The Well-Tempered Ear

Classical music: This year’s Token Creek Chamber Music Festival will explore “Necessary Music” by Bach, Schubert, Schumann, Ravel, Harbison and other composers from Aug. 26 through Sept 3

August 17, 2017
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 By Jacob Stockinger

The Ear has received the following announcement to post about an annual event that puts on a lot of MUST-HEAR programs:

TOKEN CREEK, WIS. –    In what way, and for whom, is a certain kind of music necessary?

Certainly the presenters of a chamber music festival would be presumptuous to offer a program as a sort of prescription for listeners. And at Token Creek we won’t.

So often the music we need arrives by chance, and we did not even know we needed it until it appears. And other times we know exactly what we are missing. And so we offer this year’s programs of pieces that feed the soul.

Saturday, Aug. 26, at 8 p.m. and Sunday, Aug. 27, at 4 p.m., Program I: Continuo

Some works of art are so rich that they sustain a lifetime of inquiry and encounters, each time revealing fresh new insights only possible through sustained engagement, pieces so resilient they admit multiple interpretations, approaches, nuances, shadings.

We open the season with music of Johann Sebastian Bach (below), pieces we’ve played before and some we have not, music that continues to compel for the very reason that it can never be fully plumbed, music that rewards over and over again. In a concert dominated by Bach, the requirement of the other pieces is really only that they offer sufficient originality and integrity not to be dwarfed or rendered ephemeral by his authority.

Flutist Dawn Lawler (below top), cellist Sara Sitzer (below second) and pianist Jeffrey Stanek (below third join the artistic directors composer-pianist John and violinist Rose Mary Harbison (below bottom) for this opening program.

Works:
BACH Sonata in E minor for violin and continuo, BWV 1023

HAYDN    Trio in F major for flute, cello and piano XV:17

BACH   Two Fugues, from The Art of Fugue, BWV 1080

HARBISON    Mark the Date, for flute and piano (pre-premiere)

BACH Sonata in G major for violin and continuo, BWV 1021

BACH Three-Voice Ricercar, from The Musical Offering, BWV 1079

BACH Sonata in C minor, from The Musical Offering, BWV 1079

Wednesday, Aug. 30, at 7:30 p.m. Program II: Schubert

A sequel to last year’s all-Schubert program, which offered Die Schöne Müllerin and the “Trout” Quintet, this season we offer two late masterworks by  Schubert (below): the song cycle Schwanengesang (Swan Song) and the solo piano set of six Moments Musicaux (Musical Moments).

In structure, ingenuity and invention these two large works offer an eloquent counterpoint and complement to one another. We are pleased to welcome back pianist Ya-Fei Chuang (below top), and to introduce tenor Charles Blandy (below middle) with pianist Linda Osborn (below bottom).

Works:

SCHUBERT      Andante, from Sonata in C for Piano Four Hands (“Grand Duo”),  D.812

SCHUBERT     Moments Musicaux, D.780

SCHUBERT      Schwanengesang, D.957

Saturday, Sept. 2, at 8 p.m. and Sunday, Sept. 3, at 4 p.m. Program III: Waltz

This program explores the familiar form of the waltz as an unexpectedly flexible and diverse musical type, with uncommon approaches from a wide variety of composers from Schubert through Sur.

We conclude the season with Schumann’s splendid Piano Quartet, whose third movement offers one of the greatest of slow waltzes of all time. (You can hear it performed by the Faure Quartet in the YouTube video at the bottom.)

We are pleased to introduce violist Becky Menghini (below top) and cellist Kyle Price (below bottom).

Works:

FRITZ KREISLER   Three Old Viennese Melodies for Violin and  Piano

DONALD SUR        Berceuse for Violin and Piano

SCHUBERT      Waltz Sequence

RAVEL     Valses nobles et sentimentales

GEORGE CRUMB    Sonata for Solo Cello

SCHUMANN     Quartet in E-flat for Piano and Strings, Op.   47

The Token Creek Festival has been called a gem, a treasure nestled in the heart of Wisconsin cornfields, a late-summer fixture just outside of Madison.

Now in its 28th season, the Festival has become known for its artistic excellence, diverse and imaginative programming, a deep engagement with the audience, and a surprising, enchanting and intimate performance venue in a comfortable refurbished barn.

The 2017 festival offers five events to close the summer concert season, Aug. 26–Sept. 3.

Performances take place at the Festival Barn (below), on Highway 19 near the hamlet of Token Creek (10 minutes north of Madison, near Sun Prairie) with ample parking available.

The charmingly rustic venue—indoors and air-conditioned with modern comforts—is invitingly small, and early reservations are recommended.

Concert tickets are $32 (students $12). Reservations can be secured in several ways:

More information about the Token Creek Festival and all events and artists can be found at the website, www.tokencreekfestival.org or by calling 608-241-2525.


Classical music: Which well-known composers or works can’t you stand and consider overrated?

August 5, 2017
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By Jacob Stockinger

We all have them: Composers and well-known works we just don’t like and consider highly overrated.

