The Well-Tempered Ear

Classical music: A veteran reviewer bids farewell with a rave review of this summer’s last concert by the Willy Street Chamber Players and UW-Madison pianist Christopher Taylor

July 29, 2019
18 Comments

IF YOU LIKE A CERTAIN BLOG POST, PLEASE SPREAD THE WORD. FORWARD A LINK TO IT OR, SHARE IT or TAG IT (not just “Like” it) ON FACEBOOK. Performers can use the extra exposure to draw potential audience members to an event. And you might even attract new readers and subscribers to the blog.

By Jacob Stockinger

Here is a very special posting, the final review that will be written by frequent guest critic and writer for this blog, John W. Barker.

Barker (below), who is dealing with medical issues, is an emeritus professor of Medieval history at the University of Wisconsin-Madison. He also is a well-known classical music critic who wrote for The Capital Times, Isthmus and the American Record Guide, and who, until two weeks ago, hosted an early music show once a month on a Sunday morning on WORT-FM 89.9. For years, he served on the Board of Advisors for the Madison Early Music Festival and frequently gave pre-concert lectures in Madison.

Please use the comment section to join The Ear in thanking Barker for his many years of public service and wishing him well.

By John W. Barker

I had to miss the first concert this summer by the Willy Street Chamber Players (below) on July 12; and the next one, on July 19, was cancelled because of power failures. But the final one, last Friday night, was well worth waiting for — one of the really memorable events of the year, I think.

The program, performed at the usual near East Side venue of the Immanuel Lutheran Church, 1021 Spaight Street, began with some short items.

First, there was a set of Three Nocturnes (1924) for piano trio — violin, cello and piano — by Ernest Bloch. They contain elements of the Hebraic sound that Bloch cultivated but also had their own individualities, the first two contemplative and the third marked “tempestuoso.” Interesting was Bloch’s alternating uses of muting the strings.

After this came an example of the short pieces for string quartet by the contemporary composer Jessie Montgomery, her “Voodoo Dolls” (2008). Much is packed into this five-minute piece. A few lyrical touches aside, it sounded like a hoedown gone crazy, full of quite novel sounds, including rhythmic thumping on the wood of the instruments.

All that was a curtain-raiser to the big event of the program: the Piano Quintet No. 2 in A major, Op. 81, by Antonin Dvorak. This 40-minute work is one of the composer’s best-known chamber music compositions, and one of the standouts in the whole chamber music literature.

The very opening notes of the first movement bring a flood of warm well-being.  (After hearing just that, I commented, “I haven’t felt such happiness in months.”)

The fecundity and richness of invention pervaded the entire work. For me, its high point is the second movement, in which Dvorak (below) used the Czech formula of the dumka, a kind of folk music lament that is paced slow-fast-slow-fast. (You can hear the Dumka movement, played by the Jerusalem Quartet and pianist Stefan Vladar, in the YouTube video below.)

Dvorak liked to play viola in chamber music, and so he always wrote some good things for himself. The sublime passages for viola in this movement were played with such transcendent beauty by Rachael Hauser (below) – who is leaving Madison for New York City — that I felt I was hearing the composer’s voice directly. Put simply, this was one of the greatest examples of chamber-music performance that I have ever heard.

All of the players, many of whom play in the Madison Symphony Orchestra,  of course matched remarkable skill with humane vitality and vibrancy.

And a measure of the Willys’ standards was the fact that they were able to draw as a partner no less than that magnificent UW-Madison music school pianist, Christopher Taylor (below), who also performed the same Dvorak Piano Quintet in the 1993 Van Cliburn International Piano Competition, where he won a bronze medal. Much of his excellence here was demonstrated by the fact that he did not play the star, but joined with the Willys in perfect collegial integration.

This ends the Willy Street group’s fifth summer season. As a symbol of vibrancy and fresh spirit, they are among the most important of Madison’s classical music world today. They have drawn steadily growing audiences, and the house was truly packed for this concert.  We can only hope that they will continue to brighten that world in the years ahead.

I am now ending my time as a music critic. I can think of no more satisfying a final review to write than of the Willy Street Chamber Players.


Posted in Classical music
Tags: , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

Classical music: The Bach Dancing and Dynamite Society again brings its surefire summery approach to serious classical chamber music when it starts its 28th annual series this weekend

June 11, 2019
1 Comment

IF YOU LIKE A CERTAIN BLOG POST, PLEASE SPREAD THE WORD. FORWARD A LINK TO IT OR, SHARE IT or TAG IT (not just “Like” it) ON FACEBOOK. Performers can use the extra exposure to draw potential audience members to an event.

