By Jacob Stockinger
The time for announcing new seasons has arrived.
Pretty soon, over the next several weeks and months, The Ear will hear from larger and smaller presenters and ensembles in the Madison area, and post their new seasons.
First out of the gate is the critically acclaimed and popular summer group, the Madison-based Bach Dancing and Dynamite Society. (You can see a short promo video about BDDS on the YouTube video at the bottom.)
It has just announced its upcoming summer season this June, and sent out brochures with the season’s details.
This will be the 26th annual summer season and it has the theme of “Alphabet Soup.”
The concept is explained online and in a brochure newsletter (also online) in an editorial essay by BDDS co-founder and co-artistic director flutist Stephanie Jutt (seen below with co-founder and co-director pianist Jeffrey Sykes).
In many ways it will be a typical season of the eclectic group. It will feature local and imported artists. Many of both are favorites of The Ear.
His local favorites include UW-Madison pianist Christopher Taylor; violist Sally Chisholm of the UW-Madison’s Pro Arte Quartet; UW violinist Soh-Hyun Park Altino (below top, in a photo by Caroline Bittencourt); and Pro Arte cellist Parry Karp (below bottom).
Among The Ear’s favorite guest artists are violinist Carmit Zori, clarinetist Alan Kay, the San Francisco Piano Trio (below top); UW alumna soprano Emily Birsan; pianist Randall Hodgkinson; and baritone Timothy Jones (below bottom).
As usual, the season features 12 concerts of six programs over three weeks (June 9-25) in three venues – the Playhouse in the Overture Center (below top), the Hillside Theater (below middle) at Frank Lloyd Wright’s Taliesin compound in Spring Green and the Stoughton Opera House (below bottom).
In addition, there is a FREE family concert in the Overture Playhouse on June 10.
What does seem somewhat new is the number of unknown composers and an edgier, more adventurous choice of pieces, including more new music and more neglected composers.
Oh, there will be classics by such composers as Joseph Haydn, Wolfgang Amadeus Mozart, Luigi Boccherini, Franz Schubert, Johannes Brahms, Peter Tchaikovsky, Sergei Prokofiev, Maurice Ravel, Bela Bartok, Arnold Schoenberg, Benjamin Britten and others. These are the ABC’s of the alphabet soup, according to BDDS.
But also represented are composers such as Philippe Gaubert, Czech Holocaust victim Gideon Klein (below), Guillaume Conneson, Carl Czerny, Paul Moravec and Franz Doppler. These are the XYZ’s of the alphabet soup.
In between come others. Contemporary American composer, and Pulitzer Prize winner, Kevin Puts (below) is a BDDS favorite and is well represented. You will also find less performed works by Ned Rorem, Erich Wolfgang Korngold and Gerald Finzi.
For the complete programs and schedules as well as the list of performers, some YouTube videos and ticket prices, both for season tickets ($109.50, $146, $182 and $219) and for individual concerts ($43), and other information, go to:
By Jacob Stockinger
Who says classical music is dying?
You wouldn’t know it from some of the many world premieres of new music that will take place across the U.S. this season. Such events add a lot of excitement to the new concert season. And many critics and observers think they draw in new and younger audiences.
Quite a few of the premieres feature performers and composers familiar to Madison audiences. They include cellist Alisa Weilerstein (below top, in a photo by Harold Hoffmann for Decca Records), pianist Emanuel Ax (below second), composer Kevin Puts (below third) and composer Jake Heggie (below bottom).
Here is a round-up of the national scene by Tom Huizenga, who writes the Deceptive Cadence blog for National Public Radio or NPR.
It makes one wonder: What about the local scene here in Madison?
True, several seasons ago, the Pro Arte Quartet (below, in a photo by Rick Langer) at the University of Wisconsin-Madison commissioned and premiered six new works to mark its centennial. They included four string quartets, one piano quintet and one clarinet quintet, all of which are now available in terrific recordings from Albany Records.
This summer the Bach Dancing and Dynamite Society featured bass-baritone Timothy Jones (below) in the world premiere of a song cycle it commissioned from American composer Kevin Puts, who is mentioned in the NPR story, to mark its 25th anniversary.
And this fall, at its annual Labor Day concert the Karp family premiered a new work by Joel Hoffman for piano and cello, based on the life of the late pianist and former UW professor Howard Karp and performed by his sons pianist Christopher Karp and cellist Parry Karp (below).
