ALERT: This week’s FREE Friday Noon Musicale at the First Unitarian Society of Madison, 900 University Bay Drive, features Shannon Farley, viola, with Chris Allen, guitar; Leah King and Jason Kutz, piano; Elspeth Stalter Clouse and Ela Mowinski, violin; Leslie Damaso, mezzo-soprano; and Morgan Walsh, cello. They will perform the Piano Quintet in A Major, Op. 81, by Antonin Dvorak; Three Songs for Mezzo-soprano, viola and piano by Frank Bridge; “Beau Soir” (Beautiful Evening) for guitar and viola by Claude Debussy; and a Romance for violin by Amy Beach as arranged for viola and piano. The concert runs from 12:15 to 1 p.m.
By Jacob Stockinger
Can the past help us understand and weather the present time with its conflicts and chaos?
In fact her latest album, for the Erato-Warner label, of arias from Baroque operas from the 17th and 18th centuries is dedicated to that proposition. The album’s title is “In War and Peace: Harmony Through Music” (below).
It includes arias from opera by George Frideric Handel (one of which you can hear in the YouTube video at the bottom), Henry Purcell, Niccolo Jommelli, Leonardo Leo and Claudio Monteverdi, and it features two world premiere recordings as well as familiar works.
She boils much of her viewpoint down to one question: In the widest of chaos, how can you find peace?
Sure seems timely, given foreign wars and domestic political strife.
Here is a link with the interview and some fetching music:
Listen to it.
See what you think.
Then let the rest of us know what you think, and whether you agree or disagree, and whether you have other works that come to mind.
The Ear wants to hear.
ALERT: This Saturday night at 7 p.m., voice students from the UW-Madison School of Music will give a FREE and PUBLIC concert of opera arias at Capitol Lakes Retirement Community, 333 West Main Street, off the Capitol Square.
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.
By John W. Barker
The Madison Bach Musicians gave the first of their three concerts of this season on Saturday night. And this time they did so in a novel venue, Immanuel Lutheran Church (below is the exterior). This handsome space on the near East Side has emerged in recent months as a concert site of growing popularity.
The program was devoted to “Baroque Concertos,” and it was introduced by MBM founder and director Trevor Stephenson (below) with his usual wit and insight. (Performance photos are by John W. Barker.)
Of the four works presented, the first one was not a concerto at all, but an extraordinary ensemble piece by Heinrich Ignaz Franz Biber (1644-1704, below). Many Renaissance and early Baroque composers had created sound paintings — both vocal and instrumental evocations of battle. But Biber’s Battaglia, with its polytonalities, went far beyond anything before, and perhaps since, all the way down to Charles Ives.
The second of its eight short movements evokes a military encampment of an army of very mixed personnel, each celebrating its individuality in a quodlibet or medley piece of eight separate song tunes played simultaneously, in willful chaos. And the penultimate seventh represents the battle itself with surging textures and wild string plucking to suggest gunshots.
The 11 string players, plus Stephenson on the harpsichord, made a whale of a show out of it, all on their elegant “early instruments.”
Throughout the program, the concertmaster, violinist Kangwon Kim (below), played a notable role as the true leader of the ensemble. But she was also given her place as a brilliant soloist — first in the Violin Concerto in A Minor by Johann Sebastian Bach, the most familiar selection in the concert. This she played with her usual sensitivity and stylistic confidence.
The most novel work was a Cello Concerto in A Major by Leonardo Leo (1694-1744, below top), the leader of the important Neapolitan School of instrumental and vocal music in the early 18th century. The least familiar music on the program, this four-movement work gave soloist Steuart Pincombe (below bottom, seated in center) a chance to display a blazing virtuosity.
Finally came a rarely heard work by a well-known composer, Antonio Vivaldi. His Concerto for Violin, Cello, Strings and Continuo, in B-flat (RV 547) gave the vivacious Kim and the fiery Pincombe a perfect duet vehicle for display of their talents. The final movement was dazzling, and if they had repeated it as an encore — which I wish they had done — they would have raised the roof. (You can hear the double concerto by Vivaldi in a YouTube video at the bottom.)
Clearly, Immanuel Lutheran has a growing future as a concert site. And the Madison Bach Musicians are off to a brilliant season. Watch for the annual Christmas concert on Dec. 12, and the correctly scheduled Easter (NOT Christmas) performance of George Frideric Handel’s Messiah on April 8 and 10; all of these will be at the First Congregational Church.
