The Well-Tempered Ear

Classical music: Today brings the release of an impressive CD of clarinet duos and trios with UW-Madison cellist Uri Vardi and his clarinetist son Amitai Vardi

July 14, 2017
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By Jacob Stockinger

Today is when another outstanding recording by UW-Madison cellist Uri Vardi gets released by Delos Records.

The recording, which features clarinet trios by Ludwig van Beethoven and Johannes Brahms and clarinet-cello duos by contemporary composer Jan Radzynski, has all the makings of another winner.

For one, the repertoire is a fine mix of the late Classical style (Beethoven), the  late Romantic style (Brahms) and modernistic nationalism (Radzynski).

It is, of course, a family affair, as  you can read about here in a story about the premiere of the Concerto Duos by Radzynski:

http://news.wisc.edu/music-deepens-connection-for-father-son-performers/

The Ear also finds the playing first-rate and the sound engineering exemplary.

None of that should come as a surprise. You may recall that last year Vardi (below) and his colleague UW-Madison violin professor David Perry, along with pianist Paulina Zamora, released a recording of the three piano trios by Brahms. It was acclaimed by no less than Gramophone magazine. Here is a link to that review:

https://reader.exacteditions.com/issues/49269/page/3

The title of the new CD is Soulmates, and it seems fitting in so many ways that crisscross in many directions.

Here are notes from the educator and performer Uri Vardi:

“The title refers to friendship between composer and performer, as Jenny Kallick highlights in her liner notes.

“For his clarinet trio, Beethoven put to work the manners of a musical style that embraced the outward charm and lively sociability associated with the music of friends, interjecting his soon-to-be famous dramatic flashes only occasionally.

“Jan Radzynski (below) began his association with me in Israel, where the Vardi family from Hungary and Radzynski family from Poland first overlapped.

“Meeting once again during graduate studies at Yale School of Music, our friendship has been enriched by Jan’s project as an esteemed composer with multiple cultural ties to Poland, Israel, the US and Jewish tradition, and by my commitment as celebrated teacher and performer to collaborations across musical boundaries. Jointly, we have found ways to embrace the complexities of their origins and diaspora.

“The duo’s dedication to the entire Vardi family signals this deep connection.

“Nearly a century had passed before Brahms (below top) wrote for this same combination. Had it not been for his newly-blossomed musical friendship with clarinetist Richard Mühlfeld (below bottom, 1856-1907), a star performer in the Hofkapelle Orchestra at Saxe-Meiningen, the composer might have held to his recently announced plans to retire.

“On a more personal level, I admire composer Jan Radzynski’s music. I was moved by his gift to my son Amitai (below) — who teaches clarinet at Kent State University in Ohio — and me, and the rest of our family, of the Concert Duos. He presented the work to us in 2004, and we premiered it that same year.

“Brahms is the composer who influences me on the deepest level. Following the release of my previous CD by Delos, I was eager to record the fourth Brahms trio involving the cello, and was looking for an opportunity to add it to the other three trios.

“It is the greatest joy for me to play chamber music with my son. I was happy that both he, and my colleague and friend, pianist Arnon Erez (below), were ready to embark with me on the journey of performing and recording the three compositions on this CD.

“The UW Arts Institute awarded me the Emily Mead Baldwin Award, which helped me financially in releasing this CD. The recordings were done at the Jerusalem Music Center in Israel (which gave us their wonderful facilities free of charge).

“Sound engineer Victor Fonarov, who recorded this CD and started editing it, passed away before the completion of the work. So we decided to dedicate the album to his memory.

“Here is a promotional video, with a SoundCloud clip of the Beethoven work, for the recording:

https://delosmusic.com/recording/soulmates-cello-clarinet-piano/

“And you can hear an excerpt from Radzynski’s Duos in the YouTube video at the bottom.