By Jacob Stockinger

It’s not just the calendar that makes the Bach Dancing and Dynamite Society the official start of the increasingly busy summer classical musical season in Madison.

The real reason is that the summer chamber music series, about to start its 28th annual summer this Friday night, June 14, is downright summery in its approach.

Say “summer,” and you think of lightness, of fun, of playfulness. And those are the very same qualities – along with serious, first-rate performances of great music by outstanding musicians – that BDDS brings to its six programs spread out in 12 concerts over three weekends and three venues during the month of June.

By now both the performers (below, in a photo by Dick Ainsworth for BDDS) and the audiences know that the formula works, however finely tuned or slightly changed it is from one summer to the next.

WHAT’S THE SAME

This year much remains.

There are still door prizes, spoken introductions and stories, mystery guests and a colorful art installation by UW-Madison designer Carolyn Kallenborn.

The titles of the six programs for 12 concerts over three weekends still have groan-inducing puns — “Name Dropping” in the theme for this summer — that are based on the musicians’ names like “Founteneau of Youth” after the San Francisco cellist Jean-Michel Fonteneau (below top) and “Quadruple Axel” after the Montreal-based violin virtuoso Axel Strauss (below bottom).

There are still the usual venues: the Playhouse in the Overture Center (below top); the Stoughton Opera House (below middle); and the Hillside Theater at Taliesin, the Frank Lloyd Wright compound in Spring Green.

There are still the many distinguished and accomplished musicians among the many imported guest artists and the many local musicians, including the co-founders and co-artistic directors flutist Stephanie Jutt and pianist Jeffrey Sykes (below). The Ear can’t recall ever hearing a bad BDDS performance, even of music he didn’t like.

And there is a mix of older well-known and classic repertoire along with newer and neglected composers and works.

WHAT’S NEW

But some things are different too.

The first concert this Friday will have a post-concert reception with free champagne and dessert to celebrate the 28th season.

This summer, unlike recent ones, there is no vocal music. All music is instrumental.

At both Stoughton and Spring Green, you can get food. Go to the home website for details.

Especially new and noteworthy is that the Russian virtuoso accordion player Stas Venglevski (below), from Milwaukee, will also perform on programs. Venglevski performs on the bayan, a Russian-style accordion noted for its deep bass sound and range and purity of tone.

Venglevski will be featured in works that range from polkas and heart-on-the-sleeve tangos by Argentinian composer Astor Piazzolla, Cuban composer Ernesto Lecuona and Russian composer Igor Stravinsky; down-and-dirty original works by Russian master Tatyana Sergeyeva and arrangements of favorite pieces by Johann Sebastian Bach and others.

This Wednesday night, June 12, from 7 to 9 p.m., Venglevski and Jutt will perform “Bayan-o-rama” at the Arts and Literature Lab, 2021 Winnebago Street. Tickets are $10 at the door. Refreshments will be served.

Here is a summary of the first weekend:

WEEK ONE

The elegance, charm, and finesse of French cellist Jean-Michel Fonteneau is displayed in a program called “Fonteneau of Youth.”

It includes music written by great composers in their youth, including the ravishing Elegy for cello and piano of French composer Gabriel Fauré; the rhythmically exciting Trio for flute, cello and piano of living American composer Ned Rorem; and the astonishing D’un soir triste (One Sad Evening) and D’un matin de printemps (One Spring Morning), both for piano trio, of 21-year old Lili Boulanger (below), who was the Prix de Rome-winning composer sister of famed teacher Nadia Boulanger and who died very young. (You can hear both pieces by Lili Boulanger in the YouTube video at the bottom.)

The great Franz Joseph Haydn—always the most youthful of composers, even into his late years—is represented by the masterful Piano Trio no. 28 in E major, in honor of BDDS’ 28th season.

“Fonteneau of Youth” will be performed at The Playhouse in the Overture Center for the Arts on this Friday, June 14, at 7:30 p.m. A free champagne and dessert reception will be held following the performance to celebrate the 28th season opener. It will also be performed in Spring Green at the Hillside Theater on Sunday, June 16, at 2:30 p.m.