Composers whose musical works are deemed masterpieces by some but just don’t speak to others.

The Ear recently saw a blog post on the Internet in which a musically sophisticated British listener ranted against Johannes Brahms (below) – the epitome for so many of carefully crafted, soulful late Romanticism — and about how unlistenable and overwritten Brahms’ music is.

The Ear also knows several people who think that the music of the Classical pioneer Franz Joseph Haydn (below) is boring beyond bearable, that his music is thoroughly second-rate or forgettable – even though the great contemporary American composer John Harbison calls Haydn the most undervalued and underplayed of the great composers.

The 12-tone, serial and atonal composers – Arnold Schoenberg, Anton Webern and Alan Berg – also come in for more than their fair share of dismissal.

For The Ear, one of those composers who divide the world in two – into those who love him and those who hate him – is Alexander Scriabin (below), the late Russian Romantic (1872-1915).

Oh, some of the early piano preludes and etudes are OK, largely thanks to the obvious influence of Chopin.

But even though Scriabin died young, he developed his own mature style, including the use of a mystical chord and a taste for apocalyptic and visionary frenzy .

To The Ear, those late works seem way too over-the-top and out-of-control, lacking in discernible structure and significance.

Not long ago, Wisconsin Public Radio played Scriabin’s symphonic tone poem “The Poem of Ecstasy.” (You can hear it in the YouTube video at the bottom.)

Is The Ear the only person who finds it more like “The Poem of Agony”?

And then there are the late, virtuosic and pretentious piano sonatas called “White Mass” and “Black Mass” – favorites of the great Russian piano virtuoso Vladimir Horowitz (below) who, as a child played for Scriabin.

When it comes to the Russian school, The Ear far prefers the emotion in the music of Sergei Rachmaninoff, Sergei Prokofiev and even Peter Tchaikovsky.

Well, what can you do? Such is taste.

So today, The Ear wants to know: Are there famous composers or famous works that you just can’t stand and consider highly overrated?

Leave the name and the reason you hate it so much in the COMMENT section.

Here’s hoping for some interesting and surprising responses.

The Ear wants to hear.


Classical music: Two weeks of choral music and world premieres start this week at the UW-Madison

April 17, 2017
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By Jacob Stockinger

The last two weeks of April look to be a busy time, with several world premieres of new music taking place – one in chamber music this week, then next week one in choral music and one by the Wisconsin Chamber Orchestra in orchestral and piano music.

It is also a busy time for choral music, especially with back-to-back performances next week by the Concert Choir and the community-campus UW Choral Union.

All UW-Madison concerts scheduled for this week are FREE and OPEN TO THE PUBLIC.

Here — with an unfortunate lack of details about programs — is the UW-Madison lineup for this week:

TUESDAY

At 7:30 p.m. in Music Hall, the University Opera presents its spring program of “Opera Scenes” done by the UW-Madison Opera Workshop. Sorry, no word about specific operas, scenes or singers. Staging is minimal and accompaniment is done by a piano.

WEDNESDAY

At 7:30 p.m. in Mills Hall, the UW Pro Arte Quartet (below top) will give the world premiere of “The Cross of Snow,” written by John Harbison (below middle) and commissioned by local businessman William Wartmann in memory of his late wife.

The new work, scored for string quartet and voice, features guest mezzo-soprano Jazmina Macneil (below bottom).

Also on the program are: String Quartet in E Major, Op. 54, No. 3 (1788), by Franz Joseph Haydn; and the String Quartet in A Minor Op. 16 (1874) by Antonin Dvorak.

For more information about the new work, including the text of the poem “The Cross of Snow” by Henry Wadsworth Longfellow, go to:

http://www.music.wisc.edu/event/pro-arte-quartet-7/

FRIDAY

At 8 p.m. in Mills Hall, Chorale and the Madrigal Singers (below) team up for a joint concert under director Bruce Gladstone. Sorry, no word about composers or works.

SATURDAY

At 4 p.m. in Mills Hall, the All-University Strings – an amateur group of non-music majors — will perform its annual spring concert. Sorry, no word on the program.

At 8 p.m. in Mills Hall, the Women’s Chorus (below), Masters Singers and University Chorus will give a joint concert. Sorry, no word on the program.

SUNDAY

From 2 to 5 p.m. in Mills Hall, University Bands will perform under directors Darin Olson, Nathan Froebe and Justin Lingre will perform. Sorry, no word on specific programs.

This week, The Ear also counts 10 different student degree recitals on tap, from piano and violin to percussion and voice. Some listings mention programs, but others do not. For more information, go to:

http://www.music.wisc.edu/events/


Classical music: The Ear learns some lessons from violinist Ilya Kaler and the Wisconsin Chamber Orchestra at a terrific opening concert

October 19, 2016
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By Jacob Stockinger

By any measure the opening concert last Friday night of the Wisconsin Chamber Orchestra (below) under music director Andrew Sewell was a complete and compelling success.