“Interested readers can also purchase the album directly from Uri Vardi at: uvardi@wisc.edu”


Classical music: The Isthmus Vocal Ensemble will mark its 15th anniversary this Friday night and Sunday afternoon with the “German Requiem” by Brahms and the world premiere of a new work commissioned from Andrew Rindfleisch

August 2, 2016
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By Jacob Stockinger

The Isthmus Vocal Ensemble (below) will mark its 15th anniversary with two performances this coming weekend of the “German” Requiem by Johannes Brahms and the world premiere of a work by the contemporary American composer Andrew Rindfleisch.

These performances mark the first time the vocal group will be joined by an orchestra.

Isthmus Vocal Ensemble 2015

Performances are in Mills Hall on the UW-Madison campus this Friday, Aug. 5 at 7:30 p.m. and Sunday, Aug. 7 at 3 p.m.

Soloists are soprano Sarah Brailey (below top) and UW-Madison baritone Paul Rowe (below bottom).

Sarah Brailey headshot

Paul Rowe headshot

Tickets are $20 for adults, $15 for seniors and $10 with a student ID. Children under 6 under should not attend. More information can be found at www.isthmusvocalensemble.org

The Ear asked Scott P MacPherson (below), formerly of the University of Wisconsin-Madison School of Music and now the director of choral activities at Kent State University in Ohio, to talk about the anniversary and concert. MacPherson is the founder and artistic director of the Isthmus Vocal Ensemble.

Scott MacPherson headshot BW 2016

MacPherson writes:

“We are excited to announce that the Isthmus Vocal Ensemble is celebrating it’s 15th Anniversary with two performances of Johannes Brahms’s Ein deutsches Requiem (A German Requiem) with soloists and professional musicians for the 45-piece orchestra.

“Additionally, IVE marks this significant milestone by presenting the world premiere of the Song of Jubilation, by Andrew Rindfliesch, the native Wisconsin composer’s first choral-orchestral piece.

“Started in 2002, the critically acclaimed Isthmus Vocal Ensemble is Madison’s “temporary” choir—it gathers some of the region’s finest singers every summer for two intensive weeks of rehearsal (below) culminating in two performances on the first weekend of August.

Isthmus Vocal Ensemble rehearsing 2016

“IVE started up as a summer group of dedicated singers who wanted to perform great choral music together. Many charter members sang under the direction of Robert Fountain in the Concert Choir or with me and the UW Madrigal Singers or Chamber Singers when I was on the UW faculty in the 1980s and 1990s.

“The group has grown from about 35 in its first year to averaging over 60 singers each year. This summer, I have expanded the choir to 115 singers in order to meet the musical and vocal demands of the Brahms German Requiem. (You can hear one of the most popular movements, “How Lovely Is Thy Dwelling Place,” in a YouTube video at the bottom.)

“From the beginning, IVE has served the Madison choral community with excellent performances of a varied and demanding repertoire, from Renaissance and Baroque motets to part songs and motets of the 19th century to choral works either unaccompanied or with piano or organ accompaniment in the 20th century to music by living composers of our time.

Isthmus Vocal Ensemble and Scott MacPherson rehearsing

“A few years ago, I suggested to the IVE board that we commemorate our 15th anniversary in 2016 by performing a completely different repertoire than our usual fare.

“The Brahms Ein deutsches Requiem immediately came to mind—there wasn’t a doubt in my mind that this would be the right piece to commemorate this milestone. A favorite for the singers and audiences alike, the music of Brahms has frequently been highlighted on IVE’s programs over the years.

“Also, IVE has never before collaborated with an orchestra for an entire concert, although in 2008 we prepared Coronation Anthem No. 2 by George Frideric Handel for Concerts on the Square with Andrew Sewell and the Wisconsin Chamber Orchestra). Performing the German Requiem, arguably Brahms’s finest work, symbolizes the “pinnacle achievement” for many choirs.

I also approached my dear friend composer Andrew Rindflebisch (below), a UW-Madison alumnus who now serves as professor of music and heads the composition program at Cleveland State University, about sharing in our celebration by writing a choral-orchestral piece especially for IVE.

