber music with a bang!”

BDDS is led by co-artistic directors and performers flutist Stephanie Jutt (below right), who is principal flute with the Madison Symphony Orchestra and who just retired from the UW-Madison faculty; and pianist Jeffrey Sykes (below left), who graduated from the UW-Madison and teaches in Berkeley, California,  where he is a member of the San Francisco Trio. Nineteen guest artists will also perform in the festival.

This season’s theme is Alphabet Soup, because it’s the 26th year and there are 26 letters in the alphabet. Each program is named after a combination of letters used in everyday language. Sometimes the musical interpretation of those letters is literal and sometimes it’s quite loose.

Musicians for Week One include three veteran string players: Naumberg Award-winning violinist Carmit Zori (below top); Madison’s very own violist Sally Chisholm (below middle) of the Pro Arte Quartet; and the Toronto Symphony Orchestra’s principal cellist Joseph Johnson (below bottom).

They will be joined by young artists who are participants in the newly formed Dynamite Factory, a BDDS program for nurturing and furthering the talents of three exceptional young musicians — violist Jeremy Kienbaum, violinist Misha Vayman and cellist Trace Johnson.

In one of two “sandwich” programs this weekend, PB&J, Carmit Zori will play the haunting Violin Sonata in F minor by Sergei Prokofiev and the program includes the heavenly Piano Quartet in A Major of Johannes Brahms.

The Dynamite Factory artists are featured in the emotional String Trio by Gideon Klein (below), a work he wrote at the Auschwitz concentration camp shortly before his death. (You can hear the trio by Gideon Klein in the YouTube video at the bottom.)

PB&J will be performed at the Stoughton Opera House on Friday, June 9, at 7:30 p.m.; and in Spring Green at the Hillside Theater, Sunday, June 11, at 2:30 p.m.

A second “sandwich” program, BLT, features the emotionally complex Cello Sonata (featuring Joseph Johnson) by Benjamin Britten (below top); all of the artists working together in the great “London” Symphony by Franz Joseph Haydn as arranged by Haydn’s contemporary and impresario Johann Peter Salomon (below bottom); and the beautiful string sextet “Souvenir de Florence” by Peter Tchaikovsky.

BLT will be performed at The Playhouse, Overture Center for the Arts, on Saturday, June 10, at 7:30 p.m. and at the Hillside Theater, Taliesin, Spring Green, on Sunday, June 11, at 6:30 p.m. 

For the seventh year, BDDS will perform two FREE family concerts, interactive events intended for all ages.

One event takes place 11–11:45 AM, on Saturday, June 10, in The Playhouse of the Overture Center.  The other will be at the Central Library Bubbler on this Thursday afternoon, June 8, from 4 to 5 p.m.

This is a performance for families with children of all ages and seating will be first come, first served. CUNA Mutual Group, Pat Powers and Thomas Wolfe and the Overture Center underwrite these performances.

Photos by Dick Ainsworth of BDDS performances and behind-the-scenes are on exhibit in The Playhouse Gallery through July 9.

Single general admission tickets are $43. Student tickets are always $10.

Tickets can also be purchased at Overture Center for the Arts, (608) 258-4141, www.overturecenter.org (additional fees apply). Tickets are available at the door at all locations.

For more information about the group, performers and programs, including audiovisual clips, go to: http://bachdancing.org


Classical music: The first-ever Mineral Point Chamber Music Festival takes place this coming weekend – and looks both very appealing and very affordable

June 5, 2017
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By Jacob Stockinger

In retrospect, it seems inevitable.

But it took foresight and hard work.

For many years, the historic town of Mineral Point (below) – once a major lead and zinc mining town that is the third oldest city in Wisconsin – has been cultivating and rejuvenating itself through restoration and innovation as an enjoyable tourism stop, with fine restaurants, historic landmarks, terrific art galleries and gracious hosts.

Small wonder that the Smithsonian Magazine named Mineral Point one of the Top 20 Small Towns to Visit in the U.S.

But this coming weekend the appeal and attractions will move up a big notch.

That is because the inaugural Mineral Point Chamber Music Festival will take place this coming weekend, June 9-11, 2017.

To The Ear, the performers look excellent, the program look engaging and the prices sure look affordable.

Concerts by three young professional classical chamber music ensembles will be presented in the recently restored historic Mineral Point Opera House (below top and bottom, with the top photo by Michael J. Smith), an ideal chamber music venue with excellent acoustics.

The weekend will begin on Friday at 7 p.m. with a panel discussion by several ensemble performers and Festival Director Peter Schmalz about various aspects of classical music. A reception in the Mineral Point Public Library will follow the discussion.

Scheduled concerts include: at 1 p.m. on Saturday, the Ami String Quartet (below top) from Northwestern University in the String Quartet No. 1 by Bela Bartok and the “Harp” String Quartet, Op. 74, by Ludwig van Beethoven; at 7:30 p.m. on Saturday, the University of Wisconsin-Madison Trombone Quartet (below bottom) will perform music by Johann Sebastian Bach, Anton Bruckner, Anton Webern, Dmitri Shostakovich and others; and at 1 p.m. on Sunday, the Ami String Quartet will perform the String Quartet No. 1 of Johannes Brahms and the String Quartet No. 12 (“American”) by Antonin Dvorak. (You can hear the first movement of the famous “American” String Quartet by Dvorak in the YouTube video at the bottom.)

Ticket prices are: $10 for the panel discussion and reception; $15 for each concert; and $38 for the panel discussion and all three concerts.