ALERT: The Ear apologizes for mistakenly listing this item last week: The weekly FREE Friday Noon Musicales at the historic First Unitarian Society of Madison, designed by Frank Lloyd Wright and located at 900 University Bay Drive, begin the new season this week. This coming Friday, Oct. 2, at 12:15-1 p.m. in the Landmark Auditorium, mezzo-soprano Consuelo Sanuda and pianist-composer Jeff Gibbens will perform songs by Gustav Mahler, Gabriel Faure, Manuel de Falla and Jeff Gibbens.
By Jacob Stockinger
The Ear’s friend Trevor Stephenson, the founder and artistic director as well as the keyboard player of the Madison Bach Musicians, writes:
The Madison Bach Musicians (below) is thrilled to start its 12th season this weekend with an entire program of baroque concertos for strings. I will be discussing the program today on Wisconsin Public Radio’s The Midday program with host Norman Gilliland from noon to 12:30 p.m.
There will be two performances: this coming Saturday night at 8 p.m. at Immanuel Lutheran Church (below), 1021 Spaight Street, on the near east side; and Sunday afternoon at 3:30 p.m. at Holy Wisdom Monastery on the far west side at 4200 County M in Middleton. I’ll give pre-concert lectures at both events at 7:15 p.m. and 2:45 p.m., respectively.
Tickets are $28, $23 for students and seniors over 65, in advance; $30 and $25 respectively at the door. Student rush tickets are $10 and are available 30 minutes before the concert. For information about single tickets and subscriptions, go to:
Our soloists will be MBM concertmaster Kangwon Kim (below top) and internationally renowned baroque cellist Steuart Pincombe (below bottom).
Right out of the gate, we’ll dive into a programmatic 17th-century masterpiece, Battalia (Battle, heard played by the renowned Jordi Savall and Le Concert des Nations in a YouTube video at the bottom) , by Heinrich Biber (below).
Composed around 1673, Battalia’s sequence of epigrams outlines a timeless narrative: from the drunken good humor and singing of disparate songs in several keys at once (long, long before Charles Ives) in the soldiers’ camp, to the sabre rattling of Mars, to the love song (aria) before the battle, to the battle itself, to the lament of the wounded musketeers (the slow descending chromaticism must be the oozing of wounds).
Biber’s sense of just how far to take each scene is what makes the work memorable. His instinct here is unerring in knowing how many repetitions to give a motive before finally closing it with a cadence — Scarlatti and Stravinsky are later masters of this technique.
After Biber, we’ll move on to the elegant and rightly famous Violin Concerto in A minor by Johann Sebastian Bach (below). Bach learned an immense amount about ritornello form from his careful study of Antonio Vivaldi, whose music we’ll hear from at the end of the program.
In ritornello structure, the band and the soloist trade off sections; the band’s sections are full and fleshed out, more like a crowd or a Greek chorus, the soloist’s material is usually more intricate and virtuosic.
But the soloist and the band are only minimally contrasted in baroque style, since usually the band backs up the soloist and in many performance approaches the soloist will also play along during the band’s louder sections; the feeling is very convivial.
I’m always amazed by how much Bach’s music is at once thoroughly inspired by Italian music — with its leaps, drive and energy — and yet is never overrun with Italianisms.
Take the opening ritornello of this violin concerto. The first four measures could come from almost any Italian master, and then Bach brilliantly extends and twists and cantilevers the cadence for another 20 measures to set the stage for the soloist’s refined entrance in the upbeats to measure 25.
The Andante middle movement has a compelling, heartbeat-like rhythmic underpinning (regularly punctuated by a swaying figure) in the opening ritornello, which then gives way to the solo violin’s utmost tenderness and rhetorical conviction. The finale is a propulsive gigue in the somewhat unusual meter of 9/8.
The piece on our program that very few in the audience will have heard before is the Cello Concerto in A major by Leonardo Leo (below). Leo was born near the end of the 17th century in Naples, where he worked for much of his career, writing primarily both comic and serious operas.
His cello concertos date from around the mid-1730s and are characterized by transparency of texture and form that in some ways make them precursors to the coming neo-classical style of the later 18th-century. It is not certain that he played the cello, but the writing in the concertos is idiomatic, colorful and virtuosic. MBM is delighted that guest cellist Steuart Pincombe has brought this work forward for these concerts.
The final work is Vivaldi’s Double Concerto for Violin and Cello in B-flat major, RV 547. Vivaldi (below), nicknamed the “Red Priest” because of his magnificent mane of red hair, was of course a spectacularly gifted violinist who wrote hundreds of compositions for that instrument. But he also teamed the violin with the cello on several occasions.
I’m always awed by Vivaldi’s consistently successful use of irregular phrase lengths. The music just seems to roll on out there and be perfectly balanced, but the measure groupings are often in fives or sevens, and not so much in the four-measure groupings that typically connote stability. A few other composers have mastered this technique of hiding wonderfully asymmetrical structures, and J. S. Bach is most notable.
The entire concert will be played on period instruments: gut strings and baroque bows. We’re also delighted to welcome to this concert the specialist on the violone (baroque double bass) Marilyn Fung(below) from Michigan.
ALERT: Trevor Stephenson, the founder and artistic director of the Madison Bach Musicians, writes:
Dear Friends: The Madison Bach Musicians begins its 12th season next weekend on Saturday night (8 p.m. at Immanuel Lutheran Church on the near east side) and Sunday afternoon (3:30 p.m., at Holy Wisdom Monastery on the far west side on County M) with a marvelous program of four Baroque concertos by Johann Sebastian Bach, Heinrich Biber, Leonardo Leo and Antonio Vivaldi! Soloists will be MBM concertmaster violinist Kangwon Kim, and guest artist Steuart Pincombe baroque cellist. I’ll give pre-concert lectures at both events (at 7:15 p.m. and 2:45 p.m., respectively).
I’ll be discussing these upcoming concerts on two radio programs here in the next couple of days. This Sunday morning, Sept. 27, from 10:30 to 11 a.m. on WORT FM radio (89.9), I’ll be Alan Muirhead’s guest on the Musica Antiqua program. On Wednesday, Sept. 30, Kangwon Kim, Steuart Pincombe and I will all be Norman Gilliland’s guests on the Midday program noon-12:30 p.m. on Wisconsin Public Radio (88.7 FM). I hope you can tune in. Tickets are available online at (www.madisonbachmusicians.org), at our ticket outlets, and at the door. I look forward to seeing you at the concerts!!
By Jacob Stockinger
The new concert season is here.
That means many of us will spend too many minutes reading second-rate program notes and inferior artist biographies as we wait for a concert to take place — even though I think many local groups and local program note writers do quite well.
But why do so many of those predictable and formulaic artist bios seem such surefire ways to bore an audience or put it to sleep? (Below is a photo from istock.)
It’s a good piece and raises a lot of questions as well as provides some suggestions. It has been long overdue.
Here is a link:
Leave your own reactions, criticism and suggestions about program notes and artist bios in the COMMENTS area.
The Ear wants to hear.
By Jacob Stockinger
Trevor Stephenson, the founder, artistic director and keyboardist of the Madison Bach Musicians, writes:
Summer has wound down and Madison Bach Musicians (below) is gearing up for a wonderful concert season: 2015-16 will be our 12th year. Thanks for all your support and encouragement!
Our Dec. 12, our Baroque Holiday Concert will feature two outstanding seasonal Cantatas by J.S. Bach (BWV 61 and 151), Arcangelo Corelli‘s Christmas Concerto (at bottom in a YouTube video), and Georg Philipp Telemann‘s Tafelmusik Quartet for baroque flute and strings.
The grand finale for the season on April 8 and 10 will be two performances of George Frideric Handel’s “Messiah” featuring an all-baroque orchestra, eight outstanding vocal soloists, and singers from the Madison Boy Choir (part of Madison Youth Choirs).
Season subscriptions are available until Sept. 21 — online or mail order only. Subscribers receive: Significant savings on ticket prices; priority seating in the first several rows; and invitations to special subscriber lecture events.
You can find out more information and order tickets online at our website www.madisonbachmusicians.org or mail in your season subscription order form and check. Go to “Concerts – Season Overview” on our website to print out our season brochure for the order form.
Tickets for individual concerts are also now available online and at all of our ticket outlet locations: Orange Tree Imports, Willy Street Co-op (east and west), Farley’s House of Pianos, Room of One’s Own bookstore.
We look forward to seeing you at the concerts!
You can also call (608) 238-6092.