I asked Andy for a brief piece to serve as an opener for the Brahms. Song of Jubilation is a fanfare, a short celebratory anthem of power and beauty. Since it specifically introduces the Brahms, Rindfleisch uses nearly the same instrumentation and even selected one of the texts from the Requiem for his new composition. We are honored and privileged to present the world premiere of this fine work.

Andrew Rindfleisch portrait

Brahms (below) was likely inspired to write his Requiem by the death of his mother in 1865 and possibly also by losing his dear friend Robert Schumann a decade earlier.

In contrast to the Roman Catholic Requiem or Mass for the Dead, which places a great deal of emphasis on the hoped-for salvation of the deceased, Brahms chose a path unheard of in his time: he selected biblical texts in his native German language mostly with themes of consoling the living, comfort in the time of loss, hope, and even a sense of joy for the bereaved for his Requiem.

brahms3

The resulting 7-movement work quickly became an enduring statement of universal consolation, a “Human” Requiem as Brahms once called it. We hope that not only our dedicated audience members over the years will come and be moved by this incredible music, but that many more new audience members will be there as well.


Classical music: The acclaimed Isthmus Vocal Ensemble performs its annual summer concerts this Friday night and Sunday afternoon.

July 28, 2015
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By Jacob Stockinger

The Ear’s friends at the critically acclaimed Isthmus Vocal Ensemble write:

When conductor Scott MacPherson convened some of Madison’s top singers in 2002, he had no way of knowing that the newly formed Isthmus Vocal Ensemble (below) would begin one of Madison’s most anticipated summer musical traditions.

Known as “Madison’s most temporary choir,” the ensemble – a semi-professional choir of approximately 60 singers – brings new life to over 500 years of choral music within a brief two-week rehearsal period.

Isthmus Vocal Ensemble group concert dress

This intense spirit of camaraderie produces a singular remarkable experience, year after year. (You can hear the Isthmus Vocal Ensemble sing the “Abendlied” (Evening Song) by Josef Rheinberger in 2012 in a YouTube video at the bottom.)

This summer, Madison-area audiences have two opportunities to hear the 2015 program.

The traditional Friday night concert takes place on at 7:30 p.m. on this Friday, July 31, at Christ Presbyterian Church (below), located at 944 East Gorham Street in downtown Madison.

Christ Presbyterian Church

The program will be repeated at 3 p.m. on Sunday, August 2, at Lutheran Church of the Living Christ (below), located at 110 North Gammon Road, on Madison’s far west side.

Lutheran Church of the Living Christ

General admission tickets are available online at isthmusvocalensemble.org or at the door. Admission is $15 for adults; $10 for students and seniors. 

The program, “Unconventional Images” is a tapestry of unexpected beauty, including works spanning from the 1500s up to brand new compositions, featuring a world premiere from composer Corey Rubin (below) entitled “The Snow Man.”

Corey Rubin

Director Scott MacPherson writes: “For these concerts, prepare your ears and mind to be led down an unconventional path, where you will ponder such images as the nativity, snow in the summer, sensual beauty, the desert, glory, mortality and divine renewal.”

Other featured works include “Three Nativity Carols” by the late Minnesota composer Stephen Paulus (below top); “Beati quorum via” and “Coelos ascendit hodie” by Charles Villiers Stanford; “Du bist aller Dinge schön” and “Fahet uns die Füchse” by Melchoir Franck; “Schaffe in mir Gott” by Johannes Brahms; the Gloria by Dominick Argento; and several newly composed pieces, including “Desert Rose” by Frank Wiley, as well as “I Sing to Use the Waiting” and “An Irish Blessing” by University of Wisconsin-Madison alumnus, Andrew Rindfleisch (below bottom).

stephen paulus

Andrew Rindfleisch portrait

The Isthmus Vocal Ensemble is led by Scott MacPherson (below), director of choral activities at Kent State University in Kent, Ohio. Its members include professional singers, choral directors, professors, lawyers, students and passionate advocates for the arts. The choir has performed by invitation at the North Central Conference of the American Choral Directors Association, commissioned several world premieres and released two professional CDs.

