The Well-Tempered Ear

Classical music: Tuesday night brings concerts of band music as well as organ and violin duets

October 21, 2019
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By Jacob Stockinger

This Tuesday night, Oct. 22, will see concerts of band music and organ-violin duets.

Here are details:

ORGAN AND VIOLIN CONCERT

At 7:30 p.m. in Overture Hall, the Overture Concert Organ Series, sponsored by the Madison Symphony Orchestra and organized by MSO principal organist Greg Zelek, offers a concert of music for organ and violin.

The organist is Michael Hey (below right), a Wisconsin native who won first prize at an organ competition in Shanghai, China, and is the organist at the famed St. Patrick’s Cathedral in New York City.

The violinist is Christiana Liberis (below left) who recently toured with the rock band The Eagles.

Tickets are $20.

The program includes music by Johann Sebastian Bach, Sir Edward Elgar, Maurice Ravel, Charles-Marie Widor, Giovanni Battista Vitali, Naji Hakim and Fritz Kreisler.

In the YouTube video at the bottom, you can hear the duo perform a haunting version of the popular “Gymnopedie No. 1” by Erik Satie

For information, including specific works on the program and detailed biographies about the performers, go to: https://madisonsymphony.org/event/organ-michael-hey-christiana-liberis/

UW-MADISON CONCERT BAND

At 7:30 p.m. in the new Mead Witter Foundation Concert Hall of the  Hamel Music Center, 740 University Avenue, the UW-Madison Concert Band (below) will perform a FREE concert.

The band will perform under director Scott Teeple (below) and guest conductor Ross Wolf.

The program includes:

“Lux Arumque” by Eric Whitacre
“Firefly” by Ryan George
“Colonial Song” by Percy Grainger/ed. Mark Rogers
“Huntington Tower Ballad” by Ottorino Respighi
“George Washington Bridge” by William Schuman

For information, go to: https://www.music.wisc.edu/event/uw-concert-band-and-winds-of-wisconsin/


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Classical music: Two noteworthy baroque concerts by Just Bach and the Wisconsin Baroque Ensemble are on tap this Wednesday afternoon and Saturday night

October 15, 2019
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By Jacob Stockinger

Fans of Baroque music have two noteworthy events this week to look forward to.

Both concerts feature period instruments and historically informed performance practices.

WEDNESDAY AT NOON

This coming Wednesday, Oct. 16, from noon to 12:30  p.m. at Luther Memorial Church, 1021 University Avenue, the second FREE Just Bach concert of the semester will take place.

The concerts by Just Bach (below, in a photo by John W. Barker) are now a regular feature of the Music at Midday at Luther Memorial Church.

Organist Mark Brampton Smith opens the program with a brief Fantasia on the melody of “Christ lag in Todesbanden” (Christ Lay in Death’s Bonds). That tune will reappear at the very end of the program, in the final chorale of Cantata 158.

The next piece on the program was also written for solo organ, but will be heard in an arrangement for violin, viola, cello and organ. Johann Sebastian Bach wrote six organ trio sonatas, apparently for his eldest son, Wilhelm Friedemann.

The C Minor Sonata, the second in the set, is full of fiery drama in the outer movements, framing a dreamy, peaceful Largo.

UW-Madison baritone Paul Rowe will lead the chorale sing-along, a beloved audience-participation feature of these programs.

The program closes with Cantata 158, “Der Friede sei mit dir” (Peace Be with You), with solo bass-baritone Jake Elfner. Elisheva Pront provides the luminous “cantus firmus” (an existing melody used in a polyphonic composition) in the second movement, which also features a beautiful violin solo played by Kangwon Kim. The Cantata ends with a chorale on the tune of “Christ lag in Todesbanden.”

You may bring your lunch and beverage.

The concert is FREE and open to the public, with a goodwill offering collected.

Other Just Bach concerts this fall, all Wednesdays at Noon, are: Nov. 20 and Dec. 18.