WCO lobby

It left The Ear with several big lessons:

  1. The same piece played by a chamber orchestra and a symphony orchestra is not the same piece.

The Ear remembers hearing one of the first Compact Discs commercially available: a recording of the famous “Eroica” Symphony by Ludwig van Beethoven performed by the popular chamber orchestra, the Academy of St. Martin in the Fields under its recently deceased founder and longtime conductor Sir Neville Marriner.

Was it going to be Beethoven Lite after all the versions from the New York Philharmonic under Leonard Bernstein and the Berlin Philharmonic under Herbert von Karajan?

Not at all.

It turned out that symphony orchestras are about power while chamber orchestras are about subtlety. The same work sounds very different when performed by the two different kinds of ensembles.

So it was with the Violin Concerto by Peter Tchaikovsky with Russian prize-winning soloist Ilya Kaler and conductor Andrew Sewell. The WCO players performed beautifully, and with the chamber orchestra you felt a balance and an intimacy between the soloist, the orchestra and conductor Sewell (below).

You could hear with more clarity or transparency the structure of the concerto and the dialogue of the violin with various orchestral sections – the flutes and clarinet stood out – that often get drowned out by bigger accompanying forces.

So when you see the same work programmed by the Madison Symphony Orchestra and the Wisconsin Chamber Orchestra, do not think of them as duplications you have to choose between. Go hear both. Listen for the differences. You will not be disappointed.

That’s what The Ear did and he came away enthralled and enchanted with this smaller-scale Tchaikovsky.

AndrewSewellnew

  1. There are many great and more affordable soloists whose names we do not recognize. But don’t underestimate them just because you haven’t heard of them.

The world has more first-rate musical talent than ever. Ilya Kaler (below), the only violinist ever to win gold medals at the Tchaikovsky, Paganini and Sibelius competitions, is a case in point. We owe a big thanks to the WCO for finding and booking him. He is right up there with the American violinist Benjamin Beilman, whom the WCO booked last season.

Kaler’s playing was first-rate and world-class: virtuosic, both lyrical and dramatic, but also nuanced. His tone was beautiful and his volume impressive – and all this was done on a contemporary American violin made in Ann Arbor, Michigan. (You can hear Kaler play in the YouTube video at the bottom.)

The Ear says: Bring Kaler back – the sooner, the better. The Ear wants to hear him in violin concertos by Johann Sebastian Bach, Georg Philipp Telemann, Antonio Vivaldi and other Italian Baroque masters like Francesco Geminiani and Arcangelo Corelli. Classical-era concertos by Wolfgang Amadeus Mozart would be wonderful. More Romantic concertos by Ludwig van Beethoven, Felix Mendelssohn, Nicolo Paganini, Johannes Brahms and Robert Schumann would also be great. And how about the Violin Concerto No. 2 by Sergei Prokofiev and the neo-Classical Violin Concerto by Igor Stravinsky?

But anything will do. Kaler is a violinist – he records for the Naxos label — we should hear more often. These days, we need fewer big stars and more fine talent that makes attendance affordable. The Ear will take young and talented cellists Alisa Weilerstein and Joshua Roman over such an overpriced celebrity as Yo-Yo Ma, great as he is.

ilya-kaler

  1. Second-tier composers can teach you about great composers.

The WCO opened with a rarely heard eight-minute work, the Symphony No. 5 in D Major, by Baroque English composer William Boyce (below top). It was enjoyable and The Ear is happy he heard it.

True, it comes off as second-rate Handel (below bottom). Why? Because as composer John Harbison explained so succinctly at the Token Creek Chamber Music Festival he co-directs here every summer, the music by George Frideric Handel has a hard-to-explain “heft.” Just a few notes by Handel make memorable music that somehow sticks in your memory.

So The Ear heard the pleasantness of Boyce and ended up appreciating even more the greatness of Handel. What a two-fer!

william-boyce

handel big 2

  1. Concerts should end on a high note, even if they also start on a high note.

The rarely played Symphony No. 4 “Tragic” by Franz Schubert received an outstanding reading. But it ended the concert and left the audience sitting in its seats.

The Tchaikovsky Violin Concerto, by contrast, got an immediate standing ovation and an encore – a wonderful rendition of an unaccompanied Gavotte by Johann Sebastian Bach — and they ended the first half triumphantly.

Maybe the Schubert and Tchaikovsky should have been reversed in order. Or else, what about programming a really energetic symphony by Mozart or Beethoven to end the concert on an upbeat note. Just a thought.

If you went to the season-opener by the Wisconsin Chamber Orchestra, what thoughts and impressions did you have?

Do you agree or disagree with The Ear?

The Ear wants to hear.


Classical music: Songs and chamber music about water and nature by Franz Schubert flow with drama and assertiveness to conclude this year’s Token Creek Festival. The concert will be repeated today at 4 p.m.

September 4, 2016
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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 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. He also provided the performance photos for this review.

John-Barker

By John W. Barker

The context of this year’s Token Creek Chamber Music Festival has been the reconstitution of a neglected trout stream on the property of John and Rose Mary Harbison, the festival directors.