Isthmus Vocal Ensemble rehearsing with Scott MacPherson


Classical music: The Isthmus Vocal Ensemble gives its last concert of the summer this afternoon at 3 with music of Brahms, Bruckner, Josquin des Prez, Rachmaninov and Andrew Rindfleisch. Don’t miss this annual treat.

August 3, 2014
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By Jacob Stockinger

Loyal readers of this blog know very well the name of Mikko Utevsky. The young violist and conductor will be a junior at the University of Wisconsin-Madison School of Music, where he studies with Pro Arte Quartet violist Sally Chisholm and plays in the UW Symphony Orchestra.

Utevsky, who has won awards and impressive reviews for his work in music education since his days at Madison’s East High School, is the founder and conductor of the Madison Area Youth Chamber Orchestra, which will perform the second concert of its fourth season on Friday, Aug. 22, at 7:30 p.m., in Music Hall. Utevsky is also the new Music Director of a local community orchestra, The Studio Orchestra. The ensemble has a website here (www.disso.org).

You can check out his many honors and projects by typing his name into the search engine on this blog site.

Utevsky offered The Ear a review of this weekend’s concert by the Isthmus Vocal Ensemble.

The Ear immediately took him up on the offer. After all, Utevsky is a discerning listener and a perceptive writer who, you may recall, blogged for this post when he was on tour three summers ago with the Wisconsin Youth Symphony Orchestras (WYSO) tour to Vienna, Prague and Budapest.

Here is the review by Mikko Utevsky (below):

new Mikko Utevsky baton profile USE

By Mikko Utevsky

The Isthmus Vocal Ensemble (below), now in its 13th season with founder Scott MacPherson, delivered a polished and professional concert Friday night at Christ Presbyterian Church.

Isthmus Vocal Ensemble group concert dress

The performance opened with a wrenching rendition of Imant Raminsh’s “Come, my Light,” followed by a pure and beautiful “Hear My Prayer” by Henry Purcell (below).

purcell

Two back-to-back settings of “Mille regretz,” the first by Josquin des Prez (below top) and the second by University of Wisconsin-Madison graduate Andrew Rindfleisch (below bottom), made for an interesting comparison — Rindfleisch produced an introspective, dark reading, while Josquin’s famous setting was ably rendered beside it as well.

Josquin Des Prez

Andrew Rindfleisch portrait

The crown jewel of the first half was the final motet by Johannes Brahms (below), the anguished, searching “Warum ist das Licht gegeben?” (Why Is the Light Given to Those In Misery?, which can be heard in a YouTube video at the bottom).

In four movements, this motet is, apart from the “German Requiem,” which the IVE has announced they will perform — with orchestra — for their 15th season in 2016, Brahms’ greatest choral work, with densely chromatic lines and twisting, intricate counterpoint. The chorus dug into this tremendously difficult music with gusto, singing with a complex and varied sound and excellent blend.

brahms3

The second half began with a work by Anton Bruckner (below), “Virga Jesse floruit,” another German masterwork, again sung with a secure sound and attention to the drama of the composer’s setting.

Anton Bruckner 2

“Tebe poyem” (from the Orthodox liturgy) by Sergei Rachmaninov (below top) was my favorite piece on the concert, displaying a depth and richness of sound surpassing anything else on the program. The solo line by Chelsea Propst (below middle) soared over the chorus, whose basses rose to the challenge of Rachmaninov’s tremendously low writing with aplomb. Another Russian work captured much of the same magic, “Ne riday Mene, Mati” by Alexander Gretchaninov (below bottom).

Rachmaninoffold

Chelsie Propst USE

Alexander Grechaninov in 1912

Lionel Daunais (below), a French-Canadian composer and singer, produced a comic treat in his “Figures de danse,” a suite of six hilarious settings of short, original poems about dancers and theater performers. The only work with piano on this program (with a difficult and prominent part performed excellently by Jane Peckham), these little vignettes had the audience in stitches.