This winter the Madison Opera will stage the new jazz-inspired opera “Charlie Parker’s Yardbird,” although Milwaukee’s Florentine Opera will do a world premiere of a work it commissioned. Could the Madison Opera commission again its own new work, such as it did years ago with Daron Hagen‘s opera “Shining Brow” about Frank Lloyd Wright?
And there are other commissions and premieres by smaller groups, such as the percussion ensemble Clocks in Motion.
But what is the problem with getting new commissions and world premieres at bigger ensembles such as the Madison Symphony Orchestra, the Wisconsin Chamber Orchestra and the UW Symphony Orchestra, which does perform a student work each year? Lack of money? Lack of will? Lack of audience interest?
What do you think?
The Ear wants to hear.
By Jacob Stockinger
Today is the 15th anniversary of the terrorist attacks on Sept. 11, 2001.
A lot of classical music – requiems, symphonies, chamber music, solo works – could be used to commemorate the event. You can leave your own suggestions in the COMMENT section.
But The Ear wants to post something specific to the anniversary – something well known and something relatively unknown.
First the well known work:
Here is a slide show with the music “On the Transmigration of Souls,” by the American composer John Adams (below), who was commissioned by the New York Philharmonic to compose a work related to 9/11.
The composition mixes sounds from actual events with music, and it won the Pulitzer Prize.
When the Madison Symphony Orchestra performed it many seasons ago, it proved a deeply moving experience.
Here it is:
The events inspired other works too, including two by Kevin Puts (below), who was in Madison this summer for the premiere of a new song cycle and performances of his other instrumental works by the Bach Dancing and Dynamite Society.
The Ear sure wishes there was a YouTube performance of the 16-minute work “Falling Dream.”
Here is a description by the composer:
“The piece was written in the months immediately after 9/11. Its composition was initially inspired by news footage I saw in which a couple leaped from one of the burning towers (below) holding hands.
“For months I was incapable of getting the image out of my head. It was so poetic in both its horror and beauty that I almost couldn’t justify a musical reaction to it.
“However I eventually found a way to illustrate the experience in extreme slow motion by creating a counterpoint of two slowly descending melodies, heard first at the beginning of the work. Episodes fade in and out of this slow descent like memories, but the illusion I wanted to create is that the falling never really ceases.
“The last section of the piece is, by contrast, a slowly building ascent that has no programmatic relevance but whose majestic quality functions as a message of hope.”
And here is a performance of Kevin Puts’ Symphony No. 2, which The Ear first heard on Wisconsin Public Radio. It too was informed by the events of Sept. 11, 2001.
Here is what Puts, who was educated at Yale and the Eastman School of Music and who now teaches at the Peabody Institute of Music at Johns Hopkins University in Baltimore, says about it:
“In the September 24, 2001 issue of The New Yorker writer Jonathan Franzen wrote, “In the space of two hours we left behind a happy era of Game Boy economics and trophy houses and entered a world of fear and vengeance.”
“My second symphony, while by no means a memorial, makes reference to this sudden paradigmatic shift. During the first eight minutes of the work, a slow orchestral build describes the unsuspecting climate pre 9/11, a naïve world aptly described by my mother as a metaphorical island.
“After a brief passage for solo violin, an upheaval of sorts effectively obliterates this opening sentiment and initiates another gradual crescendo which makes use of the same material as the opening, cast this time in darker and more ambiguous harmonic colors.
“Once the entire orchestra reaches the climax of the work, the solo violin returns in a more extended passage than before and subdues the turbulent orchestra. This leads to a reflective epilogue in which a clock-like pulse creates a mood of expectancy and uncertainty, interlaced with hope.”
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. Performance photos are by Margaret Barker.
By John W. Barker
The Bach Dancing and Dynamite Society is now into its 25th anniversary season, its Silver Jubilee. It opened last Friday at the Stoughton Opera House with a program of Kevin Puts, Joseph Haydn, Franz Schubert, Maurice Ravel and Gabriel Fauré.
I attended the second program, given at the Overture Center’s Playhouse on Saturday night.
The distinctive feature of that program was the official world premiere of a song cycle by Kevin Puts, the American composer with whom the BDDS folks have been forging a close friendship. Indeed, the ensemble is a co-commissioner of this cycle.
The work in question is In at the Eye: Six Love Songs on Yeats’ Poetry. The composer himself (below) was on hand to introduce this.
It was then performed by bass-baritone Timothy Jones, with a quartet of flute (Stephanie Jutt), Violin (Stephanie Sant’Ambrogio), viola (Sally Chisholm), cello (Kenneth Olsen), and piano (Jeffrey Sykes).