Audience favorite Axel Strauss—not just a virtuoso violinist, but a virtuoso musician and artist of the highest distinction—will brave gravity-defying musical heights in “Quadruple Axel.” Carl Philipp Emanuel Bach’s Trio Sonata in D minor for violin, flute, cello and piano starts the program on an elegant note. Johannes Brahms’ fiery Piano Trio No. 3 in C minor, Op. 101, raises the temperature significantly. And all sorts of hijinks are on display in Maurice Ravel’s extraordinary and ravishing Sonata for Violin and Piano.

“Quadruple Axel” will be performed at The Playhouse in the Overture Center for the Arts on Saturday, June 15, at 7:30 p.m. and in Spring Green at the Hillside Theater, Sunday, June 16, at 6:30 p.m.

For more information about the full BDDS season and how to purchase tickets ($43 and $49), go to: https://bachdancing.org


Posted in Classical music
Tags: , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

Classical music: Trio Celeste proves superb in its Madison debut concert at Farley’s House of Pianos

January 8, 2019
3 Comments

IF YOU LIKE A CERTAIN BLOG POST, PLEASE SPREAD THE WORD. FORWARD A LINK TO IT OR, SHARE or TAG IT (not just “Like” it) ON FACEBOOK. Performers can use the extra exposure to draw potential audience members to an event.

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 hosts an early music show once a month on Sunday morning on WORT FM 89.9 FM. For years, he served on the Board of Advisors for the Madison Early Music Festival and frequently gives pre-concert lectures in Madison. He also took the performance photos.

By John W. Barker

In its Salon Piano Series, Farley’s House of Pianos has been offering splendid piano recitals. But it has augmented that by bringing other musicians to join in chamber music programs, showing them at work with the vintage pianos in the Farley collection, so lovingly restored.

On Sunday afternoon, the series brought the Trio Celeste (below) from California to play just such a program. Consisting of violinist Iryna Krechkovsky, cellist Ross Gasworth and pianist Kevin Kwan Loucks, the group played a demanding program of predominantly Russian origins.

They began by reversing the two parts of the program from the printed order. Thus, the first item was the single-movement Trio élégiaque No. 1 by Sergei Rachmaninoff, composed in 1892, inspired by the Tchaikovsky work that comprised the latter half. This was followed by piano trio arrangements from the flashy “Four Seasons of Buenos Aires” by the Argentinian composer Astor Piazzolla.

The red meat of the program, however, was the magnificent Trio in A minor, Op. 50, composed in 1882 by Tchaikovsky. This is one of the towering works of the chamber music literature, cast in quite unconventional terms: a tightly constructed but beautifully flowing opening movement, then an extended set of variations on a folksy tune.

The group (below) did resort to a frequent trick of cutting, omitting notably the challenging fugal variation. (You can hear the whole Theme and Variations movement in the YouTube video at the bottom.) But the performance was powerful and impassioned — and the more compelling for being given in a modest venue rather than in a large concert hall.  These are truly superb musicians, and it is wonderful to have them come to Madison for us.

The program made use of Farley’s Steinway Model D instrument made in 1950. During the intermission, Tim Farley (below) spoke knowingly about the instrument and its restoration. And, at the outset of things, comments on the music were given by the pianist and the cellist.

A truly memorable event in the Farley series!


Posted in Classical music
Tags: , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

Classical music: The veteran Wisconsin Baroque Ensemble opens its season with a variety of vocal and instrumental works

October 15, 2018
Leave a Comment

IF YOU LIKE A CERTAIN BLOG POST, PLEASE FORWARD A LINK TO IT OR SHARE IT (not just “Like” it) ON FACEBOOK. Performers can use the extra exposure to draw potential audience members to an event.

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 hosts an early music show once a month on Sunday morning on WORT FM 89.9 FM. For years, he served on the Board of Advisors for the Madison Early Music Festival and frequently gives pre-concert lectures in Madison. He also took the performance photos.

By John W. Barker

The new season’s first concert by the Wisconsin Baroque Ensemble opened in Madison on Saturday evening, Oct. 13, at St. Andrew’s Episcopal Church. It offered, as always, a program of wide range and variety.

There were nine performers involved this time, two of them singers — the familiar UW-Madison soprano Mimi Fulmer and mezzo-soprano Consuelo Sañudo.

Fulmer sang an Italian cantata of contested authorship, with Sigrun Paust on recorder (below). Later, Sañudo sang a Latin motet by Joseph Bodin de Boismortier, with helpers (violinist Nathan Giglierano, Monica Steger on recorder, Eric Miller on gamba and Max Yount on harpsichord).