Lionel Daunais

The concert concluded with two spiritual settings by Moses Hogan. The first was a soulful solo rendition of “There’s a Man Goin’ Round,” sung by Kathleen Otterson (below), who teaches at Edgewood College, over the hummed accompaniment from the chorus.

Kathleen Otterson 2

The second was a rapid-fire, high-energy “Elijah Rock” to close out the evening. (A humorous encore will remain unidentified — go hear the repeat Sunday to find out what it was!)

My only programming regrets were the absence of any works between Purcell and Brahms — surely that two-century gap must have yielded some works worthy of inclusion! — and the preponderance of Christian sacred music.

Certainly it forms the backbone of the choral literature, but on a program of 11 works (if “Mille regretz” is to be counted twice), to have only three (again, including the above twice) works that were not both sacred and Christian seems striking, especially for a chorus with no religious affiliation. A little more diversity in selection would be welcome on both counts.

 

Throughout the performance, the chorus (below top) sung with clear diction and strong sound, rising to the technical challenges of every work with apparent ease. IVE founder and conductor Scott MacPherson (below bottom, conducting a rehearsal), who teaches at Kent State University and is a UW-Madison graduate, directed with energy and excitement, and the chorus clearly responded.

Isthmus vocal Ensemble men

Isthmus Vocal Ensemble rehearsing with Scott MacPherson

Despite its once-a-year schedule, this group is clearly a Madison fixture, and thoroughly earned their full house and standing ovation Friday night.

The performance will be repeated this afternoon, Sunday, August 3, at 3 p.m. in the Covenant Presbyterian Church (below) on 326 South Segoe Road. Tickets are $15 for adults, $10 students and seniors. Children 12 and under are admitted free.

Covenant Presbyterian Church chancel

 

 

 

 

 

 


Classical music: The Isthmus Vocal Ensemble will use its 13th annual summer concerts to explore expressions of LOSS on this Friday night and Sunday afternoon. Plus, you can check Day 6 of WYSO’s tour to Argentina.

July 30, 2014
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ALERT: For the latest news from the 10-day tour to Argentina by the Youth Orchestra (below) of the Wisconsin Youth Symphony Orchestras (WYSO), here is a link to Day 6:

www.wysotour2014.blogspot.com

WYSO Youth  Orchestra

By Jacob Stockinger

One of the many summer musical events that have become institutions to look forward to are the two concerts by the Isthmus Vocal Ensemble.

Here are the details, from a press release, for this weekend’s sets of two concerts:

ISTHMUS VOCAL ENSEMBLE RETURNS FOR ITS LUCKY 13TH SEASON

MADISON – When conductor Scott MacPherson –- a graduate of the University of Wisconsin-Madison School of Music — convened some of Madison’s top singers in 2002, he had no way of knowing that the newly formed Isthmus Vocal Ensemble (below) would begin one of Madison’s most anticipated summer musical traditions. (You can hear a stirring sample at the bottom in a YouTube video of a live performance by the Isthmus Vocal Ensemble.)

Isthmus Vocal Ensemble group concert dress

Now in its 13th year, the ensemble -– a professional-level choir of approximately 60 singers –- brings new life to over 500 years of choral music. Amazingly, the choir continues to do it all within a brief two-week rehearsal period.

This intense spirit of camaraderie produces a singular and remarkable experience, year after year.

Madison-area audiences have two opportunities to hear the 2014 program.

The traditional Friday night concert will take place at 7:30 p.m. on this Friday, August 1, at Christ Presbyterian Church, 944 East Gorham Street. Tickets are $15 for adults, $10 for students and seniors; children 12 or under get in for free. Tickets can be bought at the door or on-line at http://www.brownpapertickets.com/event/802712

Christ Presbyterian Church

The program will be repeated at 3 p.m. on Sunday afternoon, August 3, at Covenant Presbyterian Church, 326 South Segoe Road. General admission tickets are $15 for adults; $10 for students and seniors. Children under 13 get in free. Tickets can be bought at the door or on-line at: http://www.brownpapertickets.com/event/802714

Covenant Presbyterian Church chancel

This year, the singers will tackle texts in Latin, French (medieval and modern), Russian, German, English and even a form of nonsense language, notated loosely in Finnish, inspired by both Scandinavian folk dance and the Muppets’ Swedish Chef (below).