The poems are varied in character, most of them in free form, and Puts has responded to them with a flexibility of vocal line that closely inflects the words. Only the last poem is in rhyming strophes, and there Puts is able to develop a lyricism that brings the cycle to a warm conclusion. The instruments add a mixture of accompaniment and commentary, and their work was done handsomely.
Jones himself (below, with the quartet), who has a suave and mellow voice, showed notable sensitivity to words and diction in an ideal performance. This cycle’s future is still to be seen, but it holds good prospects for being taken up by singers and players around the country, especially given Puts’ enhanced reputation as a recent Pulitzer Prize winner.
The concert opened with a transcription of a Mozart piano sonata (K. 570) for transcribed flute, violin, viola and cello (below). It was a strange choice, since Mozart left us four flute quartets of his own devising. Still, it was delivered with flair and polish.
The grand finale was the Piano Quartet No. 1 in G minor, Op. 25, for violin, viola, cello and piano by Johannes Brahms. (Much was made of the appropriateness of an Op. 25 masterpiece to mark the silver anniversary.)
Like so much of Brahms’ music, this is brawny, muscular stuff. The four players (below) responded with appropriate energy, matched by a wonderful intensity of feeling.
The fast sections of the “Hungarian Rondo” finale — which you can hear with pianist Leif Ove Andsnes in a YouTube video at the bottom — were brought off at a truly breakneck speed, without missing a note.
I must say, too, that, as I listened to Sykes in his role, it struck me that the piano part in the slow (third) movement could almost be played by itself as an independent keyboard piece. Brahms was, after all, a strong hand at the piano, and had himself in mind in what he wrote for the instrument.
This was a performance that allowed you to get so much out of this score at just one sitting.
As always, the BDDS programs are stimulating and wonderfully brought off. The concerts this coming weekend feature music by Franz Schubert, Joseph Haydn, Maurice Ravel, Arnold Schoenberg, and Astor Piazzolla, among others.
For details, visit:
And there is a third week after that — of which, more to follow.
By Jacob Stockinger
The big classical music event this week is the opening of the 25th anniversary season of the Madison-based Bach Dancing and Dynamite Society.
It was co-founded and is still co-directed by pianist Jeffrey Sykes, who graduated from the University of Wisconsin-Madison School of Music and now teaches at the University of California-Berkeley; and by Stephanie Jutt, professor of flute at the UW-Madison School of Music who is also principal flute of the Madison Symphony Orchestra.
Here is a link to the BDDS website with information about tickets, programs, venues and performers:
Recently, Jutt (below) spoke to The Ear about the upcoming season, which runs June 10-26:
“This silver anniversary season has something for everybody, and we’ve made it extra special in every way, with personnel, with repertoire and with audience favorites that we’re bringing back.
“In the first week, we have two short pieces by our featured composer, Kevin Puts “Air for Flute and Piano” and “Air for Violin and Piano,” and the world premiere of “In at the Eye: Six Love Songs on Yeats’ Poetry,” a piece we co-commissioned, with several other participating festivals, from the American composer Kevin Puts (below).
We commissioned him just before he won the Pulitzer Prize, luckily for us! We have performed several works by him in the past (“Einstein on Mercer Street,” “Traveler” and “Seven Seascapes”), and he will be here for the premiere performances at the Overture Playhouse and the Hillside Theater at Frank Lloyd Wright’s Taliesen compound in Spring Green.
(NOTE: Composer Kevin Puts will speak about “How Did You Write That?” at the FREE family concert on this coming Saturday, to be held 11-11:45 a.m. in The Playhouse of the Overture Center.)
“In Week 2, we have three crazy, inspired works by Miguel del Aguila (below), a Uruguayan composer from Montevideo, who now lives in Los Angeles, that we commissioned and premiered. We’ll be performing “Salon Buenos Aires,” the piece that we commissioned, along with “Presto II” and “Charango Capriccioso.”
During Week Two, we are also bringing back the amazing pianist, arranger and raconteur Pablo Zinger (below), also originally from Uruguay and a longtime New Yorker, to perform his arrangements of movie music by Nino Rota, Henry Mancini and others, as well as some of Pablo’s brilliant arrangements of tangos by Astor Piazzolla.
“In Week 3, we are bringing back the “Four Seasons of Buenos Aires” by Astor Piazzolla and the “Four Seasons” by Antonio Vivaldi. People have begged us to repeat this program for years. It’s one of the most thrilling programs we’ve done, and this seems like the perfect time to return to this beloved repertoire. (You can hear the Summer section of Piazzolla’s Four Season of Buenos Aires in the youTube video at the bottom.)