With an overall festival title of “Water Music,” its final program is called “Water Colors,” and is devoted exclusively to music by this year’s featured composer, Franz Schubert (below).

Franz Schubert big

This program, first performed on Friday evening, contained just two major works.

The first was Schubert’s song cycle, “Die schöne Müllerian (The Lovely Miller Maid).

Setting a cycle of 20 poems by Wilhelm Müller (almost a pun!), Schubert has us follow episodically the story of a mill worker who falls in love with his boss’s daughter. She first encourages him and then betrays him, abandoning him to a hopeless death. Through all this, his guide, sustainer and, finally, consoler, is the mill brook, itself effectively a character in the saga.

Occupying the first half of the concert, this cycle was sung from memory by the highly acclaimed tenor William Hite (below). His voice is somewhat more of a dramatic than a lyric tenor, and some of his delivery had a vehemence that was almost too big for the intimate setting of “the barn” on the Harbison estate.

Token Creek 2016 William Hite Schubert Mullerin

But, in truth, Hite (below) could muster up delicacy and nuance as well as earthy strength. Above all, he became a story teller—at once narrator and protagonist—a singing actor who drew us into the tragic story.

He was also powerfully supported by pianist Kayo Iwama (below). Her playing was not subtle, but it struck just the right tone of assertiveness and caught the bucolic evocations.

Kayo Iwama

As their performance proceeded, I found I was no longer in “the barn” but transported into the world of nature and hopeless love. The poignance and humanity of Schubert’s cycle was thus truly realized.

In the second half, another of Schubert’s “nature” evocations was fittingly offered: the beloved Quintet in A for piano and an adjusted string quartet (D.667). This bears the nickname of “the Trout,” because the fourth of its five movements is a set of variations on his own song, Die Forelle (The Trout). (You can hear that fourth movement in the YouTube video at the bottom.)

Performers (below) were Rose Mary Harbison, violin; Jennifer Paulson, viola; Karl Lavine; cello, and Ross Gilliland, bass; with pianist Molly Morkoski.

Token Creek 2016 Schubert Trout JWB

It was given a lively performance, and made me pay particular attention to the role of the piano in the scoring. Aside from the two piano trios, this is Schubert’s only full-scale chamber work in which he matches the piano with a string ensemble. It’s not a quasi-concerto, but there is a clear understanding of the sonic distinctions between the piano and the strings as they contrast and collaborate.

The piano’s role was indeed the backbone of this performance, thanks to the work of Morkoski (below), who again—as in the opening concert program last weekend—showed herself a born Schubert pianist of great flair.

molly morkoski

NOTE: This program is to be repeated this afternoon at 4 p.m., and will conclude this year’s festival.

For more information, here is a link:

http://tokencreekfestival.org


Classical music: Old music and new music mingle superbly at the Token Creek Chamber Music Festival through a concert with viols, a countertenor and a new composition by John Harbison

September 1, 2016
2 Comments

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 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. Barker also provided the performance photos for this review.

John-Barker

By John W. Barker

The second of the Token Creek Chamber Music Festival’s three public concerts, which took place on Tuesday evening, was a study in the old and the new, and the mingling thereof.

The program title was, in fact, “Viol Music, Then and Now.” The performing group was the Second City Musick Consort of Viols of Chicago (below)  — three players from there, plus visitor Brady Lanier.

Craig Trompeter, Russell Wagner, Anna Steinhoff at the Planetarium, Chicago, May 30, 2013

Craig Trompeter, Russell Wagner, Anna Steinhoff at the Planetarium, Chicago, May 30, 2013

Much, but hardly all, of their contributions were consort pieces of the 16th and 17th centuries, although a certain number of transcriptions — ironically, of later music — were involved.

Three Fantasias for three viols by William Byrd and one by John Jenkins for four viols were prime specimens. Two pairs of examples from Henry Purcell’s Fantasias in 4 Parts represented a late contribution to the consort literature, but were probably intended — primarily, if not exclusively — for members of the violin family, not viols.

Token Creek viols JWB

With the addition of countertenor Nathan Medley, groups of “consort songs” were presented: three by Byrd and one each by four different composers of the late-Elizabethan and early Stuart periods. These were capped by one of the favorite airs of Purcell, “Fairest Isle”— which is a part of his large “semi-opera” King Arthur.

Token Creek viols and countertenor closeup JWB

The program’s centerpiece, however, was a new work by festival co-founder and co-artistic director, John Harbison (below), who won a Pulitzer Prize and has been a MacArthur “genius grant” Fellow and who teaches at MIT.

John Harbison MIT

The nature and the scoring of this work, The Cross of Snow, was defined by the patron who commissioned it. This was local businessman William Wartmann (below), who intended it as a tribute to his deceased wife, the painter and singer Joyce Wartmann.

wiiliam wartmann

It was understood from the outset that it would be written for countertenor and consort of viols, and that the texts set would come from 19th-century poetic literature.