Swedish Chef

This year’s performance includes introspective choral masterworks by Henry Purcell, Johannes Brahms, Anton Bruckner and others, exploring the labyrinth of emotions begat by LOSS.

Also featured are contemporary works by Andrew Rindfleisch and Lionel Daunais, and a rousing conclusion with spirituals arranged by Moses Hogan.

The French chanson “Mille regretz” by the 15th century composer Josquin des Prez (below top) is matched by a modern setting by Andrew Rindfleisch (below bottom). Here is a link top the home website for the Prix de Rome-winning composer Andrew Rindfliesch, who did his bachelor’s degree at UW-Madison:

www.andrewrindfleisch.com

Josquin Des Prez

Andrew Rindfleisch portrait

The choir’s renowned low basses will be on display in Russian works including Sergei Rachmaninoff’s “Tebé poyém (We Hymn Thee)” and Alexander Gretchaninoff’s stunning “Ñe rïdáy Meñé, Máti (Do not lament me, O Mother).”

Rachmaninoffold

Alexander Grechaninov in 1912

From the German tradition, Johannes Brahms’ Two Motets, Op. 74 (beginning with “Warum ist das Licht gegeben”), join Anton Bruckner’s classic “Virga Jesse.”

brahms3

Anton Bruckner 2

Other composers represented include Jaako Mäntyjärvi, Lionel Daunais, Henry Purcell (below), Imant Raminsh and the great spiritual arranger Moses Hogan.

purcell

The Isthmus Vocal Ensemble is led by Scott MacPherson (below), director of choral activities at Kent State University in Kent, Ohio, who trained at the UW-Madison.

Scott MacPherson older BW

The IVE’s members include professional singers and choral directors, professors, lawyers, students and passionate advocates for the arts. The choir has performed by invitation at the North Central Conference of the American Choral Directors Association, commissioned several world premieres and released two albums.

Isthmus Vocal Ensemble rehearsing with Scott MacPherson

For more information, visit www.isthmusvocalensemble.org or the choir’s page on Facebook.

 

 


Classical music Q&A: Scott MacPherson, founder and conductor of the Isthmus Vocal Ensemble and a UW-Madison alumnus, talks about the two performances of Mahler, Bach, Brahms and other composers coming up this weekend on Friday, Aug. 2, and Sunday, Aug. 4.

July 29, 2013
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By Jacob Stockinger

Call it The Rite of Summer.

Every August for the past 11 years, University of Wisconsin-Madison alumnus Scott MacPherson travels from his job and home in Ohio, where he teaches at Kent State University, to come to Madison to direct and conduct intensive rehearsals and two concerts by the virtuosic Isthmus Vocal Ensemble (below in a photo by Jim Pippitt).

Isthmus Vocal Ensemble group concert dress

This summer’s concerts, mostly a cappella although some pieces have organ accompaniment, are coming up this weekend on Friday night and Sunday afternoon.

Especially noteworthy is how the group emphasizes talent with local and regional ties -– the singers, the conductor, even the instrumentals and the composers. Many are alumni of the University of Wisconsin-School of Music.

For more information, visit the home website of the IVE:

http://www.isthmusvocalensemble.org

Scott MacPherson (below, in a photo by Beate Gersch; unless otherwise noted, photos of the choir are by Portrait Independence Photography) recently gave an email interview to The Ear:

Scott MacPherson older BW

What do you want to tell the public about the isthmus Vocal Ensemble in general? How has it evolved and changed over its history and since its founding?