“In the same Week Three, you will also hear some favorite works, the Brandenburg Concerto No. 4 by Johann Sebastian Bach and, in Week 1, Franz Schubert’s final song cycle, “Schwanengesang” (Swan Songs”) with one of our favorite artists, bass-baritone Timothy Jones (below top). That third week also features the Ravel Piano Trio with the San Francisco Trio (below bottom), comprised of Axel Strauss on violin, Jean-Michel Fontaneau on cello, and JeffreySykes on piano.
“We wanted to repeat special things and also do new pieces. Some of the music has links to the number 25 for our 25th anniversary – like Opus 25 for the Piano Quartet by Johannes Brahms or the Piano Concerto No. 25 by Mozart.
“We’re spending a lot more on artist fees this summer – it increases our budget by a lot, but it makes for a very special 25th season. We will have special mystery guests and special door prizes, as we love to do, and some special audience participation activities. (Below is a standing ovation from the audience at The Playhouse.)
“Did we think we would reach 25 years when we started? Of course not! We didn’t even think we’d reach two. It was started on such a lark.
“But the festival resonated with the summer audience and has every single year. I think we’ve been a success because listeners love to approach serious music with a light touch. You don’t have to behave very seriously to play serious music in a serious way. Artists from all over the United States come to play with the Bach Dancing and Dynamite Society and it’s what draws them back year after year.
“We make a huge effort to make the music approachable, for ourselves as well as the audience. We talk about the music itself, about what it is like to learn it, and what it’s like to be together in such an intense way during the festival.
“We try to share the whole experience with the audience, and it’s something you just don’t find anywhere else. The concert doesn’t just go on in front of you, presented on a fancy plate. It surrounds you and you are a part of it.”
By Jacob Stockinger
If you needed more proof about why you should take in one or both of the final two programs – “Crooked Business” and “Highway Robbery” — by the Madison-based Bach Dancing and Dynamite Society, you should have been at one or both of the BDDS concerts last weekend.
For this coming weekend of the 24th season: “Crooked Business” features the Sonata for Flute and Keyboard in B Minor by Johann Sebastian Bach; the chamber music reduction of the Piano Concerto in C minor, K. 491, by Wolfgang Amadeus Mozart; and a chamber music arrangement version of the Serenade in D Major, Op. 11, by Johannes Brahms.
For more information about programs and performers, venues and tickets, visit: http://www.bachdancinganddynamite.org
The Bach Dancing and Dynamite Society continues to be incapable of being boring, ordinary or mediocre. It’s just not in their genes or DNA.
Last Saturday night, The Ear took in the “Breaking and Entering” concert in The Playhouse of the Overture Center. The theme was meant to explore how composers broke new ground and violated boundaries.
The theme might seem a bit of a stretch — they often do — and when one of the two fake security guards frisked an audience member for a gun or weapon, it might have struck some audience members as uncomfortable or in questionable taste rather than amusing or funny, given the recent shootings in Charleston, South Carolina.
But humor and silliness aside, there is no question that the music received the superb performances it deserved.
The San Francisco Trio, veteran BDDS guest artists, delivered two masterful readings of two Romantic masterpieces. The trio opened the concert perfectly with the lovely and short “Notturno” (1827) by Franz Schubert. Then it closed the concert with the revised version of the substantial and even epic Piano Trio No. 1 in B Major (1854, revised in 1889), Op. 8, by Johannes Brahms. The trio is made up of pianist Jeffrey Sykes (a co-founder and co-artistic director of BDDS), violinist Axel Strauss and cellist Jean-Michel Fonteneau.
Then came the somewhat eccentric Sonatina for Trio (1934) by the rarely performed French composer and eccentric music critic Florent Schmitt.
The players were an unusual combination of flutist Stephanie Jutt (the UW-Madison professor is a co-founder and co-artistic director of BDDS as well as principal flute of the Madison Symphony Orchestra); local pianist Thomas Kasdorf, who is a graduate of the University of Wisconsin-Madison School of Music; and the incredible clarinetist Alan Key from New York City who teaches at the Manhattan School of Music and the Juilliard School, and who plays with the respected Orpheus Chamber Orchestra.
Violinist Axel Strauss, who teaches at McGill University in Montreal, sure showed some impressive fiddling skills in two crossover pieces – “Pining for Betsy” and “Who Let the Cat Out Last Night?” — by Paul Schoenfield (b. 1947). It brought audible WOWs and cheers from the audience. (Listen for yourself to the virtuosic “Cat” piece in a YouTube video at the bottom.)