The choice eventually fell on Henry Wadsworth Longfellow, who also lost his wife tragically, in a fire. The three poems set are: The Cross of Snow, Suspira and “Some day, some day.” All of them deal with the deep and enduring pain over the loss of a loved one. The three settings are framed by a Prelude and a Postlude for the consort alone. (You can hear the poem “The Cross of Snow” in the YouTube video at the bottom.)

Harbison has a strong sense of tradition and a genuine sympathy for Baroque music. Still, in this composition he by no means attempts simply to imitate long-past styles. While he is interested in exploring the special coloring and harmonics of the viols, he also brings to them a lot of the playing techniques familiar from writing for modern stringed instruments, but alien to viols. Indeed, the instrumental role in this work could pretty easily be transferred from viols to modern strings.

Nevertheless, Harbison’s stylistic assimilations run deep. The five movements, and especially the quite contrapuntal Postlude, are built upon allusions to chorales by Johann Sebastian Bach (below). And, quite wisely, the consort played transcriptions of three such pieces in conjunction with Harbison’s score.

Bach1

Moreover, it was decided to perform Harbison’s new work twice, once in each half of the concert. This was most helpful in allowing a deepened appreciation of the emotional content of both the poetry and the music. The vocal lines are strongly etched, and were beautifully sung by countertenor Medley, a superb artist.

With the final program, on this Friday night at 7:30 p.m. and Sunday afternoon at 4 p.m., the spotlight will be exclusively on Franz Schubert (below) — his “Die Schoene Muellerin” (The Beautiful Miller’s Daughter) song cycle and the famous “Trout” Piano Quintet — music in a world between the two evoked by this concert.

Schubert etching

For more information, visit: http://tokencreekfestival.org


Classical music: The founders and co-artistic directors of the Token Creek Chamber Music Festival explain the origins of the upcoming “water music” programs

August 25, 2016
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By Jacob Stockinger

In the essay below, John and Rose Mary Harbison (below, in a photo by Katrin Talbot), the founders and co-artistic directors of the Token Creek Chamber Music Festival, explain the origins of the upcoming “water music” programs that mark the 27th festival.

You can hear that famous “trout” theme of the original song used in Franz Schubert‘s “Trout” Piano Quintet, which will be performed at the festival, in the YouTube video at the bottom.

Here is a link to a posting earlier this week with much more information about the concerts, the programs and the performers:

https://welltempered.wordpress.com/2016/08/22/classical-music-this-years-token-creek-chamber-music-festival-celebrates-local-ecological-restoration-with-water-music/

John and Rose Mary Harbison Katrin Talbot

ECOLOGICAL RESTORATION: THE BROOK AT TOKEN CREEK — WHY NOW?

By John and Rose Mary Harbison

In 1932 Dan and Alice Pedersen, Rose Mary Harbison’s parents, came from Chicago to Madison and purchased a small farm on State Highway 19, then a seldom travelled dirt road. (Below is a photo by Jess Anderson of a more recent barn built on the farm property.)

Token Creek land:barn Jess Anderson

The farm eventually became a producer of organic vegetables for sale, and a place of contemplation, leading to Dan’s life as a Swedenborgian pastor, wartime fireman and early sustainable farmer; and Alice’s as a Sunday school teacher and eventually a much published anti-Vietnam War activist. (Below is a photo by Jess Anderson of a field on the farm.)

Token Creek land 2 Jess Anderson

But it was just three years into their tenure on the farm that the State of Wisconsin came up with a plan to raise carp for New York markets, and by eminent domain seized four acres of land from the Pedersen farm, building a 400-foot carp pond, and routing the tributary trout stream on the Pedersen farm into it. (Historic photos are from the Token Creek Watershed Association.)

Token Creek Watershed 1

This was a loss from which the couple never really recovered, since it cost the stream, which had originally flowed into Token Creek, much loss of vitality, swiftness and natural flow.

Within a decade the State had lost interest in the original project, but the Pedersens were never able to persuade the necessary agencies to undertake restoration of the trout stream and repair the damage.

Token Creek watershed 2

The 2012 Token Creek Festival season included a forum, “Listen to the Land,” with an eminent group of ecologists commenting on our attempt to redevelop as prairie a large set-aside field.

As it turned out, the best outcome of this gathering, in spite of the expensive and to this point discouraging track of that project, was the unanimous view of that forum that the restoration of the tributary trout stream, and the elimination of the carp pond, would dynamically and radically upgrade the entire ecology of the area, one that is an extremely important component of the Cherokee Marsh and Lake Mendota watershed. (below is a picnic by Token Creek.)

Token Creek picnic

This year’s festival, “Water Music,” celebrates the unlikely achievement of that goal. Unable to find civic partners, the transformation was a private initiative, brilliantly realized by the river restoration firm Inter-Fluve, and spearheaded by the participants in our opening forum. (Below is a mill on the creek.)

Token Creek mill

Art and Nature are already familiar partners; Art and Technology increasingly so. One common impulse seems to be to increase harmony and invention; to limit pointless destruction; and to preserve enhance and develop, positively, some of the forces we cannot control, or fully understand.


Classical music: This year’s Token Creek Chamber Music Festival celebrates local ecological restoration with “water music”

August 22, 2016
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By Jacob Stockinger

Here is an overview of the upcoming 27th Token Creek Chamber Music Festival, which starts this Saturday, Aug. 27, and runs through Sunday, Sept. 4.

TOKEN CREEK, WIS. – Years in the planning, summer 2016 marks the completion of a major ecological restoration project on the Token Creek Festival property in the northeast corner of Dane County, part of the watersheds vital to the hydrology of Madison and southeastern Wisconsin.

TokenCreekentrance

TokenCreekbarn interior

During the 1930s, one of the most important feeder streams in the area, and its only cold-water trout stream, was ruined when it was widened to support short-lived commercial interests and development. Now, decades later, in a monumental effort, that stream has at long last been relocated, restored and rescued.

Festival-goers will be able to experience the project firsthand on the opening weekend, when each concert is preceded by an optional stroll along the new stream, with conversation guided by restoration ecologists and project managers.

Celebrating this monumental ecological project, the season theme of this year’s Token Creek Chamber Music Festival is: Water Music. Virtually all of the works programmed evoke brooks and streams and rivers and water in its many forms, with its ritual meanings, associations, allusions, and as metaphor.

In keeping with the theme, the Festival has adopted Franz Schubert (below) as the summer’s featured composer. His poetic, melancholic, ultimately organic and inevitable relationship to the natural world was expressed in composition after composition, wedded to his intense involvement with the poetry of his era, itself so infatuated with birds, fields, clouds and streams.

Franz Schubert big

The second program emphasis continues the festival’s most persistent theme: the music of Johann Sebastian Bach.

Bach1

Three strands of Bach’s music previously explored at Token Creek will be taken up again. We will present our third complete cantata performance, O heiliges Geist und Wasserbad, a mysterious and poetic piece from early in the composer’s career, with soloists from the Madison Choral Project (below).

Madison Choral Project color

We will conclude our survey of the three Bach violin concertos, this year the E major, co-artistic director Rose Mary Harbison (below top) again as soloist. And we take up our sequence of fugues from The Art of Fugue, co-artistic director and composer John Harbison (below bottom), who has won the Pulitzer Prize and a MacArthur “genius grant,” adding three more to his personal odyssey with this work, due to conclude in 2030.

RosemaryHarbison

JohnHarbisonatpiano

NEW ARTISTS

Token Creek is pleased to introduce several new artists this season, including Grammy Award-nominated mezzo-soprano Margaret Lattimore, who has been praised for her “glorious instrument” and dubbed an “undisputed star…who has it all – looks, intelligence, musicianship, personality, technique, and a voice of bewitching amber color.”

Ms. Lattimore will offer works of Franz Schubert and John Harbison on the Festival’s opening concerts, By the Brook (August 27 and 28), where she will be joined by pianist Molly Morkoski.

www.margaretlattimore.net

Margaret Lattimore

Ms. Morkoski (below), who last appeared at Token Creek in 2013, consistently garners praise for her refined virtuosity and “the bold confidence and interactive grace one wants in a devoted chamber music maker.” In addition to the opening program, Morkoski will also be heard on the season finale in Schubert’s “Trout” Quintet (Sept. 2 and 4).

http://www.mollymorkoski.com/

molly morkoski

On that same concert, tenor William Hite and pianist Kayo Iwama join forces in Schubert’s devastating and tragic song cycle, Die Schöne Müllerin (The Beautiful Miller’s Daughter), in which a brook functions prominently as the protagonist’s confidante. (You can hear the legendary baritone Dietrich Fischer-Dieskau sing “The Miller and the Brook” from the flowing song cycle in the YouTube video at the bottom.)

New York Times critic Anthony Tommasini has called Hite (below) a “breathtaking communicator of spoken nuance” for his ability to reveal the meaning and emotion embodied in the text and the music, solidifying his reputation as an engaging and expressive artist.

http://www.williamhitetenor.com/

william hite

Kayo Iwama (below) is associate director of the Bard College Conservatory of Music graduate vocal arts program, the master’s degree program for classical singers, and she also coordinates the vocal studies program at the Tanglewood Music Center. Her frequent concert partners include Dawn Upshaw and Lucy Shelton.

http://www.bard.edu/academics/faculty/details/?action=details&id=1838

Kayo Iwama

VIOLS AND WILLIAM WARTMANN

Finally, the “technically faultless and consistently sensitive and expressive,” consort of viols, Second City Musick (below), based in Chicago, will offer a guest recital on Tuesday, Aug. 30, anchored by John Harbison’s The Cross of Snow.

Craig Trompeter, Russell Wagner, Anna Steinhoff at the Planetarium, Chicago, May 30, 2013

Craig Trompeter, Russell Wagner, Anna Steinhoff at the Planetarium, Chicago, May 30, 2013

Commissioned by local businessman and philanthropist William John Wartmann (below) in memory of his wife, mezzo-soprano Joyce Wartmann, this evocative new piece, on texts of Henry Wadsworth Longfellow, blends the ethereal lushness of violas da gamba with the haunting clarity of the countertenor voice, here Nathan Medley (below bottom), to explore the emotions of grief, loss and love.

wiiliam wartmann

Nathan Medley

At its first performance in Chicago last May, a local critic praised both the work and the musicians: “The Chicago-based ensemble was ideally suited to premiere this profoundly affecting work, and the shared sensibility between composer and performers was noticeable.”