The Isthmus Vocal Ensemble was founded in 2002 as a chamber choir of about 35 voices. It was originally intended to perform one concert in Madison each August, but our audience following has grown such that we now give two performances each year, both on the first weekend August.

The concerts this summer will take place at Luther Memorial Church (below top) at 1021 University Ave. on Friday night, August 2, at 7:30 p.m. and again on Sunday afternoon, August 4, at 3 p.m. at Covenant Presbyterian Church (below bottom) on Segoe Road and Mineral Point Road.

luther memorial church madison

Covenant Presbyterian Church chancel

The choir grew over its first decade to about 55-60 singers and is made up singers from all walks of life, from career musicians and home makers, to professionals in various disciplines and everything in between; all with the same goal—to perform choral music at the highest level.

A community choir of great flexibility with singers from Madison and surrounding areas, the choir specializes in music of all epochs and genres, from Renaissance madrigals and motets, to cutting edge works by living composers.  We gather in Madison for a couple weeks of intense rehearsals and two concerts.

Isthmus Vocal Ensemble rehearsing with Scott MacPherson

What is the program this summer and what do you want to say about individual works and composers? I understand there is a special Mahler arrangement that is intriguing.

I have nicknamed this year’s program after the famous phrase by the late Ed Sullivan: “The Really Big Show!”  The focus of the program is on works for double choir.

At the center of the program is a transcription of one of the “Rueckert-Lieder” by Gustav Mahler (below) — “Ich bin der Welt abhanden gekommen” — written for 16 separate voice parts by Clytus Gottwald in 1982.  Originally for solo voice and orchestra, Gottwald’s transcription amazingly captures the ambience and color palette of Mahler’s piece.  The work splits each of the usual choral voices into four parts.  For this reason, I have enlarged the choir to 70 voices this summer.

Isthmus vocal Ensemble men

Isthmus Vocal Ensemble women

Preceding the Mahler are three sets of pieces for double choir:  Sweelinck’s epic setting of Psalm 150, “Or soit loué l’Eternel”; Johann Sebastoan Bach’s (attributed) motet, “Ich lasse dich nicht”; and Johannes Brahms’s Op. 109 motets, “Fest- und Gedenksprüche.”

The second half of the program features organist Kathrine Handford (below), from the Conservatory of Music at Lawrence University in Appleton, Wisconsin, in two English choral works for organ and chorus.  In honor of the centennial of Benjamin Britten’s centennial birthday, we will perform his “Hymn to St. Peter” for organ, choir, and soprano solo.  We will also sing Grayston Ives’ “Canticle of Brother Sun,”a setting of the poem by St. Francis of Assisi.

Kathrine Handford

Closing the concert will be a setting of “O Vos omnes” by UW-Madison alumna and member of the Minneapolis-based Rose Ensemble, Linda Kachelmeier (below top) and a contemporary piece by Haitian composer Sydney Guillaume (below bottom).  “Twa tanbou,” sung in the original Haitian Creole language, tells the story of three drums in a discussion of which one makes the best sound.

Linda Kachelmeier

Sydney Guillaume

What kind of shape in the IVE in right now and what are its future plans? Concerts? Recordings? Other events?

IVE is proud to have made two CD recordings in its history.  “The Choral Music of Andrew Rindfleisch” was recorded in 2004 and released in 2006 and features approximately half of the choral output of this amazing composer (below), a UW-Madison alumnus who now serves as Professor of Composition at Cleveland State University.

Andrew Rindfleisch portrait

In 2011, IVE released a live recording of their 2010 summer concert: “An Isthmus Christmas.”

Our highest achievement came in February 2012 when we sang a coveted performance at the North Central American Choral Directors Conference, held in Madison.  Hundreds of choral conductors and singers from Wisconsin, Minnesota, Iowa, Nebraska, and the Dakotas attended our concert, which really put IVE “on the map” outside of Madison.

Here is a sample of our singing, a YouTube video of the Isthmus Vocal Ensemble performing Josef Rheinberger’s “Evening Song” at Luther Memorial Church on Aug. 3, 2012:


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