The two joined in three items from Claudio Monteverdi’s Third Book of Madrigals (below). They were a bit of a twist, for they were meant for five singers. So the other three parts were taken by three viola da gamba players (Anton TenWolde, Miller, Charlie Rasmussen) — which actually proved not the best way to project the madrigal textures.

The bulk of the program was instrumental.

Variations, or “divisions” made two appearances. From the obscure August Kuehnel, there was an aria given long elaborations by two gambas (Miller, Rasmussen). Another set of variations, from a collection published by John Playford, was dashed off by violinist Giglierano, with gamba (Miller) and harpsichord (Steger) for continuo (below).

The duo form was also represented by such a piece for two cellos (below), by Tommaso Giordani, played by TenWolde and Rasmussen.  A cello sonata by a certain Franceso Alborea was the solo spot for TenWolde, with Rasmussen and Steger on continuo.

With a more conventional ensemble, we heard a Trio Sonata in A minor by Georg Phiipp Telemann, with Giglierano and Faust, plus TenWolde and Steger as the continuo. (You can hear the Telemann Trio Sonata in the YouTube video at the bottom)

It was for the final item, as a grand finale (below), that all seven of the instrumentalists joined in a little ballet suite by Boismortier.

Music lovers who attend concerts such as these should remember that the works presented were, by and large, not intended for presentation to a “public.” This is mostly “parlor” music (“chamber,” you recall), meant for the players to exercise their playing skills for themselves and any friends.

There are masterpieces in this literature, but seeking them out is not the primary goal of the WBE. Rather, that is to allow performers to test and show off their skills in music they find challenging and satisfying. The pleasures which that gives to an audience are the bonus.

The Wisconsin Baroque Ensemble has been around as a performing group in Madison since 1997. As such, it is the oldest surviving ensemble in town devoted to early music, and might be said to have inaugurated the taste and audience for that literature.

Such taste and audience have now expanded extensively, but the WBE continues to make its own chamber contributions with unfailing devotion.

For more information, about the WBE and its upcoming season, go to: https://wisconsinbaroque.weebly.com


Posted in Classical music
Tags: , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

Classical music: The 29th Token Creek Festival closes with the world premiere of a song cycle by John Harbison and dramatic, affecting Schumann

September 6, 2018
3 Comments

By Jacob Stockinger

Here is a special posting, a review written by frequent guest critic and writer for this blog, John W. Barker. Barker (below) is an emeritus professor of Medieval history at the University of Wisconsin-Madison. He also is a well-known classical music critic who writes for Isthmus and the American Record Guide, and who hosts an early music show once a month on Sunday morning on WORT-FM 89.9. For years, he served on the Board of Advisors for the Madison Early Music Festival and frequently gives pre-concert lectures in Madison. He also took the performance photos.

By John W. Barker

The third and final program of this summer’s 29th Token Creek Chamber Music Festival, held in a refurbished barn (below) was given on last Saturday afternoon, when I caught it, and then was repeated the following day.

There were adjustments down to the wire, as co-director John Harbison noted in his opening comments. The originally planned opening piece, Mozart’s Sonata in G Major, K. 301, for Violin and Piano, was cancelled, and the program actually began with Haydn’s Piano Sonata in E Major (H. XVI:22).

Harbison (below) played this himself, having observed that, if not noteworthy, it was representative of its kind. In fact, it is a worthy work, its third and final movement is a little set of delightful variations on a minuet tune. Harbison obviously loves this whole Haydn literature, and he played the piece with affection.

Then it was vocal music, sung by tenor Frank Kelley — who has worked with Harbison in the Emmanuel Music activities in Boston — with pianist Janice Weber.

Their first offering was the world premiere of a cycle-in-progress by Harbison, titled In Early Evening, to texts by poet Louise Glück (below): specifically, of its first three songs. The texts are dreamy and nostalgic, and the composer has attempted to capture their multi-layered implications.

The two performers (below) then completed the concert’s first half with a presentation of the complete 16 songs of the cycle Dichterliebe (A Poet’s Love) by Robert Schumann. This sets the reflections on failed love, written by the great German poet Heinrich Heine.

Kelley is not an ingratiating singer. His voice sounds raw and worn. Nevertheless, he has splendid diction, in both English and German. He sounded much more confident and secure in the magnificent Schumann cycle, which he sang without a score. In this music he conveyed the varying moods and emotions with genuine engagement and expression.