An unusual and rarely heard piece by the Venezuelan composer Paul Desenne (b. 1959) imagines Franz Joseph “Papa” Haydn and a South American composer discussing music at the Esterhazy estate where Haydn worked. The work was delivered with great panache by flutist Stephanie Jutt, clarinetist Alan Kay and cellist Jean-Michel Fonteneau.
Both the variety of the repertoire and the players and the quality of the performances recommend the Bach Dancing and Dynamite Society to any serious classical music fan as well as to beginners. The Ear says: Go have some classical fun!
By Jacob Stockinger
Our friends at the Bach Dancing and Dynamite Society – which The Ear named Musician of the Year two seasons ago – will begin their new summer season this weekend.
The season features six concert programs performed over three weekends in three different venues and cities.
Here is the second part of two postings based on the BDDS press release. Part 1 ran yesterday. Here is a link:
The second week of “Guilty as Charged” features “Honor Among Thieves” and “Breaking and Entering.”
In “Honor Among Thieves,” we feature composers who stole from others or themselves, but always in an effort to elevate what they stole and bring it to wider circulation.
John Harbison (below) “stole” familiar American songs in “Songs America Loves to Sing,” arranging them to show what incredible beauty lies in these everyday tunes and honoring the folk traditions of America.
Ludwig van Beethoven stole from himself to create his Piano Trio, Op. 38. Beethoven’s Septet was a wildly popular work, and many dishonorable publishers created bad arrangements of the work to capitalize on that popularity. Beethoven stopped them short by creating his own masterful arrangement of the Septet; giving the work the honor it was due.
Both programs feature the incredible clarinetist Alan Kay (below top), familiar to our audiences from his stunning performances last year, and the San Francisco Piano Trio (below bottom), with violinist Axel Strauss, cellist Jean-Michel Fonteneau and pianist Jeffrey Sykes.
Composers often have to break the rules in order to achieve their expressive ends. “Breaking and Entering” features composers who did precisely that: breaking with tradition and entering a new world of expression.
“Country Fiddle Pieces” by Paul Schoenfield were among the very first classical “crossover” works. Combining traditional fiddling, jazz, Latin, and pop influences together with a strong classical sense of phrasing and structure, Schoenfield (below) almost single-handedly created a whole new musical style.
The great Piano Trio in B Major, Op. 8, was the first masterpiece by Johannes Brahms (below), a work that boldly broke with the past and ushered in an era of chamber music of symphonic scope.
“Honor Among Thieves” concerts will be performed at The Playhouse, Overture Center for the Arts on Saturday, June 20, at 7:30 p.m.; and in Spring Green at the Hillside Theater on Sunday, June 21, at 6:30 p.m.
Our biggest and final week includes “Crooked Business” and “Highway Robbery.”
The world of classical music is not as pure and pristine as it sometimes seems. From unscrupulous managers falsifying box office receipts to dishonest publishers pirating successful compositions, classical music can be a “Crooked Business.“
Wolfgang Amadeus Mozart exhausted himself arranging performances of his piano concertos—and he watched most of his profits get swallowed up by greedy impresarios.
Johannes Brahms was strongly encouraged to destroy the original chamber version of his Serenade in D Major and rewrite it as an orchestral composition simply because it would bring greater profit to him and his managers. We’re featuring the work in a reconstruction of its original form as a nonet.
“Crooked Business” concerts will be performed at the Stoughton Opera House on Friday, June 26, at 7:30 p.m., and in Spring Green at the Hillside Theater on Sunday, June 28, at 2:30 p.m.
A career in classical music—even a successful one—is not a quick road to power, influence, and wealth. And virtually every musician walking that road has been subject to “Highway Robbery” at one point or another.
Throughout his short life, Franz Schubert (below) was taken advantage of by “friends,” publishers, and promoters. He wrote his great Octet for performance in the home of the Archduke Rudolph (Beethoven’s patron) and received not one cent for his efforts.
And we at BDDS have been guilty of highway robbery of a sort ourselves. In 2010 we commissioned American composer Kevin Puts—an extraordinarily talented, successful, but nonetheless struggling composer—for a work for our 25th season next summer. We agreed to a fee we thought was fair to him and comfortable for us.
In 2012 Kevin Puts (below) won the Pulitzer Prize for music. Thank goodness we signed the contract in 2010, because now it’s likely his talents would be out of our financial reach! It feels like we’re the perps in a highway robbery!
This seasons we’re featuring Kevin Puts’ “Seven Seascapes,” a beautiful piece based on poems about the sea. (You can hear the first one of Kevin Puts’ “Seven Seascapes” in YouTube video at the bottom.)