Adds festival director Peter Schmalz:

“The Mineral Point Chamber Music Festival is designed to meet three goals: to create classical chamber music listening opportunities for local and nearby residents; to establish a cultural tourism experience for visitors to Mineral Point; and to provide serious off-campus performances for advanced university chamber music ensembles.

“Summer classical music festivals were established in the 20th century to provide employment for orchestral and other professional musicians during the off-season. The fortunate result for the music-lover is an abundance of listening opportunities in every genre of classical music, often in locations away from the congestion and heat of large cities.

“The Mineral Point Chamber Music Festival modifies this design by presenting accomplished undergraduate and graduate ensembles in a compelling small-town setting at a reasonable cost. (Below is the Arts Mineral Point logo.)

“In addition to the Festival concerts, we encourage listeners to enjoy the food, galleries, architecture, landscape and people of Mineral Point. In the words of Sergei Rachmaninoff, “Classical music is enough for a lifetime, but a lifetime is not enough for classical music.”

The Mineral Point Opera House is, in size and acoustics, an ideal venue for classical chamber music. Performers were selected by competitive audition, and will be housed by local residents for the weekend.

In addition to three concerts, festival attendees can be involved in a panel discussion about issues in classical chamber music, by asking their own questions of the panel.

The UW-Madison Trombone Quartet and students from Mineral Point High School and Dodgeville High School will also present a short concert in Library Park prior to the 1 p.m. concert on Sunday in the Opera House.

For complete information about events and tickets with complete programs for each concert, go to:

http://www.artsmp.org/chamber-music-fest/


Classical music: Your warhorses are my masterpieces — and I want to hear them

June 3, 2017
6 Comments

ALERT: This Sunday afternoon from 12:30 to 2 p.m., “Sunday Afternoon Live From the Chazen” will feature Madison keyboard artist Trevor Stephenson performing on a restored 1855 Boesendorfer grand piano. The program includes music by Chopin, Granados, Brahms, Wagner, Bartok, Debussy, Schoenberg and Satie.

You can attend it live for FREE in Brittingham Gallery No. 3 of the UW-Madison’s art museum. But you can also stream it live using the link on this web page:

https://www.chazen.wisc.edu/index.php?/events-calendar-demo/event/sunday-afternoon-live-at-the-chazen-6-4-17/

By Jacob Stockinger

It’s that time of the year again when music groups announce their new seasons.

And it seems to The Ear that the word “warhorse” is again being tossed around a lot, especially by experienced listeners who use the term pejoratively or disapprovingly, in a snobby or condescending way, to describe great music that is performed frequently.

But more than a little irony or inaccuracy is involved.

For example, a some people have referred to the Symphony No. 1 by Johannes Brahms – scheduled next season by both the Madison Symphony Orchestra (below) and the Milwaukee Symphony Orchestra — as a warhorse.

Yet The Ear has heard that symphony performed live only once – perhaps because programmers wanted to avoid the warhorse label.

The same goes for the iconic Fifth Symphony of Ludwig van Beethoven, which will be performed next year by the Wisconsin Chamber Orchestra (below). It was a revolutionary work that changed the course of music history, and it is a great piece of engaging music. (You can hear the opening movement, with an arresting graphic representation, in the YouTube video at the bottom.)

Here’s the irony: I have heard the Piano Quintet by Brahms, the Cello Quintet by Franz Schubert and the String Octet by Felix Mendelssohn – all great masterpieces — far more often than I have heard those “warhorse” symphonies by Brahms and Beethoven. Can it be that connoisseurs usually seem more reluctant to describe chamber music masterpieces as warhorses? (Below in the Pro Arte Quartet in a photo by Rick Langer.)

The Ear is reminded of a comment made by the great Russian-American musicologist Nicolas Slonimsky (below): “Bizet’s opera “Carmen” is not great because it is popular; it is popular because it is great.”

So yes, I don’t care what more sophisticated or experienced listeners say. I still find the Piano Concerto No. 1 by Peter Tchaikovsky to be a beautiful and thrilling work that rewards me each time I hear it. It never fails.

Add to the list the popular symphonies of Beethoven and Brahms, the “New World” Symphony by Antonin Dvorak, several piano concertos by Sergei Rachmaninoff (below), the Brandenburg Concertos by Johann Sebastian Bach, the “Jupiter” Symphony and Symphony No. 40 in G minor by Wolfgang Amadeus Mozart. And one could go on and on.

They are all great masterpieces more than they are warhorses.

Plus, just because a piece of music is new or neglected doesn’t mean that it is good or that it merits a performance.

Otherwise, you could easily spend the rest of a life listening to second-rate and third-rate works out of curiosity and never feel the powerful emotional connection and deep intellectual insight that you get with a genuine masterpiece that rewards repeated hearings.

Of course, some warhorses do leave The Ear less than enthusiastic The “1812 Overture” comes immediately to mind. Boy, do the crowds like that potboiler — on the Fourth of July, of course, when it has a traditional place.

But often enough your warhorse is my masterpiece, and I want to hear it without being thought of as a philistine.

It might even be that playing more warhorses — not fewer — will attract some new audience members at a time when music groups face challenges in attendance and finances?

It may not be cool to say that, but it might be true, even allowing room for new and neglected works that deserve to be programmed for their merit — not their newness or their neglect.

So-called “warhorses” have usually survived a long time and received many performances because they are great music by great composers that speak meaningfully to a lot of listeners. They deserve praise, not insults or denigration, as well as a secure and unapologetic place in balanced programming.

Of course, it is a matter of personal taste.

So …

What do you think?

Are there favorite warhorses you like?

Are there warhorses you detest?

Leave word in the COMMENT section.

The Ear wants to hear.


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