But pianist Janice Weber (below) proved a real discovery. In his program notes, Harbison rightly pointed out that Schumann’s piano writing was not so much accompaniment as individualized piano writing with its own character and even independence. Indeed, the final song of the Heine cycle ends, after the voice is finished, with a substantial little epilogue of reflection for the piano alone.

Weber projected that very strong piano dimension wonderfully, and she repeated the feat when, for the program’s second half, she was joined in Schumann’s Piano Trio No. 1 in D minor, Op. 63, by violinist and Festival co-founder Rose Mary Harbison and cellist Karl Lavine.

This is a lively and quintessentially Schumanesque work that the audience loved. (You can hear the energetic first movement, played by the Beaux Arts Trio, in the YouTube video at the bottom.)

But I found the ensemble not well balanced. Lavine was surprisingly mild, deferential and understated in his playing. But Weber provided the sturdy backbone of the performance. We should hear more of this splendid artist.


Posted in Classical music
Tags: , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

Classical music: Can the annual Handel Aria Competition be improved? Here are two modest proposals from a fan. What do you think?

June 13, 2018
9 Comments

By Jacob Stockinger

Here is a guest posting by George Savage, a blog follower who is a self-described musical amateur. In his youth he sang in choirs and had a bit solo part of Morales in his college production of Bizet’s Carmen. Then, a long musical hiatus until his 60th birthday celebration, when he sang Leonard Cohen’s song “Hallelujah,” black hat in hand, knees on floor.

Most of his adult life was spent teaching literature and composition at the University of Wisconsin-Whitewater, specializing in the American Renaissance. To the extent he has stayed connected to the world of music, it is through his daughter Kelly Savage, who has a D.M.A in harpsichord from Stony Brook University and now teaches at the San Francisco Conservatory of Music.

By George Savage

As my bio indicates, I am a musical amateur, meaning simply that I am a lover (French amateur) of music. For the past three years, I have had this love rekindled through the annual Handel Aria Competition in Madison, Wisconsin.

The vocal quality has consistently been high — especially this year! — and it is fun to vote for the Audience Favorite, even when the judges disagree with your assessment.

(Editor’s note: This year the Audience Favorite was mezzo-soprano Lindsay Metzger, below top, while the three judges awarded First Prize to soprano Suzanne Karpov, below bottom. Here is a link to story about all the winners: https://welltempered.wordpress.com/2018/06/11/classical-music-here-are-the-winners-of-friday-nights-sixth-annual-handel-aria-competition/).

My heartfelt congratulations go to Dean and Carol “Orange” Schroeder (below) for establishing this annual competition in 2013 and for the many supporters who have made this competition a success.

I have two modest proposals, though, for improvement, one minor and one major.

A minor proposal: Unless you have an encyclopedic knowledge of opera — and I know that some people reading this have that knowledge — you will not know the context of the arias.

I propose that the program notes contain a brief context for each of the arias. Alternatively, the singers – below are the seven finalists this year — could introduce their songs with a similar brief context.

A major proposal: As I listened this year to Handel piece after Handel piece after Handel piece, I wondered: “Could there be some variation?”

I started to think of other festivals that started with a single-artist focus but then gradually expanded, such as the Shaw Festival in Niagara-on-the-Lake, Canada, or, closer to home, the American Players Theatre in Spring Green, Wisconsin.

Both summer theater venues began with a single focus – Shaw and Shakespeare — but then evolved while at the same time staying true to their precipitating muse.

There is still lots of Shaw at the Shaw festival and lots of Shakespeare at APT. The same is true of the Carmel Bach Festival, which started with Bach but now has expanded to include many other forms of classical music. The same holds true for the famous Mostly Mozart Festival in New York City, which continues to expand its repertoire beyond Mozart.

In that spirit, I wonder if the singers at the Handel Competition, back up by the period-instrument Madison Bach Musicians, could in future events sing two selections — the first an aria by Handel and the second a non-Handel Baroque aria of the singer’s choice.

I think many singers would welcome the expanded repertoire and the audience would appreciate the added variety. The judging would be murkier, but it would be a good kind of murky.

I hope these proposals will engender a discussion: Should the competition be tweaked, or should it stay the same?

Your thoughts on these two proposals would be appreciated as well as other suggestions of your own.