Performers this week are: Jake Elfner, bass-baritone; Elisheva Pront, soprano; Kangwon Kim, violin; Leanne League, violin; Marika Fischer Hoyt, viola; James Waldo, cello; and Mark Brampton Smith, organ.

For more information, go to: https://justbach.org or https://www.facebook.com/JustBachSeries/

SATURDAY NIGHT

This Saturday night, Oct. 19, at 7:30 p.m. in Saint Andrew’s Episcopal Church, 1833 Regent Street in Madison, the Wisconsin Baroque Ensemble (below) will perform a concert of varied chamber music.

Performers include: Mimmi Fulmer, UW-Madison soprano; Nathan Giblierano, baroque violin; Eric Miller, viola da gamba and baroque cello; Chelsie Propst, soprano; Charlie Rasmussen, viola da gamba and baroque cello; Consuelo Sañudo, mezzo-soprano; Anton TenWolde, baroque cello; and Max Yount, harpsichord.

Tickets are at the door only: $20 for the public, $10 students. After the concert, a reception will be held at 2422 Kendall Ave, second floor.

The program is:

Henry Purcell: Three Fantasias

Giacomo Carissimi: “Scrivete, occhi dolente” (Write, Sore Eyes)

George Frideric Handel: Violin Sonata, HWV 372 (heard in an animated graphic depiction the YouTube video at the bottom)

Claudio Monteverdi: “Baci soave e cari” (Soft and Dear Kisses)

INTERMISSION

Luzzasco Luzzaschi: “O dolcezze amarissime” (O Bitter Sweetness)

Martin Berteau: Trio for violoncellos

Giulio Caccini: Excerpts from “La liberazione di Ruggiero” (The Liberation of Ruggiero)

For more information, go to: www.wisconsinbaroque.org


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Classical music: How did Baroque composer Telemann get overshadowed and why is he being rediscovered? Trevor Stephenson talks about his all-Telemann concerts this weekend

October 2, 2019
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By Jacob Stockinger

This weekend, the Madison Bach Musicians (MBM) will give two performances of a concert devoted exclusively to the music of Baroque composer Georg Philip Telemann (below).

The performances are: Saturday night, Oct. 5, at 8 p.m. in the Atrium Auditorium of the First Unitarian Society of Madison, 900 University Bay Drive, where MBM will be artists-in-residence this season; the second performance is on Sunday afternoon, Oct. 6, at 3:30 p.m. at the Holy Wisdom Monastery, 4200 County Road M, in Middleton.

Tickets are $35 in advance and are available at the Willy Street Coop East and West, and at Orange Tree Imports. Tickets at the door are $38 for the general public; $35 for seniors; and $10 for student rush tickets that go on sale 30 minutes before each lecture. The lectures take place 45 minutes before the performance, at 7:15 p.m. and 2:45 p.m, respectively.

Why focus on the music of Georg Philipp Telemann (1681-1767)?

Trevor Stephenson, the founder and director of the Madison Bach Musicians, talks about it in an email Q&A with The Ear:

Why does Telemann, who was so respected in his day, seem to get far less play, fewer performances and less mentioning today than his contemporaries Bach, Vivaldi and Handel?

Telemann was born in 1681 — three years after Vivaldi and four years before Bach and Handel. He was astonishingly prolific and it is estimated that he wrote more than Bach and Handel combined.

On top of this, he was very highly respected and was widely published and performed during his life. Remember, it was Telemann — not Bach — whom the Leipzig council wanted to hire for the music director position in 1723. But Telemann was enjoying his wonderful new post in Hamburg—a thriving port city — and was not about to go back to landlocked Leipzig where he had spent his student days.

At any rate, after the 18th century had passed and its music became somewhat marginalized, in the early 19th century it was Bach’s music, not Telemann’s, that suddenly re-emerged.

Bach’s tremendous emotional depth, contrapuntal mastery and ability to control large-scale forms in an almost heroic way spoke with greater urgency to the Romantic sensibility than did Telemann’s elegant craftsmanship. Indeed, 19th-century Bach scholars often mean-spiritedly used Telemann as a foil for Bach.

