The Well-Tempered Ear
Classical music: Meet UW-Madison bassoonist Marc Vallon who performs with the Willy Street Chamber Players on Friday night
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By Jacob Stockinger
Who is Marc Vallon (below, in a photo by James Gill)?
This week, he is the bassoonist who will perform Franz Danzi’s Quartet for Bassoon and Strings in D minor, Op. 40, No. 2 (ca. 1820), this coming Friday night, July 19, with the acclaimed Willy Street Chamber Players (below), who will also be joined by pianist Jason Kutz and violist Sharon Tenhundfeld..
(The concert is at 6 p.m. in Immanuel Lutheran Church, 1021 Spaight Street. The program includes: the Allegretto for Piano Trio by Ludwig van Beethoven (1812); “Dark Wood” by American composer Jennifer Higdon (2001); and the rarely heard String Quartet No. 1 (1948) by Argentinean composer Alberto Ginastera. Admission is $15.)
A native of France, Vallon is one of the busiest musicians in Madison. He teaches at the University of Wisconsin-Madison’s Mead Witter School of Music, where he also performs individually, with faculty and student colleagues, and as a member of the Wingra Wind Quintet. He also frequently performs and conducts Baroque music with the Madison Bach Musicians.
Vallon attended the Paris Conservatory, where he won first prizes in bassoon and chamber music, and also earned a philosopher degree at the Sorbonne or University of Paris.
A versatile musician, Vallon played with famed avant-garde French composer Pierre Boulez and for more than 20 years was the principal bassoon of the well-known Amsterdam Baroque Orchestra. He has also performed with major modern orchestras and conductors as well as with many period-instrument groups.
He gives master classes worldwide and also composes.
For a more extended and detailed biography, go to: https://www.music.wisc.edu/faculty/marc-vallon/
Vallon recently did an email Q&A interview with The Ear:
What drew you to the bassoon (below) over, say, the piano or singing, over strings, brass or other woodwinds?
I played the piano as young kid but was not very interested in the mechanics of it, even if I had a strong passion for music. It was the day that my piano teacher brought to my lesson a friend of his to do a bassoon demo that I found the right medium for my passion.
I started practicing like a maniac and knew by the age of 14 that I was going to be a professional bassoonist.
What would you like the public to know about the bassoon, perhaps about the challenges of playing it and about the repertoire for it?
The bassoon does not offer more challenges than other wind instruments, but it is safe to say that an absolute perfectionist person should probably not play it.
It is an instrument capable of true beauties, yet it has its own character. You don’t conquer it, you work with it like you would work with a wonderful but temperamental colleague.
Bassoonists sometimes complain that our solo repertoire is not as rich in masterpieces as the clarinet’s or the flute’s. True, but in its 350 years of existence, the bassoon has amassed enough wonderful music to keep us busy for several lifetimes.
What would you like to tell the public about the specific Bassoon Quartet by Franz Danzi that you will perform, and about Danzi and his music in general?
The bassoon and strings quartet became popular in the last decades of the 18th century, a trend that lasted well into the Romantic era.
Sadly, many of these quartets are basically show-off pieces for the bassoonist while the strings players have to suffer through some often very dull accompaniment parts.
I like this one by Danzi (below) because it features the strings on the same musical level as the bassoon, creating an enjoyable musical conversation rather than a cocky bassoon monologue. (You can hear that musical conversation in the opening movement of the Bassoon Quartet by Danzi in the YouTube video at the bottom.)
As a performer and conductor, you are well–known for championing baroque music as well as modern and contemporary music. Do you have a preference? Do they feed each other in your experience?
What I always have enjoyed about playing contemporary music is the possibility to work with living composers because I often realized how flexible they are with their own music and how much they like the performer’s input. They’re often ready to compromise and veer away from the strict notation.
The approach when playing composers from the past is actually very similar in the sense that we have to remember how approximate music notation is. Baroque composers are not here anymore obviously, but the 17th and 18th centuries sources tell us clearly how much flexibility we, modern performers, have in our approach to their music.
When it comes to music pre-1800, we basically have a sketch on our music stands. I always want to remember this. (Below is a manuscript page of a cantata by Johann Sebastian Bach.)
Do you have big projects coming up next season?
Always! I am putting together a contemporary program on March 27 in our new concert hall on campus. It is called ”Opening Statements” and will feature early works from major 20th-century composers.
On period instruments, I have Bach’s “Christmas Oratorio,” Mendelssohn’s “Elijah” and more Bach on my calendar.
Is there something else you would like to say?
A big Thank You to you, Jake, for being such a relentless and informed advocate of the Madison musical scene!
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The Well-Tempered Ear 
Here is a collaborative obituary for music critic, radio host, performer and gay pioneer Jess Anderson, who died in January at 85
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By Jacob Stockinger
In late January of this year, Jess Anderson (below) — a longtime friend, devoted musician and respected music critic – died at 85.
The Ear promised then that when more was known or written, it would be posted on this blog.
That time has come.
Jess was a polymath, a Renaissance Man, as the comments below attest to time and again.
For the past several years, he suffered from advancing dementia and moved from his home of 56 years to an assisted living facility. He had contracted COVID-19, but died from a severe fall from which he never regained consciousness.
Jess did not write his own obituary and he had no family member to do it. So a close friend – Ed Wegert (below) – invited several of the people who knew Jess and worked with him, to co-author a collaborative obituary. We are all grateful to Ed for the effort the obituary took and for his caring for Jess in his final years.
In addition, the obituary has some wonderful, not-to-be-overlooked photos of Jess young and old, at home, with friends, sitting at the piano and at his custom-built harpsichord.
It appears in the March issue of Our Lives, a free statewide LGBTQ magazine that is distributed through grocery stores and other retail outlets as well as free subscriptions. Here is a link to the magazine’s home webpage for details about it: https://ourliveswisconsin.com.
That Jess was an exceptional and multi-talented person is obvious even from the distinguished names of the accomplished people who contributed to the obituary:
They include:
Chester Biscardi (below), who is an acclaimed prize-winning composer, UW-Madison graduate, composer and teacher of composition at Sarah Lawrence College.
John Harbison (below), the MacArthur “genius grant” recipient and Pulitzer Prize-winning composer who teaches at MIT and co-directs the nearby Token Creek Chamber Music Festival in the summer.
Rose Mary Harbison (below), who attended the UW-Madison with Jess and became a professional performing and teaching violinist who co-directs the Token Creek Chamber Music Festival.
Steve Miller (below), a close friend who became a bookmaker and is now a professor at the University of Alabama.
The Ear, who knew Jess over many decades, was also invited to contribute.
Here is a link to the joint obituary in Our Lives magazine, a free LGBTQ periodical that you can find in local grocery store and other retail outlets: https://ourliveswisconsin.com/article/remembering-jess-anderson/?fbclid=IwAR027dzv2YqRUNlYF1cF6JyXnEcQxAwcprPYbtBQCs3rYt0Nu847W_xbjpk
Feel free to leave your own thoughts about and memories of Jess in the comment section.
It also seems a fitting tribute to play the final chorus from The St. John Passion of Johann Sebastian Bach. You can hear it in the YouTube video below. It is, if memory serves me well, the same piece of sublime music that Jess played when he signed off from hosting his Sunday morning early music show for many years on WORT-FM 89.9.
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