Classical music: Sound Out Loud and Madison Public Philosophy explore cultural appropriation in three FREE concerts and discussions over the coming week

October 21, 2017
Leave a Comment

By Jacob Stockinger

The Ear has received the following announcement to post:

Musicians from the Sound Out Loud ensemble (below) and Madison Public Philosophy are teaming up to present an interactive exploration of cultural exchange, appreciation, appropriation, and assimilation in music, from Claude Debussy‘s Pagodas (heard in the YouTube video at the bottom) to the hit song The Lion Sleeps Tonight to Irving Berlin’s nostalgic White Christmas.

There will be three performances:

Monday, Oct. 23 at 7 p.m. at Lathrop Hall’s Virginia Harrison Parlor (1002 University Avenue, below);

Saturday, Oct. 28, at 1:30 p.m. at the American Family Insurance‘s DreamBank (1 N. Pinckney Street , below);

and Sunday, Oct. 29 at 2:30 p.m. at the Arts + Literature Laboratory (2021 Winnebago Street, below).

Audience members will hear live music performed by Sound Out Loud accompanied by historical context and analysis from UW-Madison musicologist Andrea Fowler.

After the performances, Madison Public Philosophy will lead a discussion about the musical examples. Audience members will be asked to decide which of the following categories the examples fall into: exchange, appropriation, appreciation, and assimilation.

The events are free, but donations are accepted. Each program will last just over one hour.

For more information, got o these websites:

https://www.soundoutloudensemble.com

https://publicphilosophysite.wordpress.com

About the Organizations:

Madison Public Philosophy is a group of philosophy students from the University of Wisconsin-Madison. Its mission is to share philosophy with all members of the community through educational programs and public performances.

Sound Out Loud is a new music performance ensemble currently based out of Madison, Wisconsin. The group seeks to expand the realm of possibilities within the chamber ensemble repertoire through the implementation of experimental techniques, innovative performance practice, and the use of live electronics.


Classical music: The Madison-based wind quintet Black Marigold performs two concerts this Friday night and Saturday night. On Sunday afternoon, the Edgewood College Chamber Orchestra performs

September 21, 2017
Leave a Comment

By Jacob Stockinger

Here is another twofer preview because of so many events happening this weekend.

FRIDAY AND SATURDAY NIGHTS

The Madison-based wind quintet Black Marigold (below, in a photo by Vincent Fuh) will perform two concerts this Friday and Saturday nights.

The program features wind music of the 19th and 21st centuries.

Here are the two performances:

This Friday night, Sept. 22, at 8 p.m.; Arts & Literature Laboratory; 2021 Winnebago Street; $8 in advance, $10 at the door; Tickets: http://blackmarigold.bpt.me/

The program includes Five Stick$ (2014) by Columbian composer Víctor Agudelo; Petit Suite(1889) by French composer Claude Debussy; and flights (selections) of Beer Music (2016), a suite of short pieces inspired by Madison area microbrews by American composer Brian DuFord (below).

Vote for your favorite beer! Choose your favorite beer and we’ll perform the top six as a flight of Beer Music. Don’t know which is your favorite yet? Check out our “Tasting Notes” and see what strikes your fancy.

Vote HERE

There is an additional FREE performance:

This Saturday night, Sept. 23, at 7 p.m. at Capitol Lakes Retirement Community; 331 West Main Street, three blocks off the Capitol Square; http://www.retirement.org/madison/; Free admission, presented by Capitol Lakes

Facebook event links are: Arts & Literature Lab, Sept. 22; Capitol Lakes, Sept. 23

SUNDAY AFTERNOON

This Sunday afternoon at 2:30 p.m. in the St. Joseph Chapel, 1000 Edgewood College Drive, the Edgewood College Chamber Orchestra will present its fall concert.

Admission is $5, free with Edgewood College ID.

Edgewood College professor Blake Walter (below) will conduct the orchestra in the first concert of its 2017-18 season.

The program includes: the Overture to “Iolanthe” by Sir Arthur Sullivan; the Suite from Gabriel Faure’s incidental music to the play by Maurice Maeterlinck, entitled “Pelleas and Melisande,” as well as Wolfgang Amadeus Mozart’s popular Symphony No. 40 in G minor. You can hear and see a really cool graphic depiction of the first movement of Mozart’s Symphony No. 40 in the YouTube video at the bottom.)

Founded in 1993 via a generous endowment established by benefactors William O. Hart and Vernon Sell, the Edgewood College Chamber Orchestra fulfills a unique role in the Madison community, providing high-quality performances and unique educational opportunities. The ensemble is the permanent, in-house chamber orchestra at Edgewood College.