Telemann’s music nevertheless received a modicum of performances in the early 20th century, but in the 1980s and 1990s, as the Early Music movement really got rolling—and the level of period-instrument performance increased—it became apparent that Telemann’s music really was hot stuff!

Now his music is enjoying a wonderful and well-deserved revival.

What are the appealing and admirable qualities you see in Telemann’s music? Are there any drawbacks to his compositions?

Telemann had a wonderful sense of melodic invention — probably music’s analog to an artist’s ability to draw — and his tunes seem to flow out effortlessly. And although his output was opulent, he had an uncanny sense of form and how much weight – duration — any given musical scene could bear.

He also was a masterful musical polyglot, able to jump back and forth easily between Italian, French and German musical idioms; and like Bach, he was also adept at integrating them into a unified style—this integration of national styles was a frequently acknowledged goal of 18th-century composers.

Telemann’s limitations are apparent when he is juxtaposed with Handel, who could dramatically really take the roof off and who could also find the inner essence of the human voice, and Bach who, like Shakespeare, through a near alchemy of sound and meaning could consistently define and further what it means to be human.

How and why did you put this program together? What unifies it and what would you like the public to know about it?

Madison Bach Musicians’ concertmaster and assistant artistic director Kangwon Kim (below left with Emily Dupere) did the heavy lifting in putting together this wonderful program of Telemann’s chamber music. MBM will present three of Telemann’s programmatic or story works, one church cantata and three purely instrumental selections.

With narration and graphics, we’ll walk you through how he cleverly depicts scenes from Swift’s Gulliver’s Travels (1726, below), which had been in print only two years when Telemann wrote his topical Gulliver Suite in 1728. Telemann loved ludicrous irony, like the tiny Lilliputians dancing a heavy chaconne—which Telemann notates in a hilarious, confounding mass of 64th and 128th notes. And then there’s the Brobdingnagian giants doing their rendition of a light-footed gigue, rendered in loopy, cumbersome whole notes!

We’ll also present the marvelous Suite Burlesque based upon Cervantes’ Don Quixote (below): Quixote’s love for Dulcinea, his jousting with windmills, and how a crowd mocks Quixote’s faithful, world-weary servant Sancho Panza.

To top it off, guest artist mezzo-soprano Clara Osowski (below) will sing the droll and sweetly amusing cantata about the demise — brought about by the cat! — of a favorite and very artistic canary. Osowski will also sing the church cantata Weicht, ihr Sünden, bleibt dahinten (Yield, You Sins, and Stay Behind Me). Telemann wrote more than 1,000 church cantatas.

The concert includes non-programmatic works for string band: the dramatic and Corelli-esque Sonata à 6 in F minor for two violins, two violas, cello and continuo; and the sparkling Sinfonia Spirituosa (heard in the YouTube video at the bottom). I will also perform some fascinating Fantasy miniatures for solo harpsichord, and will give a pre-concert lecture at both events.

For more information about the program, the performers and tickets, go to: www.madisonbachmusicians.org


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Classical music: UW-Madison’s first countertenor Gerrod Pagenkopf returns to perform on Sunday night as a member of the acclaimed choral group Chanticleer. Here’s how he got from here to there. Part 1 of 2 

September 30, 2019
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ALERT: Madison Symphony Orchestra organist Greg Zelek did not announce his encore after he received a standing ovation at the MSO concert Sunday afternoon. It was the final movement from the Organ Symphony No. 1 by Louis Vierne.

By Jacob Stockinger

This coming Sunday night, Oct. 6, at 7:30 p.m. in the inaugural  concert in the new Hamel Music Center’s main concert hall, the critically acclaimed a cappella singing group Chanticleer (below) will kick off the centennial anniversary celebration of the Concert Series at the Wisconsin Union Theater.

Tickets are $45 for the public; $40 for faculty staff and Union members; and $10 for students. For more information about the performers and the “Trade Winds” program, go to: https://union.wisc.edu/events-and-activities/event-calendar/event/chanticleer/

Among the 12 members of the San-Francisco-based Chanticleer is Gerrod Pagenkopf, who is in his fifth year with the group as both a countertenor and the assistant music director. (You can hear Pagenkopf singing music by Henry Purcell in the YouTube video at the bottom.)

For a biography of Gerrod Pagenkopf, go to: https://www.chanticleer.org/gerrod-pagenkopf

Pagenkopf (below) is a graduate of the UW-Madison. When he performed here as a student, his high, clear countertenor voice was a new experience and made those of us who heard him sit bolt upright and take notice. “He is going places,” we said to each other. And so he has.

But Pagenkopf’s story is not only about him. It is also about the rediscovery of countertenors, about the changing public acceptance of them, and about the challenges that young musicians often face in establishing a professional performing career. So today and tomorrow, The Ear is offering a longer-than-usual, two-part interview with Pagenkopf.

Here is Part 1:

When were you at the UW-Madison?

I was a student at the UW-Madison from the fall of 1997 until I graduated in May of 2002. Although I received a bachelor’s degree in music education, performing ended up being a huge part of my last few semesters.

Growing up in rural Wisconsin about 30 miles north of Green Bay, I always thought that if you liked music and were good at it, you were supposed to be a teacher. It wasn’t until I was a junior that my voice teacher, the late Ilona Kombrink, and I discovered that I had a viable solo voice. Although I received the music education degree, embarking on a solo career became more important to me.

What did you do and how well did your studies and performances here prepare you for the life of a professional musician?

I was very lucky to have ample opportunities for performing during my time at the UW. Singing in choirs was very important to me. For many years I sang in the Concert Choir under Beverly Taylor (below top) as well as in the Madrigal Singers under Bruce Gladstone (below bottom,, in a photo by Katrin Talbot). I think there was one semester where I sang in just about every auditioned choir.

Beverly Taylor also gave me a lot of solo opportunities in the large-scale works that the Choral Union performed: Bach’s “St. John” and “St. Matthew” Passions, and Handel’s “Israel in Egypt.” For a 23-year-old to have those masterworks, along with the B Minor Mass and “Messiah,” on his resume was very impressive.

I was also lucky enough to perform with University Opera, singing in the chorus at first, but then singing a solo role in Handel’s “Xerxes” my final semester, and then returning as an alumni artist to sing Public Opinion in Offenbach’s “Orpheus in the Underworld” and several years later Polinesso in Handel’s “Ariodante.” Director Bill Farlow took a lot of chances on my young, “raw” countertenor voice and gave me several opportunities to succeed.

I should also note the importance of the guidance and mentorship of Professor Mimmi Fulmer (below, performing at Frank Loyd Wright’s Hillside Theater at Taliesin in Spring Green) after I graduated from UW. She afforded me the opportunity to sing in recital with her numerous times — usually Brahms and Mendelssohn duets. But she also was a catalyst in bringing me back to Madison several years later to sing with the Wisconsin Baroque Ensemble. Our continued relationship is actually the primary reason Chanticleer is singing in Madison this fall.

How do you feel about returning to perform at your alma mater with Chanticleer?

I’m over the moon about it. It still feels like a dream that I’m singing in Chanticleer. To be able to bring a group that I’m so proud to be a part of back to Madison feels like a great personal triumph. And to be the opening performance in the new Hamel Center (below) is such an honor!

Throughout my studies at UW-Madison, I was torn between the solo performance track and the choral career. I managed to straddle both, but my dream was always to make ensemble singing my career. Way back in the early 2000s, I heard Chanticleer sing at Luther Memorial Church, and I thought, “That’s what I want to do!”

I went down several other paths since that concert — mostly in the realm of solo, operatic singing — but it’s incredibly rewarding to be able to say I achieved my dream, and I’m coming back to place where the seed of that dream was planted almost 20 years ago.

Tomorrow: How countertenors re-emerged and were treated, the “Trade Winds” program and Pagenkopf’s future plans


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Classical music: Legendary Austrian pianist and scholar Paul Badura-Skoda dies at 91. In the 1960s, he was artist-in-residence at the UW-Madison School of Music

September 28, 2019
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By Jacob Stockinger

Paul Badura-Skoda, the celebrated Austrian pianist who was equally known for his performances and his scholarship, and who was artist-in-residence at the UW-Madison in the mid-1960s until 1970, died this past Tuesday at 91.

A Vienna native, Badura-Skoda was especially known for his interpretations of major Classical-era composers who lived and worked in that city including Haydn, Mozart, Beethoven and Schubert.

He was the only pianist to have recorded the complete sonatas by those composers on both the modern piano and the fortepiano, the appropriate period instrument.

If memory serves, Badura-Skoda’s last appearances in Madison were almost a decade ago for concerts in which he played: the last piano sonatas of Haydn, Mozart, Beethoven and Schubert; a Mozart piano concerto with the UW Chamber Orchestra; and a solo recital of Bach, Mozart, Schubert and Chopin at Farley’s House of Pianos.

But he also performed and recorded Bach, Chopin and Schumann among others. And Badura-Skoda was also renowned as a conductor, composer, editor and teacher.

You can find many of his recordings and interviews on YouTube. Normally, this blog uses shorter excerpts. But the legendary Paul Badura-Soda is special. So in the YouTube video at the bottom  you can hear Badura-Skoda’s complete last recital of Schubert (Four Impromptus, D. 899 or Op. 90), Schumann (“Scenes of Childhood”, Op. 15) and Mozart (Sonata in C Minor, K. 457). He performed it just last May at the age of 91 at the Vienna Musikverein, where the popular New Year concerts take place.

Here are links to several obituaries:

Here is one from the British Gramophone Magazine:

https://www.gramophone.co.uk/classical-music-news/pianist-paul-badura-skoda-has-died-at-the-age-of-91

Here is one from WFMT radio station in Chicago, which interviewed him:

https://www.wfmt.com/2019/09/26/pianist-paul-badura-skoda-dies-at-age-91/

Here is one, with some surprisingly good details, from Limelight Magazine:

https://www.limelightmagazine.com.au/news/paul-badura-skoda-has-died/

And here is his updated Wikipedia entry:

https://en.wikipedia.org/wiki/Paul_Badura-Skoda

But you will notice a couple of things.

One is that The Ear could not find any obituaries from such major mainstream media as The New York Times, the Wall Street Journal and The Washington Post. But each had many other feature stories about and reviews of Badura-Skoda’s concerts over the years in their areas.

The other noteworthy thing is that none of the obituaries mentions Badura-Skoda’s years at the University of Wisconsin-Madison School of Music in the 1960s, where he helped to raise the profile and prestige of the School of Music. Getting Badura-Skoda to join the university was considered quite an unexpected coup.

So here are two links to UW-Madison press releases that discuss that chapter of his life and career.

Here is an archival story from 1966 when Badura-Skoda first arrived at the UW-Madison:

http://digicoll.library.wisc.edu/cgi-bin/UW/UW-idx?type=turn&entity=UW.v67i8.p0011&id=UW.v67i8&isize=text

And here is a press release that came from the UW-Madison News Service eight years ago on the occasion of one of Badura-Skoda’s many visits to and performances in Madison:

https://news.wisc.edu/writers-choice-madison-welcomes-badura-skoda-again-and-again/

Rest in Peace, maestro, and Thank You.

It would be nice if Wisconsin Public Radio paid homage with some of Badura-Skoda’s recordings since a complete edition was issued last year on the occasion of his 90th birthday.

If you wish to pay your own respects or leave your memories of Paul Badura-Skoda and his playing, please leave something in the comment section.


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Classical music: Soprano Sarah Brailey and nine UW-Madison cellists team up for the FREE concert of songs at Grace Presents this Saturday at noon

September 20, 2019
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By Jacob Stockinger

This Saturday, Sept. 21, at noon, a FREE one-hour program in the Grace Presents series will feature soprano Sarah Brailey (below) in “My Loyal Heart,” a recital of songs by Arvo Pärt, John Tavener, Guillaume de Machaut, Dmitri Shostakovich and Heitor Villa-Lobos.

The concert is at Grace Episcopal Church (below), located downtown on the Capitol Square at 116 West Washington Avenue.

Brailey is an acclaimed professional singer who often tours and who is doing graduate work at the University of Wisconsin-Madison’s Mead Witter School of Music.

Brailey will be joined by friends and colleagues. They include UW baritone Paul Rowe and members of the UW Madison Cello Ensemble, featuring nine local Madison cellists who include Grace Presents program coordinator James Waldo. (Below is a summer cello choir at the UW-Madison from several years ago.)

The works will be sung in Russian, Portuguese, and both modern and medieval French.

Here is an introduction from Waldo:

“It is often said that the cello is the instrument most like the human voice.

“My Loyal Heart,” devotes an entire program to music for soprano Sarah Brailey and cello from the 14th century to the 20th century.

“It opens with Arvo Pärt’s L’abbé Agathon about the legend of Father Agathon from the 4th century book “The Desert Fathers,” followed by a new arrangement by Brailey for soprano and cello trio of Guillaume de Machaut’s elegant love song Se quanque amours puet donner.

“This intimately ardent piece is followed by a more tragic love story, that of Shakespeare’s Ophelia, in the opening movement of Dmitri Shostakovich’s Seven Romances on Poems by Alexander Blok.

“The program continues in Russian with Sir John Tavener’s powerful and darkly spiritual Akhmatova Songs with poetry by Russian-Soviet Modernist poet, Anna Akhmatova.

“The concert concludes with the hauntingly beautiful and famous first movement and the playful concluding dance of Bachianas Brasileiras (Brazilian Bach Suites) No.for soprano and eight cellos by Brazilian composer Heitor Villa-Lobos. (You can hear the Villa-Lobos aria in the YouTube video at the bottom.)

“Text and translations will be provided.

“This program will not be performed anywhere else in Madison.”


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Classical music: Free “Just Bach” concerts change the starting time to NOON and begin their second season this Wednesday at Luther Memorial Church. Here are programs for this semester

September 15, 2019
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The Ear has received the following announcement from the organizers and performers of Just Bach, which had a very successful inaugural run last season:

Join us on this coming Wednesday, Sept. 18, as we kick off our second season of “Just Bach” concerts. The concerts are FREE and OPEN TO THE PUBLIC, with a goodwill offering collected.

The Just Bach concert series – which features Baroque period instruments and historically informed performance practices — resumes as part of the weekly free noontime “Music at Midday” concerts in the gorgeous sanctuary (below) of Luther Memorial Church, 1021 University Ave. For more information and a schedule of other performances and performers in the series,  go to: luthermem.org/music-at-midday

PLEASE NOTE: While the one-hour Just Bach concerts last season started at 1 p.m., this season they will start at NOON.

The photo (below, from left) shows three performers for this upcoming first concert: soprano Sarah Brailey, violist Marika Fischer Hoyt, and traverse flutist Linda Pereksta.

The season-opener is an instrumental program titled “Gamba Sonatas Without the Gambas.” (Gamba is the Italian word for leg and was used to describe what would evolve into the modern cello.)

Of the three sonatas written for viola da gamba (an early version of the modern cello) and harpsichord, BWV 1027-1029, we’ll hear the first and third, but in alternate versions.

First on the program is the hauntingly beautiful Sonata No. 3 in G Minor, BWV 1029, performed on viola da braccio (baroque viola) and harpsichord. (You can hear the opening movement of the original version, played on a modern cello and piano by Janos Starker and Gyorgy Sebok, respectively, in the YouTube video at the bottom.)

Following that will be the jaunty Sonata in G Major BWV 1039, the Trio Sonata arrangement for cello, flute and harpsichord that Bach made of the Sonata No. 1, BWV 1027.

Just Bach regulars traverse flutists Linda Pereksta and Monica Steger and violist Marika Fischer Hoyt return to the stage. They will be joined by cellist Lindsey Crabb (below top) and UW-Madison harpsichordist John Chapell Stowe (below bottom on the right), who are making their debuts at Just Bach.

Just Bach organizer and regular performer, as well as UW graduate student and professional touring soprano, Sarah Brailey (below) leads the chorale sing-along, a beloved audience-participation feature of these programs. 

Bring your lunch, bring your ears and your voice, and bring a friend, but most of all bring yourself to enjoy the sublime music of Johann Sebastian Bach.

Here is a schedule of upcoming Just Bach concerts this fall, all taking place on Wednesdays at noon:

Oct. 16:  Cantata 158 Der Friede sei mit dir (Peace be with you)

Nov. 20:  Cantata 151 Süßer Trost, mein Jesus kommt (Sweet comfort, my Jesus comes)

Dec. 18:  Christmas Pastiche

For more information, including tips on parking, go to the website justbach.org


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Classical music: The Ancora String Quartet performs an all-Italian program four times this month starting this weekend and returns as an ensemble-in-residence at the First Unitarian Society of Madison

September 3, 2019
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By Jacob Stockinger

The Ear has received the following information to post:

The Ancora String Quartet (below) opens its 19th season with a program of works by three Italian composers more usually associated with opera, or solo violin music, than with string quartets.

Members of the Ancora String Quartet (ASQ, below from left in a photo by Barry Lewis) are violins Wes Luke and Robin Ryan; violist Marika Fischer Hoyt; and cellist Benjamin Whitcomb.

Violin virtuoso and composer Antonio Bazzini (below) led a rockstar’s life, touring Europe and hobnobbing with Robert Schumann and Felix Mendelssohn. He later settled in Milan, winning first prize in the Milan quartet competition in 1864 with this piece. The Scherzo shows Mendelssohn’s influence, and the Andante sostenuto delivers breathtakingly beautiful passages of lyrical romance and tender passion.

Opera great Giaocomo Puccini wrote Chrysanthemums (Crisantemi) in one night, upon hearing the news of the death of his friend the Duke of Savoy in 1890. The six-minute piece expresses the composer’s sorrow, in themes that bring to mind the poignant melodies of “Madama Butterfly.” (You can hear “Chrysanthemums” in the YouTube video at the bottom.)

The String Quartet in E Minor (1873) by Giuseppe Verdi (below) opens with restrained moodiness, but the drama quickly leaps off the page. Written to pass the time while waiting for the delayed opening of his opera “Aida,” this quartet demonstrates Verdi’s mastery of purely instrumental writing — although the cello solo in the Trio of the Scherzo could pass for a tenor aria. The work ends, surprisingly, with an elaborate fugue.

The quartet is gearing up for four performances in September, listed below.

In related news, the Ancora String Quartet, like the Madison Bach Musicians, will become a Resident Ensemble at the First Unitarian Society of Madison (FUS) starting this fall. We are pleased to reconnect with our FUS audiences, and hope our Regent Street fans will make the trip as well.

Here is the September schedule of the Italian program:

  • This Friday, Sept. 6, from noon to 1 p.m. in an interview on Wisconsin Public Radio’s The Midday with host Norman Gilliland. WPR is Madison station WERN 88.7 FM. The ASQ will perform the entire Bazzini quartet.
  • This Saturday, Sept. 7, at 7:30 p.m. at the FUS, Landmark Auditorium, Madison. Tickets at the door are $15 for the general public, $12 for seniors and $6 for students.
  • Sunday, Sept. 8, at 3 p.m. at FUS, Landmark Auditorium, Madison, 900 University Bay Drive, Madison. Tickets at the door are $15, $12 and $6.
  • Next Tuesday, Sept. 10, at 6 p.m. at the Germantown Community Library, N112W16957 Mequon Rd., in Germantown. The concert is FREE and open to the public.


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Classical music: Chamber versions of symphonies and piano concertos by Haydn, Mozart and Beethoven helped secure the composers’ reputations back when they were new music

August 30, 2019
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By Jacob Stockinger

Perhaps you heard one at Bach Dancing and Dynamite Society concerts (below), where they have become a kind of signature.

Or perhaps you heard one at a concert by the Ancora String Quartet or the University of Wisconsin-Madison’s Pro Arte Quartet.

What we’re talking about are scaled-down chamber versions of symphonies and piano concertos by Franz Joseph Haydn, Wolfgang Amadeus Mozart and Ludwig van Beethoven.

Today they seem like curiosities, perhaps programmed to keep budgets smaller and use fewer performers.

But historically those same arrangements were more than conveniences or compromises. They proved vital in securing the works and reputations of those composers for posterity up until today.

Recently, The New York Times published a record review by Zachary Woolfe that provides valuable background about these rearranged works.

Here is a link:

https://www.nytimes.com/2019/07/19/arts/music/mozart-jupiter-hyperion.html

If you would like to experience one for yourself, you have the chance this Saturday and Sunday afternoon at 4 p.m. at the Token Creek Chamber Music Festival.

That’s when and where pianist and Harvard University professor of musicology Robert Levin (below) will perform a chamber version of the Piano Concerto No. 4 in G Major, Op. 58, by Beethoven. It is part of a program by Levin and pianist Ya-Fei Chuang that explores the piano and concludes this year’s 30th anniversary festival. (You can hear the opening movement of the Beethoven piano concerto in the version with string quartet in the YouTube video at the bottom.)

Here is a link with more information about tickets ($32) and the festival:

http://tokencreekfestival.org/2019-season/programs/


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Classical music: This Saturday, Aug. 31, at 11 a.m. in Overture Hall is the last FREE Farmers’ Market organ concert of the season. On Sunday afternoon, guitarist Steven Meyer performs at the Chazen Museum of Art

August 29, 2019
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ALERT: Madison guitarist Steven Meyer will perform a FREE concert on “Sunday Afternoon Live at the Chazen” this Sunday, Sept. 1, from 12:30 to 2 p.m. in Brittingham Gallery 3. The program features music by Johann Sebastian Bach, Gustav Holst, Heitor Villa-Lobos, Fernando Sor, himself and others. Also included is music by the Beatles, jazz and folk music. For more information about the series, go to: https://www.chazen.wisc.edu/index.php?/events-calendar-demo/event/sunday-afternoon-live-at-the-chazen8/

This Sunday’s performance will, as always, be live streamed starting at 12:30. Here is a portal link for streaming: https://c.streamhoster.com/embed/media/O7sBNG/OS1C0ihJsYK/iqf1vBMs3qg_5 

By Jacob Stockinger

This Saturday morning, Aug. 31, will see the last FREE Farmers’ Market organ concert of the season.

The 45-minute concert, sponsored by the Madison Symphony Orchestra and played on the Klais concert organ, takes place in Overture Hall at 11 a.m. No tickets or reservations are needed and the public is welcome.

The performer is David Ball (below), who was trained at the Juilliard School in New York City and who is based in Orange County, California, at the Christ (formerly Crystal) Cathedral.

The program features music by French composer Jean Langlais, French composer Camille Saint-Saens, German composer Max Reger, British composer Herbert Howells, Argentinean composer Norberto Guinaldo, French composer Leon Boellmann, French composer Jeanne Demessieux, contemporary American composer Alan Terricciano and American composer John Philip Sousa. (You can hear David Ball playing a different work by Herbert Howells in the YouTube video at the bottom.)

For the specific works and much more background about the performer, go to: https://madisonsymphony.org/event/free-farmers-market-concert-2019-david-ball/


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