Tuesday’s program will also include works of Henry Purcell, William Byrd, John Jenkins and Johann Sebastian Bach.

www.secondcitymusick.org

Other festival artists this season include vocalists Rachel Warricke, Sarah Leuwerke, Daniel O’Dea, and Nathan Krueger; violinists Rose Mary Harbison, Laura Burns, and Isabella Lippi; Jen Paulson, viola; Karl Lavine, cello; Ross Gilliland, bass; Linda Kimball, horn; and John Harbison, piano.

HERE ARE FESTIVAL PROGRAMS AT A GLANCE:

Program 1: By the Brook – Schubert, Bach and Harbison

Saturday, Aug. 27: 6:45 p.m. – optional guided stream stroll*; 8 p.m. – concert

Sunday, Aug. 28:  2:45 p.m. – optional guided stream stroll*; 4 p.m. – concert

*(The stream stroll is free, but reservations are recommended)

Program 2: Music for Viols, Then & Now

Tuesday, Aug. 30, at 7:30 p.m.

Program 3: Water Colors = Two Schubert Masterworks

Friday, Sept. 2 at 7:30 p.m.

Sunday, Sept. 4 at 4 p.m.

Concert tickets are $32 (students $12). The preview stream stroll on opening weekend is free to concertgoers, but advance reservations are recommended.

Reservations can be made in several ways:

  • Online:    https://www.eventbrite.com/e/token-creek-chamber-music-festival-2016-tickets-26070692142
  • Website (printable order form): www.tokencreekfestival.org
  • Phone: 608-241-2525 (voicemail only, please leave a message)
  • Email: info@tokencreekfestival.org
  • U.S. mail: P.O. Box 5201, Madison WI, 53705

Performances take place at the Festival Barn, on Highway 19 near the hamlet of Token Creek (10 minutes north of Madison) with ample parking available. The venue, indoors and air-conditioned, is invitingly small—early reservations are recommended.

Token Creek 2011 Mozart Trio, Levin, Harbison, Ryder

More information about the Token Creek Festival and all events and artists can be found at the website, www.tokencreekfestival.org or by calling 608 241-2525.


Classical music: Memorial Day weekend marks the unofficial start of summer. So here are guides to this summer’s local, national and even international festivals of classical music

May 29, 2016
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By Jacob Stockinger

Get out your datebooks.

Madison now has great classical music year-round, including in the summer, which long ago ceased being an artistic desert.

LOCAL

This summer’s offerings include:

The 25th anniversary season, filled with new music but also tried-and-true treasured masterpieces, of the Bach Dancing and Dynamite Society that runs June 10-26:

http://www.bachdancinganddynamite.org

The 17th annual Madison Early Music Festival, which runs from July 10-16 and will focus on William Shakespeare in honor of the 400th anniversary of his death:

https://artsinstitute.wisc.edu/memf/

The annual Madison Savoyards’ production of Gilbert & Sullivan will stage “The Gondoliers” for six performances July 29-Aug. 7:

http://madisonsavoyards.org

The second season of the Willy Street Chamber Players (below):

http://www.willystreetchamberplayers.org

Willy Street Chamber Players 2016 outdoors

The 27th annual Token Creek Chamber Music Festival, which runs Aug. 27-Sept 4 and this year features music celebrating water and the natural world. Programs include music by Johann Sebastian Bach,  English Renaissance music of John Dowland, William Byrd and Henry Purcell and a Wisconsin premiere by composer and co-director John Harbison plus Franz Schubert’s song cycle “Die Schöne Müllerin” and his equally famous masterpiece, the “Trout” Piano Quintet:

http://tokencreekfestival.org

Plus there are a lot of smaller groups including the Madison Summer Choir and the Isthmus Vocal Ensemble, both of which have received critical acclaim. And there is the Green Lake Festival. Some I might also include the six Concerts on the Square by the Wisconsin Chamber Orchestra, which this year features a hefty dose of classical fare.

NATIONAL

But if you don’t stay around town and hit the road instead, there is a lot that might interest you in the way of summer music festivals around the country. There are festivals of chamber music, orchestral music and opera.

And The Ear has always wanted to attend the Bard Music Festival (below), which emphasizes the cultural context of the music, and the Mostly Mozart Festival. One of these years! (You can hear from co-artistic director and Bard College president Leon Botstein how the unique Bard Music Festival is run in a YouTube video at the bottom.)