Both programs feature extraordinary musicians: powerhouse violinists Carmit Lori (below) and Hye-Jin Kim, violist Ara Gregorian, and newcomers Katja Linfield, cello, and Zachary Cohen, double bass. They are joined by the great young clarinetist Romie de Guise-Langlois and veteran French horn player Richard Todd.
Enjoy a BDDS concert and stay for the fireworks downtown! Free reserved parking will be available for the first 100 cars, with reservations.
“Highway Robbery” concerts will be performed in The Playhouse in the Overture Center, Madison, on Saturday, June 27, at 7:30 p.m.; and in Spring Green at the Hillside Theater on Sunday, June 28, at 6:30 p.m.
For the fourth year, BDDS will also perform one free family concert, “What’s So Great About Bach?” an interactive event that will be great for all ages. Together with the audience, BDDS will explore interwoven layers of melody. Everyone will be up on their feet helping to compose for the musicians on stage.
This event takes place 11–11:45 a.m. on this Saturday, June 13, in The Playhouse at the overture Center. This is a performance for families with children of all ages and seating will be first come first served.
CUNA Mutual Group, Pat Powers and Thomas Wolfe, and Overture Center generously underwrite this performance.
Dianne Soffa and Tom Kovacich, artists-in-residence at Safi Studios in Milwaukee, will create a stage setting for each concert in The Playhouse. All concerts at The Playhouse will be followed by a meet-the-artists opportunity.
BDDS Locations are: the Stoughton Opera House (381 East Main Street); the Overture Center in Madison (201 State Street); and Frank Lloyd Wright’s Taliesin Hillside Theater (County Highway 23 in Spring Green).
Single general admission tickets are $40. Student tickets are always $5.
Various ticket packages are also available starting at a series of three for $114. First-time subscriptions are half-off.
For tickets and information visit www.bachdancinganddynamite.org or call (608) 255-9866.
Single tickets for Overture Center concerts can also be purchased at the Overture Center for the Arts box office, (608) 258-4141, or at overturecenter.com. Additional fees apply.
Hillside Theater tickets can be purchased from the Frank Lloyd Wright Visitor’s Center on County Highway C, (608) 588-7900. Tickets are available at the door at all locations.
By Jacob Stockinger
There are still some smaller-scale concerts left to the season – some chamber music and vocal music by the Oakwood Chamber Players and the Madison Choral Project, for example.
But the next big series of classical music events on tap are the concerts over three weekends in Madison, Stoughton and Spring Green during June by the Madison-based Bach Dancing and Dynamite Society (below).
As usual, the group – co-founded and co-directed by UW-Madison professor and Madison Symphony Orchestra principal flute Stephanie Jutt and pianist Jeffrey Sykes, a UW-Madison grad who teaches in Berkeley — is known for showcasing well-known and neglected works as well as imported and local musicians.
For full information, including tickets information and samples from the 2014 season, here is a link to the BDDS website:
In the meantime, here is a round-up of this summer’s programs and a schedule of performances.
WEEK ONE | JUNE 12, 13, 14
Stephanie Jutt, flute
Jeffrey Sykes, piano Sponsored by Ellen White, in memory of Barbara Ekholm
Katarzyna Bryla, violin
Parry Karp (below top), cello Sponsored by Sue Cleary Koch
Timothy Jones, bass-baritone
Emily Birsan (below middle), soprano
Thomas Kasdorf (below bottom), piano Sponsored by Tim Teitelbaum, in memory of Susan Horwitz
Johann Sebastian Bach: Arias and Duets — Sponsored by Carla & Dick Love
Felix Mendelssohn: Cello Sonata in D Major, op. 58
Franz Joseph Haydn: Divertimento in G Major, Hob. IV: 7 — Sponsored by Barbara Johnson
Ludwig van Beethoven: Scottish and Irish Folk Songs and Duets
The Playhouse, Overture Center, Madison on Friday, June 12, 7:30 PM
Hillside Theater, Taliesin, Spring Green Sunday on June 14, 2:30 PM
ROB THE CRADLE
Dick Kattenburg: Sonata for flute and piano
Dmitri Shostakovich: Seven Romances on Poems of Alexander Blok, op. 127