Edgewood College’s Music Department has been recognized by the readers of Madison Magazine with the Best of Madison 2017 Silver Award.


Classical music: This weekend the Madison Symphony Orchestra opens its new season with Mendelssohn’s “Reformation” Symphony and music by Bach. It also highlights principal violist in music by Berlioz

September 13, 2017
3 Comments

By Jacob Stockinger

This coming weekend, the Madison Symphony Orchestra (MSO, below in a photo by Peter Rodgers), with music director John DeMain conducting, opens its 92nd season with a celebration of the 500th anniversary of the Lutheran Reformation.

The season-opening concert also showcases the Madison Symphony Orchestra as an ensemble with no guest soloist. The MSO’s Principal Violist Chris Dozoryst (below) will solo in Hector Berlioz’sHarold in Italy.”

Also featured is Leopold Stokowski’s famous orchestral arrangement of Johann Sebastian Bach’s Toccata and Fugue in D Minor, and the 500th anniversary of the Lutheran Reformation will be honored with Felix Mendelssohn’s “Reformation” Symphony.

The concerts in Overture Hall of the Overture Center, 201 State Street, are on Friday night, Sept. 15, at 7:30 p.m.; Saturday night, Sept. 16, at 8 p.m., and Sunday afternoon, Sept. 17, at 2:30 p.m.

Ticket information is below.

According to the MSO press release: “The concerts present the music of two composers who shared a deeply spiritual relationship with the Lutheran faith, and passion for music. It is said that Johann Sebastian Bach set faith to music, and Felix Mendelssohn clarified faith for all to hear.

MSO Music Director John DeMain (below, in a photo by Greg Anderson) chose to pair Bach and Mendelssohn specifically for this program.

“Both Bach (below top) and Mendelssohn (below bottom) were devout Lutherans, Mendelssohn having converted from Judaism when he was 12 years old,” DeMain says.

“I decided to open the season with Leopold Stokowski’s great transcription of Bach’s Toccata and Fugue in D Minor for organ, and then give the first performance by the MSO of Mendelssohn’s Symphony No. 5, subtitled the Reformation. Indeed, this symphony quotes extensively from one of the greatest Christian hymns of all time — “A Mighty Fortress Is Our God.””

Bach’s Toccata and Fugue in D minor is a transcription for orchestra by Leopold Stokowski (below) and became well-known after its inclusion in Disney’s film Fantasia. The piece was originally cut from the theatrical release of the film, but was later added back in a 1946 re-release and included Stokowski directing the orchestra at the beginning of the piece. (You can hear the original version for organ, with an unusual graphic display, in the YouTube video at the bottom.)

Hector Berlioz’sHarold in Italy” is considered an autobiographical vignette recounting the composer’s Italian experience. The piece is filled with youthful vitality, tinged with an appealing Romantic sensibility that Berlioz (below)  borrowed freely from literature, most specifically Lord Byron’s poem “Childe Harold’s Pilgrimage.” Playing the solo viola part is MSO’s Principal Violist Chris Dozoryst.

The 2017–18 season will mark Christopher Dozoryst’s 10th season as principal viola with the Madison Symphony Orchestra. In addition to his orchestral duties, Chris also performs with the MSO’s HeartStrings Program as violist with the Rhapsodie Quartet. He also performs and records, working locally and regionally in Madison and Chicago. He has performed numerous engagements with well-known musicians including Tony Bennett, Ray Charles, and Smokey Robinson.

Originally commissioned in 1830 for a celebration of the 300th anniversary of the Augsburg Confession, Mendelssohn honors Martin Luther (below) in his Symphony No. 5Reformation” by including in the finale the beloved hymn Ein’ feste Burg is unser Gott (A Mighty Fortress Is Our God) that Luther had written while the Augsburg Confession was in session. This year marks the 500th anniversary of Luther’s Ninety-Five Theses and the establishment of the Lutheran Church.

One hour before each performance, Amy Hartsough (below), acting director of music at Bethel Lutheran Church, will lead a FREE 30-minute Prelude Discussion in Overture Hall to enhance concertgoers’ understanding and listening experience.

For more background on the music, please read the Program Notes by MSO trombonist and UW-Whitewater professor Michael Allsen at: http://www.allsenmusic.com/NOTES/1718/1.Sep17.html.