Bard Music Festival Frank Gehry Richard B. Fisher Center for the Performing Arts hall

Here is a roundup by The New York Times, which put all kinds of genres together. Just scroll down until you hit the Classical Festivals section that was compiled and annotated by the Times’ trustworthy critic Vivien Schweitzer:

http://www.nytimes.com/interactive/2016/05/19/arts/summer-festivals.html?_r=0

Here is a fairly comprehensive national guide from Wikipedia:

https://en.wikipedia.org/wiki/Category:Classical_music_festivals_in_the_United_States

Here is a guide from two years ago, done by NPR or National Public Radio, that includes the Madison Early Music Festival and divides up the selection by regions of the country:

http://www.npr.org/sections/deceptivecadence/2014/05/01/307968750/10-cant-miss-classical-music-festivals

And for good measure, for those taking international vacations here is a guide to international music festivals:

https://en.wikipedia.org/wiki/List_of_classical_music_festivals

Happy hunting and choosing. Then happy and safe traveling. And finally Happy Listening.

The Ear hopes you have a classic “classical” summer.


Classical music: Turning chaos into order. Conductor Beverly Taylor explains what makes Haydn’s “The Creation” special and fun to listen to. The UW-Madison Choral Union and UW Chamber Orchestra with soloists will perform it on Sunday afternoon.

April 18, 2016
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By Jacob Stockinger

This coming Sunday afternoon at 3:30 p.m. in Mills Hall, the campus-community UW-Madison Choral Union (below), the UW Chamber Orchestra and soloists will perform the oratorio the “The Creation” by the Classical-era master Franz Joseph Haydn.

UW Choral Union and UW Symphony 11-2013

First, The Ear wants to clear up any confusion about the date of the performance – which is ONE-TIME ONLY. (In the past, the Choral Union usually gave two performances.) The performance was originally scheduled for Sunday afternoon. Then it was moved to Saturday night and then, after a conflict with the Jewish Passover was seen, moved back to Sunday afternoon.

Tickets are $15 for the general public, $8 for students. For more information about tickets, the work and the performers, here is a link:

http://www.music.wisc.edu/event/uw-choral-union2/

Beverly Taylor, director of choral activities at the University of Wisconsin-Madison School of Music who will conduct the performance, agreed to do an email Q&A with The Ear:

Beverly Taylor MSO portrait COLOR USE

What is the place of Haydn’s “The Creation” is the choral literature? Was it influential? Popular?

It’s considered wonderful and innovative. Its choruses are magnificent, and the opening depiction of Chaos is unlike anything that had been heard up to that time.

It was written late in Haydn’s career, and showed many aspects of his wonderful talent, including musical depictions of non-musical things—water, birds, dawn — and has terrific pacing of the extended choruses building to majestic climaxes.

The premiere was enthusiastically received. It was indeed popular, although the composer’s late masses also deserve great attention. The other vocal works by Haydn (below), such as “The Seasons,” are more slowly paced, and although they contain great music, they are not often felt to be as compelling as “The Creation” with its easy-to-follow sequence of creative days.

Haydn

Are there special moments or parts of the work you would like to point out to the public? How about special aspects of the performance?

Yes! One thing to do is to listen with an open mind to Chaos. (You can preview “Chaos” in a YouTube video at the bottom as performed by Christopher Hogwood and the Academy of Ancient Music.)

When I first heard a dull performance of it years ago, I wondered what the big deal was. Then I took a good look at it: It contains chaotic oddities — a horn suddenly blaring loudly with no reference to other instruments, a trilling flute that never resolves its trill, bassoons and clarinets who play bubbling and pointless arpeggios until it all settles down to begin the first day of the Creation (famously depicted below by the British artist and poet William Blake).

Creation and God William Blake

There are also delightful musical depictions and sound paintings of weather that can be confusing unless you know that the orchestra depicts the weather before the bass tells us about it. That way hail won’t sound like snow! The same holds true for the description of animals — we hear the leaping stags before our singer tells us.

There will be terrific moments in the work — orchestral playing, fabulous choral singing. And there will be wonderful solo work by our experienced alumni and faculty artists soprano Jamie-Rose Guarrine (below top), tenor James Doing (below second), bass-baritone Benjamin Schultz (below third) and baritone Benjamin Li (below bottom). It’s a pleasure to make music with them.

Jamie Rose Guarrine 2016

James Doing color

Benjamin Schultz 2016

Benjamin Li 2016

Composer John Harbison says that Haydn is the most neglected of all the great composers. Why do you think Haydn isn’t thought of more highly and performed more often?

Among musicians, Haydn is certainly thought of highly, and many people enjoy his work, especially the element of surprise in his work — sforzandos, sudden silences, changes of rhythm.

But many of his works are chamber works designed for smaller rooms and audiences. And in our modern life, the size of the orchestra and special instruments and added theatrical elements often attract more people. Haydn’s chamber works are fabulous, but sometimes subtle. However, they repay well those who pay attention to them.

The Creation poster 2016

What else would you like to say about the composer, this particular work or this performance?

Haydn was influenced by and had influence on Wolfgang Amadeus Mozart and Ludwig van Beethoven, on all the European composers. But what inspires audiences — including, we hope, ours — is the immediacy of the beauty of the music. You don’t need special training to jump right in and listen.


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