Modest Mussorgsky: Songs and Dances of Death
Louise Farrenc: Trio in E minor, op. 45
The Playhouse (below), Overture Center, Madison on Saturday, June 13, 7:30 PM
Hillside Theater, Taliesin, Spring Green on Sunday, June 14, 6:30 PM
WEEK TWO | JUNE 19, 20, 21
Stephanie Jutt, flute
Jeffrey Sykes, piano Sponsored by Ellen White, in memory of Barbara Ekholm
Axel Strauss, violin Sponsored by James Dahlberg & Elsebet Lund
Jean-Michel Fonteneau, cello Sponsored by Dan & Karen Baumann
Alan Kay, clarinet Sponsored by Vicki & Jerry Stewart and Katherine Naherny & Roger Ganser
Thomas Kasdorf, piano Sponsored by Anne & Peter Wadsack
HONOR AMONG THIEVES
Johann Sebastian Bach: Trio Sonata in G Major, BWV 1038
John Harbison: Songs America Loves to Sing
Ludwig van Beethoven: Trio in E-flat Major, op. 38, arranged from the Septet, op. 20
Stoughton Opera House on Friday, June 19, 7:30 PM
Hillside Theater, Taliesin, Spring Green on Sunday, June 21, 2:30 PM
BREAKING AND ENTERING
Florent Schmitt: Sonatina in trio, op. 85 — Sponsored by Jane & David Villa
Paul Schoenfield: Country Fiddle Pieces — Sponsored by Martha & Charles Casey
Paul Desenne: Haydn Tuyero, Chicharras, Galeones — Sponsored by Jane Blumenfeld & Willow Harth
Johannes Brahms: Piano Trio in B Major, op. 8 — Sponsored by Jacob Stockinger, in memory of Judy Schwaemle
The Playhouse, Overture Center, Madison on Saturday, June 20, 7:30 PM
Hillside Theater, Taliesin, Spring Green on Sunday, June 21, 6:30 PM
WEEK THREE | JUNE 26, 27, 28
Stephanie Jutt, flute
Jeffrey Sykes, piano Sponsored by Ellen White, in memory of Barbara Ekholm
Romie de Guise-Langloise, clarinet
Orlando Pimentel, clarinet
Cynthia Cameron-Fix, bassoon
Richard Todd, horn
Carmit Zori (below), violin Sponsored by Daphne Webb
Hyejin Lee, violin
Ara Gregorian, viola Sponsored by the family of John Stoelting, in loving memory
Katja Linfield, cello
Zachary Cohen, bass
Johann Sebastian Bach: Sonata in B minor, BWV 1030 — Sponsored by Linda & Keith Clifford
Wolfgang Amadeus Mozart: Piano Concerto in C minor, K. 491 — Sponsored by Norma & Elliott Sober
Johannes Brahms: Serenade in D Major, op. 11, arr. Alan Boustead — Sponsored by Michael Bridgeman, in honor of Jack Holzhueter
Stoughton Opera House on Friday, June 26, 7:30 PM
Hillside Theater (below), Taliesin, Spring Green on Sunday, June 28, 2:30 PM
Claude Debussy: Première Rhapsodie — Sponsored by Tim Teitelbaum, in memory of Susan Horwitz
Kevin Puts: Seven Seascapes — Sponsored by Miriam Simmons & Jim Cain
Franz Peter Schubert: Octet in F Major, D. 803 — Sponsored by Larry Bechler & Patty Struck
The Playhouse, Overture Center, Madison on Saturday, June 27, 7:30 PM
Hillside Theater (below), Taliesin, Spring Green on Sunday, June 28, 6:30 PM
By Jacob Stockinger
A good friend in the University of Wisconsin-Madison School of Music, who also happens to be an avid brass fan, recently wrote to The Ear:
“A young violinist I know heard a brass quintet perform last spring at the UW-Madison School of Music, and afterwards she said to me: ‘I had no idea this music is so beautiful.’
“She’s not alone. Most people don’t know. They associate brass with marching bands, or with obnoxious loud horns. And occasionally they notice a high trumpet solo in an orchestra concert (and don’t actually see the trumpeter as she or he is seated so far in back).
“But there’s much, much more. Think of the beauty of strings, with its complex interweavings of melodies and lushness of sound, but applied to trumpets, trombones, “French” horns and the tuba.
That is what the UW is offering during its weeklong Brass Festival — “Celebrate Brass” — the first in 32 years at the School of Music and organized by John Aley (below, in a photo by Katrin Talbot), professor and principal trumpet with the Madison Symphony Orchestra as well as a member of the Wisconsin Brass Quintet.
This event will even bookend John’s tenure here at the School of Music, as he helped organize the first brass festival 32 years ago.
The main concert, called “Brass Alchemy,” on next Saturday, Oct. 11, will present a varied program of lyrical music that is just as much a part of the classical repertory as anything else.
“And the visiting performers are tops in their fields.
One is Oystein Baadsvik (below) an iconoclastic virtuoso tubist from Norway. Two are UW-Madison women alumna horn players. Another is a top composer and trumpeter.
“The two brass quintets – including the Western Brass Quintet (below top) from Michigan and Wisconsin Brass Quintet (below bottom in a photo by Megan Aley) at the UW-Madison School of Music — are frequent commissioners of new works, essential if one is to continue the growth and development of classical music. (The Western Brass Quintet will feature a new work by American composer Pierre Jalbert whose “Howl” Clarinet Quintet scored such a success in its world premiere by the Pro Arte Quartet last Friday night. Below is a link to The Ear’s rave review of the Jalbert work.)
“The School of Music is ticketing this main concert only — a departure from the recent past but long overdue, one that will be followed during the year for selected other concerts. Money raised will be put toward the many needs of the UW-Madison School of Music, which is another topic in itself.
“All the rest of the week’s events — master classes, colloquia and several other concerts — are FREE and open to the public.
“Tickets for the general public are $25 for the one concert listed below, but all students get in FREE. For information, visit http://www.music.wisc.edu/about-us/tickets/
“One hopes that these performances and educational festivals this year can be continued into the future, as they offer so much more than a stand-alone guest artist.
“One can also hope that listeners will discover an angle that is particularly interesting to them –whether it’s a solo tuba work called “Fnugg” (seriously) or the grace of a choral work performed by soaring brass.
“Here are a few links that illustrate the program for that night’s concert:”
“Quidditch” by John Williams:
“Of Kingdoms and Glory” by Anthony Di Lorenzo:
“Elegy” by Pulitzer Prize-winner Kevin Puts
The Ear is also providing some other links that seem relevant and informative.
Here is one to the official UW-Madison School of Music press release with the full schedule and list of programs and performers:
And here is one to Wisconsin Public Radio’s recent session of “The Midday” with host Norman Gilliland and guest UW-Madison trumpeter John Aley. It has lots of good commentary and great samples of brass music:
And here is a link to a Tiny Desk Concert, given by the Canadian Brass, playing Johann Sebastian Bach in a studio for NPR or National Public Radio:
By Jacob Stockinger
Tonight marks the opening of a lot of concert seasons across the country. That includes the new season right here at the University of Wisconsin-Madison School of Music.
UW-Madison flutist Stephanie Jutt (below, in a photo by C&N Photography) will perform a FREE program of Latin American music and German music at tonight 8 p.m. in Morphy Hall. She will be accompanied by UW-Madison pianist Christopher Taylor and UW-Milwaukee pianist Elena Abend.
And over the next several weeks the many other classical music institutions in Madison will also open their seasons: the Madison Symphony Orchestra (below, in a photo by Greg Anderson, the Wisconsin Chamber Orchestra, the Wisconsin Union Theater, the Oakwood Chamber Players, the Madison Bach Musicians and so on.
Yet the idea that classical music is moribund, that it is a dying form of culture and art, persists. And critical observers cite smaller audiences, older audiences and debt-strapped organizations as proof.
But if you want to judge the vitality – and possible future -– of classical music in America, you might want to take a look at the season preview that was posted on the outstanding Deceptive Cadence blog by NPR or National Public Radio.
The preview looks at world premieres of new works and unusual events or programming of all kinds — but mostly orchestral and operatic — that will take place around the country. The story includes new works by such well-known and prize-winning composers as Jennifer Higdon (below top), John Adams, John Corigliano and Kevin Puts (below bottom) — all of whom have had works performed in Madison.
The Ear finds it encouraging and heartening, although he finds it dispiriting that Madison doesn’t make the list, and wonders why? Is it an oversight on the part of NPR? Or the lack of large-scale new music here, despite upcoming appearances by the Jack Quartet and premieres of works by UW-Madison composer Laura Schwendinger (below) and the world premiere on Sept. 26 by the Pro Arte Quartet of a commissioned Clarinet Quintet by composer Pierre Jalbert. And this summer saw a world premiere by Jeff Stanek at the Token Creek Chamber Music Festival.
Anyway, whet your appetite for the new music and for repeat performances of it elsewhere -– like here at home — by reading about it or, better, listening to it. One of the important sites for new works is the impressive outdoor amphitheater at the Santa Fe Opera, (below, in photo by Ken Howard for the Santa Fe Opera).
Here is a link:
Do you think classical music, for all the challenges it faces, is a dying art form?
Or will it persist in some form or another?
The Ear wants to hear.