The MSO recommends that concert attendees arrive early for each performance to make sure they have time to pass through Overture Center’s security stations, and so they can experience the pre-concert talk (free for all ticket-holders).

Single Tickets are $18-$90 each and are on sale now at https://www.madisonsymphony.org/singletickets, through the Overture Center Box Office at 201 State Street, or by calling the Box Office at (608) 258-4141.

Groups of 15 or more can save 25% by calling the MSO office at (608) 257-3734. For more information, go to: https://www.madisonsymphony.org/groups.

Student rush tickets can be purchased in person on the day of the concert at the Overture Center Box Office at 201 State Street. Students must show a valid student ID and can receive up to two $12 or $18 tickets.

More information is at: https://www.madisonsymphony.org/studentrush

Seniors age 62 and up receive 20% savings on advance and day-of-concert ticket purchases in select areas of the hall.

Discounted seats are subject to availability, and discounts may not be combined.  

Major funding for the September concerts is provided by: the Wisconsin State Journal and Madison.com, Rosemarie and Fred Blancke, Capitol Lakes, The Gialamas Company, Inc., Marvin J. Levy, Nancy Mohs, and Peggy and Tom Pyle. Additional funding is provided by: DeWitt Ross & Stevens S.C., Forte Research Systems and Nimblify, the Wisconsin Arts Board with funds from the State of Wisconsin, and the federal National Endowment for the Arts.


Classical music: The 18th annual Madison Early Music Festival concludes its look at the Spanish Renaissance with another outstanding “concept concert” featuring all participants

July 19, 2017
1 Comment

By Jacob Stockinger

Nobody here does “concept concerts” better than the Madison Early Music Festival.

Proof came again last Saturday night in Mills Hall when the large forces of professional faculty members and workshop student participants (both below) joined to present a comprehensive overview of Renaissance music in Spain.

The program featured various combinations, including a quartet (below) as well as choral music and instrumental music. It offered sacred and secular fare, courtly music and folk music, Latin and vernacular Spanish.

Once again, the impressive program was assembled and conducted by Grant Herreid (below top) of the internationally acclaimed Renaissance band Piffaro (below bottom), a popular and regular guest at MEMF. (You can hear Piffaro perform music from the Spanish Renaissance in the YouTube video at the bottom.)

As in past years, history, biography, literature, religion and music get layered on top of each other and interwoven among each other. As a formula, from year to year the concept keeps getting refined and keeps succeeding.

In this case, the narration and story line centered on the surprisingly adventurous life of Spanish writer Miguel de Cervantes (below), who wrote the first important novel, “Don Quixote.”

Last year, the festival celebrated the 400th anniversary of the death of Shakespeare; this year, it was the 400th anniversary of the death of Cervantes.

The Ear really likes the format. The All-Festival concert ran 75 minutes and was done without intermission. Even if you are not a big fan of such early music, the concert was varied enough and short enough to hold your attention.

Unity was provided by excerpts from various texts of Cervantes, including “Don Quixote” as well as less well-known works. Some of his words were even substituted for other texts in songs and choruses.

The chorus and soloists sounded very well rehearsed, and the large instrumental section – with all those unusual-looking early instruments like sackbuts and shawms – was exceptional.

Herreid kept an outstanding sonic balance between the vocal and instrumental forces throughout the event.

There were quite a few narrators (below) who presented the short texts by Cervantes. And they proved the only weak point. Some people just don’t seem as up to the task as others do.

Perhaps in future years, the festival could pick, say, one man and one woman to alternate in the readings. The audience would have a better sense of their identities, and the effect would be better if the narrators were chosen for their ability to project dramatically and enunciate clearly but with expression – something that proved uneven with so many different narrators taking turns.

The Ear didn’t go to a lot of the festival events. He confesses that he is more a Baroque than a Renaissance person who looks forward to next year’s theme of “A Journey to Lübeck,” with German Renaissance and even Baroque music, especially music by Dietrich Buxtehude. (The 19th annual festival will be held July 7-14, 2018.)

But this final wrap-up concert is proof that even if very early music is not your thing, you shouldn’t miss the final event.

The All-Festival concert really is a MUST-HEAR.

You learn a lot.

And you enjoy even more.

Certainly the audience seemed to agree.

Were you there?

What did you think?

The Ear wants to hear.


Next Page »

    Enter your email address to subscribe to this blog and receive notifications of new posts by email.

    Join 1,202 other followers

    Blog Stats

    • 2,079,387 hits
%d bloggers like this: