Due to technical difficulties beyond his control at the web site host, The Ear cannot publish a new post today that has many links in the text. He apologizes and will let you know if and when the problems are solved. In the meantime, he will offer what he can.
By Jacob Stockinger
The following announcement has been sent for posting by The Ear by the Rural Musicians Forum:
Widely praised for his shimmering virtuosity and technical precision, violinist Alexander Ayers performs a FREE recital at 7:30 p.m. on this Monday, June 27, in a concert sponsored by the Rural Musicians Forum in Frank Lloyd Wright’s Hillside Theater at Taliesin, south of Spring Green, Wisconsin.
Ayers (below, in a photo by O’Brien Photos of Waukesha), a native of Waukesha, Wisconsin, joined the Milwaukee Symphony in 2013. He was previously a member of the Madison Symphony Orchestra.
After studying nine years at the String Academy of Wisconsin-Milwaukee he studied at Indiana University, and in 2006 he won the grand prize of the Milwaukee Symphony Stars of Tomorrow Competition. This resulted in performances of the Violin Concerto No. 1 by Sergei Prokofiev with the MSO. He has performed collaboratively with Joshua Bell, Alex Kerr, Jaime Laredo, Gilles Apap and Soovin Kim.
Ayers’ June 27 program is international in scope. It includes works by German-born Ludwig van Beethoven and Parisian Camille Saint-Saens as well as the Belgian violinist and composer Eugene Ysaye and virtuosic Polish violinist Henryk Wieniawski, who was regarded by many as an exciting and flamboyant re-incarnation of Niccolo Paganini.
About the concert RMF Artistic Director Kent Mayfield said, “We are honored to work in close collaboration with Taliesin Preservation Inc. to host much of this year’s series at Taliesin’s Hillside Theater (below). It provides an especially dramatic but intimate setting for Ayers’ performance which will be totally consistent with Frank Lloyd Wright’s vision: imaginative, bold and beautiful.”
Hillside Theater is located at 6604 Highway 23, Spring Green.
The concert is not ticketed and is open to the public. A free-will offering will be taken to support the concert series.
For additional information and driving directions, see www.ruralmusiciansforum.org
By Jacob Stockinger
It has been a week now.
A very long, hard and emotional week.
The Ear has heard some classical music dedicated to the victims — 49 killed, some 50 wounded and countless traumatized — of the mass shooting at Pulse, a gay night club in Orlando, Florida, that took place one week ago. (Below is a vigil in support of the LGBT community.)
Others might choose a standard like the famous “Adagio for Strings” by Samuel Barber. It is undeniably moving and perfectly appropriate.
The Ear hears tenderness, gentleness and even love in the music. But in it he also hears strength, resilience and pride as well as sorrow, acceptance and resignation.
Plus, he likes the idea of enigma that is attached to it, given all the issues and questions — terrorism, Islamic radicalization and extremism, homophobia, self-hatred, hate crimes, gun control, protests, mass grieving — that still surround the incident and remain to be solved.
But The Ear is also sure that there is a great deal of other music that would suit the purpose. They include:
The passions, oratorios and cantatas by Johann Sebastian Bach.
The masses of Haydn, Mozart, Beethoven and Schubert.
The songs of Schubert and arias and choruses from all kinds of operas, but especially those of Giacomo Puccini.
And on and on.
Leave your personal choice, with a YouTube link if possible, and your reason for choosing it in the COMMENT section.
The Ear wants to hear.
By Jacob Stockinger
Does The Ear ever love chamber music!
And it has been a good few days for him and for other Madison fans of string quartets.
On Saturday night, The Ear heard the Ancora String Quartet (below) in outstanding performances of the “Dissonance” Quartet by Wolfgang Amadeus Mozart and the late String Quartet No. 13 in A Minor, “Rosamunde,” by Franz Schubert.
Then on Monday night, the Ear heard the terrific Rhapsodie Quartet (below top, in a photo by Greg Anderson), made up of players in the Madison Symphony Orchestra, perform the “American” String Quartet by Antonin Dvorak followed by the sublime and profound Cello Quintet by Franz Schubert. UW-Madison and Pro Arte Quartet cellist Parry Karp (below bottom) sat in as the extra cellist.
At the Ancora concert, cellist Benjamin Whitcomb, who teaches at the University of Wisconsin-Whitewater, made the case that Mozart’s “Dissonance” Quartet is well known for its apt nickname and is probably the best known or most popular of Mozart’s string quartets.
That got The Ear to thinking:
What are the most well-known and most popular string quartets?
And which string quartets are your favorites that you would recommend to other chamber music fans?
The Ear drew up a list of candidates of the first honor of being well-known.
He suspects that the “Emperor” Quartet — with its famous and infamous slow movement theme that was turned from an homage to the Austrian emperor into an anthem for Nazi Germany — by Franz Joseph Haydn, the “Death and the Maiden” Quartet of Schubert and the “American” Quartet of Dvorak all rival or surpass the public reputation of the Mozart’s “Dissonance,” although that one is certainly and deservedly famous to the general public.
As to The Ear’s favorite quartets: The Ear is especially partial to the six early Op. 18 string quartets by Ludwig van Beethoven (below), which often take a back seat to the same composer’s middle quartets and late quartets. But of the famous last ones, The Ear loves the very last one, Op. 135, with its return to classical structure and clarity.
He also loves all of the Op. 76 string quartets by Haydn (below top) and is especially partial to the “Sunrise” and the “Quinten” or “Fifths” quartets. He also loves Haydn’s earlier Op. 20 “Sun” quartets; and all six string quartets that Mozart (below bottom) composed for and dedicated to Haydn, generally considered the father or the modern string quartet who also played string quartets with himself on violin and Mozart on viola.
The Ear likes Schubert’s “Death and the Maiden” well enough, but he is always blown away by Schubert’s last quartet in G major, which was used as a soundtrack in Woody Allen’s great movie “Crimes and Misdemeanors.”
He also loves the lyrical quartets on Dvorak (below), especially the Op. 51 “Slavonic” as well as the “American.” (You can hear the opening of the “Slavonic” String Quartet in a YouTube video at the bottom.)
As for Johannes Brahms, The Ear prefers the string quintets and string sextets to the string quartets.
Francophile that he is, The Ear also loves the single string quartets by Claude Debussy and Maurice Ravel.
Among other modern string quartets, he loves the third and fifth of Bela Bartok, the second one by Sergei Prokofiev and the eight and 11th by Dmitri Shostakovich. He also adds the String Quartet No. 3 “Mishima” by Philip Glass.
Well, that’s enough for today and for this post.
What string quartet do you think is the most famous or most popular?
And which string quartets are your favorites?
Leave word, with a YouTube link if possible, in the COMMENT section.
The Ear wants to hear.
NEWS ALERT: David Ronis (below, in a photo by Luke Delalio) — who has been an interim director for two years — is the new director of University Opera. He was chosen from a nationwide search, and has posted the following news on his Facebook page:
“For some reason, I’ve been resisting posting my big news, now a couple of months old. But perhaps it’s time. I’ve been appointed the inaugural Karen K. Bishop Director of Opera at University of Wisconsin-Madison! It’s truly humbling to be going into an endowed chair established in memory of such a dear, wonderful, talented, and dedicated soul. This endowment will enable us to continue to develop the exemplary opera program at UW-Madison in all kinds of directions. Stay tuned!”
By Jacob Stockinger
The Ear has received the following note to pass along:
Con Vivo!…music with life (below) presents a chamber music concert entitled “Five by Seven” on this Saturday, May 21, at 7:30 p.m. in the First Congregational United Church of Christ, 1609 University Ave., across from Camp Randall.
Tickets can be purchased at the door for $18 for adults and $15 for seniors and students.
Con Vivo!’s spring concert “Five by Seven” features septets and quintets for winds, strings and organ.
The program includes the Septet, Op. 20, by Ludwig van Beethoven, and the folk-like Bagatelles, Op. 47, for strings and organ by Antonin Dvorak. (You can sample Dvorak’s tuneful Bagatelles in the YouTube video at the bottom.)
Additional pieces include the story of a lover’s unrequited love in the quintet “Serenata in vano” by Danish composer Carl Nielsen below top) and the miniature “Lyrical Andante” by the German composer Max Reger (below bottom), whose centennial was just marked.
Audience members are invited to join Con Vivo! musicians after the concert for a free reception to discuss the music.
Artistic Director Robert Taylor said: “With Con Vivo!’s spring concert, we conclude our 14th season with exceptional music that combines the wonderful sounds of winds, strings and organ. Our Madison audience will be able to hear our musicians up close and personal playing music of extreme delight and depth.”
Con Vivo! is a professional chamber music ensemble comprised of Madison area musicians assembled from the ranks of the Madison Symphony Orchestra, the Wisconsin Chamber Orchestra and various other performing groups familiar to Madison audiences.
By Jacob Stockinger
There are many great violinists playing today. But arguably the most important and innovative is 36-year-old Hilary Hahn (below), the thoughtful virtuoso who returns to perform a MUST-HEAR recital in Shannon Hall of the Wisconsin Union Theater at 7:30 p.m. this coming Sunday night.
The last two recitals there by Hahn were two of the most memorable live chamber music performances The Ear has ever heard.
Tickets are $27.50 to $50.50. UW-Madison students are $10.
Here is a link to information about tickets, the program and audio samples:
During her 20-year career, Hahn – who often mixes the old and new both in live performances and on recordings — has consistently turned in astounding performances of the violin repertoire, including classics. Those works include concertos and sonatas by Johann Sebastian Bach, Wolfgang Amadeus Mozart, Ludwig van Beethoven, Felix Mendelssohn, Niccolo Paganini, Johannes Brahms, Peter Ilyich Tchaikovsky, Charles Ives, Jean Sibelius, Edward Elgar, Ralph Vaughan Williams, Samuel Barber, Igor Stravinsky, Arnold Schoenberg, Sergei Prokofiev, Dmitri Shostakovich, Leonard Bernstein and others.
But she also frequently commissions and adds new works to the repertoire, including a concerto by Edgar Meyer and a Pulitzer Prize-winning concerto by Jennifer Higdon, who teaches composition at the Curtis Institute of music where Hahn studied. Plus, she is a talented and charming “postcard” blogger and interviewer.
Both sides of Hilary Hahn’s artistry – the classic and the contemporary — will be on display during her Madison recital. The very busy Hahn (below, in a photo by Peter Miller) recently agreed to do an email Q&A with The Ear:
You have long been known as an innovative artist. What are your new and upcoming projects, including recordings and commissions?
I’m in the middle of a 14-month-long artist residency at the Vienna Konzerthaus. It’s my first such experience, so I feel like a kid in a candy store, getting to try out ideas sequentially that I would otherwise have to stretch over several years.
I’m excited to include among my residency performing as soloist with five different orchestras in the same hall, as well as giving a recital there and developing local initiatives to bring the community and classical music even closer together. Next year, I will be in residence in Seattle and Lyon. It’s been fun seeing what residency activities I want to carry over and what I can add that is specific to each city.
As far as commissions go, over this season and next, I’m world-premiering and touring a significant new contribution to the solo violin repertoire, Six Partitas by Antón García Abril (below), written for me.
That is a meaningful project for me, because I sensed that Mr. García Abril would write a fantastic set of pieces if I could convince him to take on the assignment. He decided to do it and the music turned out to be more wonderful and inspiring to play than I could have imagined. It feels like those phrases breathe with me and the notes fit in my hands.
In addition, I am in the process of wrapping up the original trajectory of my project, In 27 Pieces: the Hilary Hahn Encores. After some concerts on this upcoming tour, as encores, my recital partner Cory Smythe and I will be giving world premieres of the Honorable Mentions from my Encores contest.
Finally, in the fall, the complete edition of the sheet music for all 27 original works will be published as a single edition, with my fingerings, bowings and performance notes.
Is there an underlying unity or purpose to your program of works by Mozart, Bach, García Abril, Copland and Davidson?
I hope the listeners will find their own versions of unity and purpose in the program. The pieces weren’t assembled randomly, but then again, everyone listens differently.
García Abril’s Six Partitas, of which I will play No. 1, entitled “Heart,” are solo polyphonic works. The violin alone carries multiple melodic lines, as well as providing its own harmonies. Johann Sebastian Bach (below top) wrote his polyphonic Six Sonatas and Partitas for Solo Violin in 1720. I felt it was important to carry forward this particular type of composition into the present day, so I commissioned Mr. García Abril (below bottom, in a photo by Julio Ficha) to create this set of works. (You can hear Hilary Hahn interview Anton Garcia Abril in a YouTube video at the bottom.)
His writing for violin is compelling, fluid, emotional, clever and expressively rich in a way that I felt needed to be explored further. Especially as this is the premiere tour of his Partita No. 1, I wanted to juxtapose the new work with one of Bach’s, namely the Third Sonata with its complex and multifaceted fugue.
As for the duo pieces on the program, the compositional styles — though they span 250 years — have a certain openness in common: the writing is not densely layered, leaving lots of room for imagination.
What about the works by Mozart and Copland?
Mozart’s set of sonatas for keyboard and violin is one of the most extensive for this instrumentation, and since I was a student, I’ve been adding at least one to my repertoire annually. It’s wonderful to explore such a prolific composer’s work over a long stretch of time. This particular sonata vacillates among stormy drama, lyricism and playfulness.
The piece by Aaron Copland (below) is gorgeous, revealing. In this sonata, Copland’s musical language is clearly recognizable, but the texture is more sparse than in his famous larger-ensemble works, making it boldly direct and engrossing to listen to.
And the music by Tina Davidson?
The work by Tina Davidson (below) follows on the tonality of the Copland, but the composer’s treatment of the music goes in an entirely different direction. “Blue Curve of the Earth” was written in Wyoming during an artist residency, and was inspired by a photo of the edge of the Earth from space. The music is dreamy yet dimensional, angular yet lush. “Blue Curve of the Earth” is from the Encores project.
What would you like the public to know about composers Antón García Abril and Tina Davidson and their violin music or music in general?
I like to picture where pieces were written; the surroundings can add another dimension to the music. Environment influences the creative process. The studio is the private stage. Antón works in a studio outside of Madrid that his son, the architect by the same name, designed for him. Tina is based out of a refashioned church in Pennsylvania, with vaulted ceilings and a garden.
Both write beautifully for voice. Since violin can be a lyrical instrument and is tonally varied, capable of both sustaining and articulating, the ability to write expressively for voice transfers to the violin. Also, I have the impression that both composers start from a strong conceptual point with their works. When I play their music, the big line is the first thing that jumps out at me; the myriad fine details support the gestures.
If you play an encore or two, will they be from the ones you commissioned a couple of years ago and won a Grammy for?
That’s the plan! I feel very close to those pieces. Great encores exist from previous centuries, too; I never rule out the classics.
Why did you commission 27 short encores?
I began to notice that new encore pieces were not being showcased as much as other types of contemporary works. Shorter pieces remain a crucial part of every violinist’s education and repertoire, and I believed that potential new favorites should be encouraged and performed as well.
How successful have they been with the public and with other artists?
The public embraced the project. The music contained within the Encores is varied and imaginative. Each composer had a different concept of what an encore can add to today’s musical landscape.
I think every listener can find at least one work that is particularly poignant. I want the audience to discover these pieces for themselves. It is thrilling to listen to music that you have never heard before and, uninfluenced by other people’s opinions, be free to feel your own response.
This project is something I’ve been working on for a long time; I would estimate that my direct involvement in all of the different parts will wind up having a 15-year arc. What I have learned on musical and creative levels from working with the composers will stay with me for my whole career, and the logistical lessons from organizing such a big project will influence my future work.
Most importantly, I hope the Encores themselves will continue in the active repertoire beyond my lifetime. That will be up to other performers, of course.
You have played here several times, both concertos and solo recitals. Is there anything you would like to say about performing in Madison and about Madison audiences?
I really enjoy Madison itself. It’s in a beautiful part of the country. I’ll never forget the first time I visited, in the winter, when the city was covered by snow and one of the sidewalks featured a table topped by a tower of knit hats and sweaters. As for the Madison audience, their curiosity and involvement are energizing.
Is there anything else you would like to say?
By Jacob Stockinger
This coming Sunday afternoon at 3:30 p.m. in Mills Hall, the campus-community UW-Madison Choral Union (below), the UW Chamber Orchestra and soloists will perform the oratorio the “The Creation” by the Classical-era master Franz Joseph Haydn.
First, The Ear wants to clear up any confusion about the date of the performance – which is ONE-TIME ONLY. (In the past, the Choral Union usually gave two performances.) The performance was originally scheduled for Sunday afternoon. Then it was moved to Saturday night and then, after a conflict with the Jewish Passover was seen, moved back to Sunday afternoon.
Tickets are $15 for the general public, $8 for students. For more information about tickets, the work and the performers, here is a link:
Beverly Taylor, director of choral activities at the University of Wisconsin-Madison School of Music who will conduct the performance, agreed to do an email Q&A with The Ear:
What is the place of Haydn’s “The Creation” is the choral literature? Was it influential? Popular?
It’s considered wonderful and innovative. Its choruses are magnificent, and the opening depiction of Chaos is unlike anything that had been heard up to that time.
It was written late in Haydn’s career, and showed many aspects of his wonderful talent, including musical depictions of non-musical things—water, birds, dawn — and has terrific pacing of the extended choruses building to majestic climaxes.
The premiere was enthusiastically received. It was indeed popular, although the composer’s late masses also deserve great attention. The other vocal works by Haydn (below), such as “The Seasons,” are more slowly paced, and although they contain great music, they are not often felt to be as compelling as “The Creation” with its easy-to-follow sequence of creative days.
Are there special moments or parts of the work you would like to point out to the public? How about special aspects of the performance?
When I first heard a dull performance of it years ago, I wondered what the big deal was. Then I took a good look at it: It contains chaotic oddities — a horn suddenly blaring loudly with no reference to other instruments, a trilling flute that never resolves its trill, bassoons and clarinets who play bubbling and pointless arpeggios until it all settles down to begin the first day of the Creation (famously depicted below by the British artist and poet William Blake).
There are also delightful musical depictions and sound paintings of weather that can be confusing unless you know that the orchestra depicts the weather before the bass tells us about it. That way hail won’t sound like snow! The same holds true for the description of animals — we hear the leaping stags before our singer tells us.
There will be terrific moments in the work — orchestral playing, fabulous choral singing. And there will be wonderful solo work by our experienced alumni and faculty artists soprano Jamie-Rose Guarrine (below top), tenor James Doing (below second), bass-baritone Benjamin Schultz (below third) and baritone Benjamin Li (below bottom). It’s a pleasure to make music with them.
Composer John Harbison says that Haydn is the most neglected of all the great composers. Why do you think Haydn isn’t thought of more highly and performed more often?
Among musicians, Haydn is certainly thought of highly, and many people enjoy his work, especially the element of surprise in his work — sforzandos, sudden silences, changes of rhythm.
But many of his works are chamber works designed for smaller rooms and audiences. And in our modern life, the size of the orchestra and special instruments and added theatrical elements often attract more people. Haydn’s chamber works are fabulous, but sometimes subtle. However, they repay well those who pay attention to them.
What else would you like to say about the composer, this particular work or this performance?
Haydn was influenced by and had influence on Wolfgang Amadeus Mozart and Ludwig van Beethoven, on all the European composers. But what inspires audiences — including, we hope, ours — is the immediacy of the beauty of the music. You don’t need special training to jump right in and listen.
By Jacob Stockinger
In yesterday’s blog about afternoon concerts this weekend, The Ear mentioned the FREE concert by the Perlman Piano Trio this Saturday afternoon at 3:30 p.m. in Morphy Recital Hall.
The all-masterpiece program is an appealing one: The late Piano Trio in E-flat Major, K. 542, by Wolfgang Amadeus Mozart; the Piano Quintet in E-flat Major, Op. 44, by Robert Schumann; and the Piano Trio No. 3 in C Minor, Op. 101, by Johannes Brahms.
Members of the graduate student ensemble (below, from left, in a photo by Katherine Esposito) are: violinist Adam Dorn; pianist SeungWha Baek; and cellist Micah Cheng.
Additional members for the Schumann Piano Quintet are violinist Keisuke Yamamoto and violist Luke Carmichael Valmadrid.
But the concert by the Perlman Trio is also an occasion to recognize an important donor to the University of Wisconsin-Madison School of Music.
Her name is Kato (Katherine) Perlman. The Ear knows her as a congenial, amiable and modest person.
Perlman’s generosity has made possible this scholarship trio for distinguished graduate students. Its membership usually changes every school year.
Perlman (below), a retired chemist, has also contributed to other events and programs at the UW-Madison and to other music events around town.
Now, Perlman is not alone. There are many important donors and patrons and underwriters of musical events in Madison.
One of the most distinguished and largest recent gifts was the late Karen Bishop, whose gift of $500,000 made possible hiring a new director of University Opera outside the punitive budget cuts by Gov. Scott Walker and the Republican Legislature.
Another is Irving Shain(below), the retired chemistry professor and Chancellor of the UW-Madison, who decades ago started the ongoing Beethoven Sonata Competition and who also underwrites the wind and piano duet competition.
Kato Perlman has an interesting, compelling and moving personal history, and the upcoming concert in Saturday is a good occasion to share it.
Here it is:
These are challenging times for classical music. Those of us who appreciate it should be especially grateful to Perlman and other sponsors and donors for allowing it to exist for our pleasure and enlightenment.
So The Ear says:
Thank you, Kato.
Thank you, Irv.
Thank you, Karen Bishop and family.
And thank you to all donors and sponsors – individuals, groups, corporations and businesses — including those whose philanthropy supports the Madison Symphony Orchestra, the Wisconsin Chamber Orchestra, the Madison Opera, the Madison Early Music Festival, the Bach Dancing and Dynamite Society and so many of the wonderful music groups in the areas.
You were never needed more.
In their honor, here in a YouTube video is a song of dedication, “Widmung,” composed by Robert Schumann and sung by baritone Thomas Quasthoff: