The Well-Tempered Ear

Classical music: The New Milwaukee Consort performs Renaissance and early Baroque love songs this Monday night in Spring Green

August 3, 2019
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By Jacob Stockinger

The Rural Musicians Forum will present the New Milwaukee Consort in a program of Baroque love songs on this coming Monday, Aug. 5, at 7:30 p.m. at the Unity Chapel in Spring Green.

This group of professionals and experts in early music includes soprano Kristin Knutson (below top), who competed in the 2015 Handel Aria Competition  in Madison (in the YouTube video at the bottom);  cellist and viol player Charlie Rasmussen (below middle); and lutenist Tim Sterner Miller (below bottom). They will perform on period instruments, bringing audiences back in time to the courts and chambers of Italy, England and France.

The New Milwaukee Consort is dedicated to the music of the European Renaissance and Baroque eras, crafting intimate performances around stories in words and music that resonate across the centuries.

They particularly relish bringing lesser-known sounds of the 17th century to modern audiences, from the work of women composers such as Barbara Strozzi (below) to music from handwritten manuscripts documenting the early development of the cello and ongoing experiments on the lute.

This concert features music from the chamber cantatas of the Venetian singer and composer Strozzi to celebrate her 400th birthday as well as works by her compatriots Claudio Monteverdi and Taruinio Merula; Elizabethan songs by lutenist and composer John Dowland (below); and “airs de cour” (Court music) by French court composer Etienne Moulinie.

Interwoven with these vocal works are pieces for the lute by Dowland and his contemporary Nicholas Vallet; for the viola da gamba by Tobia Hume and Marin Marais (below); and for the cello by Giulio Ruvo, Francesco Supriani and Giuseppe Jacchini.

This is an opportunity to enjoy some of the most precious pieces of Renaissance and Baroque era in the beautiful Unity Chapel (below) designed by Frank Lloyd Wright.

The Chapel is located at 6597 County Highway T in Spring Green.

Admission is by free will offering, with a suggested donation of $15.


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Classical music: There was so much to like about the Grand Tour finale of the 2019 Madison Early Music Festival. But where were the high notes in Allegri’s legendary “Miserere”?

July 19, 2019
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By Jacob Stockinger

Fair is fair.

Before he talks about last Saturday night’s conclusion of the successful 2019 Madison Early Music Festival – which marked its 20th anniversary — The Ear has a confession to make: He generally prefers later Baroque music and he generally prefers instrumental music to vocal or choral music.

That said, he nonetheless had a memorable and very enjoyable time on the “Grand Tour” during the well-attended All-Festival concert. There was so much to like and to admire.

The concert used the conceit of a Grand Tour by a composite 17th-century traveler going to London, Venice, Rome, Naples, Paris and Dresden to take in the local sights and local music, and included lesser-known composers such as William Lawes and William Child as well as such famous figures as Claudio Monteverdi, Giovanni Gabrieli , Jean-Baptiste Lullyand Heinrich Schütz.

Like most journeys, this one – once again assembled in an ingenious scissors-and-paste job by early music specialist Grant Herreid (below) – had many entertaining and uplifting moments.

But it also had one big disappointment.

The Ear really looked forward to hearing a live performance  of the famous “Miserere” by Gregorio Allegri (below) as a high point. But those haunting, ultra-high descant notes that give you goosebumps and that you never forget hearing just never materialized.

Maybe it had to do with the different ornamentation that the MEMF forces used. Maybe it was based on a different manuscript or score. Maybe there was no one capable of singing those spellbinding and unforgettable high notes.

Whatever the reason, The Ear’s hope for a live performance of the dramatic and iconic work were dashed and the famous, even classic, recorded versions – the 1980 recording by the Tallis Scholars is heard in the YouTube video at the bottom — remain for him the unsurpassed standard.

The evening also had its ironies. That same night on the NBC TV news The Ear saw a story about “overtourism” in Europe and China. Venice, for example, has now shrunk to only about 50,000 unhappy residents who put up with some 20 million tourists a year.

But centuries ago, travel was a rare and exotic luxury of the wealthy and well-educated, not an affordable indulgence or curiosity by ever-expanding middle classes. And this metaphorical trip proved an ideal vehicle to sample 16th- and 17th-century music in England, France, Germany and Italy.

Combining high culture and low, Herreid chose witty and detailed travelogue texts that gave the audience the rich flavor of various cultures at the time.

Details mattered to the four sharp-eyed travelers on which this tour was based. So as “our hero” wandered, we got to hear about the “libidinous ladies” of Naples and the musical talented courtesans of Venice as well as the richly attired archbishop of Paris attending a feast day service in the newly finished Notre-Dame cathedral.

Such descriptions were well delivered by unnamed narrators (below) from the chorus and proved a refreshingly earthy and entertaining counterpoint to the more serious spiritual and religious music of the era.

Another big satisfaction was the exceptional quality of the ensemble playing – exhibited even in large amounts of less interesting music — by the many singers and instrumentalists on the stage of Mills Hall, and, at one point, in the hall’s balcony.

Whether the players and singers were conducted by Herreid or by assistant conductor Jerry Hui — a UW-Madison graduate who is now a tenured professor at UW-Stout — the music sounded tight, authentic and expressive.

As for more superficial pleasures, it is great visual fun watching such early versions of modern string, wind and percussion instruments being played — trombone-like sackbuts, oboe-like shawms, flute-like recorders and lute-like theorbos. (Below are cello-like viols.)

The players, both faculty and students, were particularly convincing on their own in the sound painting done to depict battle scenes and political upheaval. And who will ever forget the surprise of loud foot-stomping by all the performers and conductor?

Herreid was absolutely spot-on to keep the program to about 80 minutes with no intermission. It helped the audience stay in the spirit of the Grand Tour and added cohesion to the program.

The Grand Tour, in short, proved outstanding in concept and excellent in execution.

But was The Ear alone in missing to those high notes?


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Classical music: The Madison Bach Musicians will give their eighth annual Baroque Holiday Concert this Saturday night

December 3, 2018
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By Jacob Stockinger

The Madison Bach Musicians will give their eighth annual Baroque Holiday Concert (below in a 2014 photo by Kent Sweitzer) on this coming Saturday night, Dec. 8, at the First Congregational United Church of Christ, 1609 University Avenue, near Camp Randall Stadium.

The critically acclaimed and well attended annual concert will follow the usual format with a 7:15 p.m.  lecture by founder, artistic director and keyboardist Trevor Stephenson (below) followed by the concert at 8 p.m.

A critically acclaimed chamber ensemble of voices and period instruments will perform masterworks from the 16th, 17th and 18th centuries.

Performers include: Hannah De Priest, soprano; Margaret Fox, mezzo-soprano; Ryan Townsend Strand, tenor; Matthew Chastain, bass-baritone; Arash Noori, theorbo; Katherine Shuldiner, viola da gamba; and Trevor Stephenson, harpsichord.

The Ear asked Stephenson: Why are vocal music and Baroque music both so popular during the holiday season?

He answered: “Many holiday traditions focus on soulfulness and reflection. So, as my great-grandmother used to say, “Pay attention to the singing, it is closest to the soul.””

“On top of this, Baroque music—as one of the great achievements of Western culture—is a natural when reflecting upon the past,” Stephenson adds. “Baroque music is also festive and uplifting, and there is, I believe, some message within its intricacies and design that suggests that there is “a beautiful crystalline structure within which we all live.” (These words come from my colleague Norman Sheppard.)

“This concert marks the Madison Bach Musicians’ eighth consecutive year in the magnificent setting of the First Congregational Church. I simply cannot imagine a better acoustic and spiritual ambiance for this music. (Below is a performance from the 2016 concert in the same church.)

“The program will progress in chronological order from the very early 16th century up to the middle 18th century, from Josquin des Prez to Johann Sebastian Bach.

“We’ll start with the Kyrie and Gloria movements from one of Josquin’s last completed masterworks, the Missa Pange Lingua (c. 1515). Martin Luther’s praise for Josquin’s compositional genius was boundless: “Joaquin (below)  is the master of the notes. The notes must do as he wills; as for other composers, they have to do as the notes will.”

“MBM is thrilled that virtuoso lutenist Arash Noori (below) from New York City will join us for this concert; second on the program, Noori will perform (on theorbo, which is a mega-lute) Niccolo Piccinni’s sparkling Toccata Chromatic and Gagliarda Prima published in the early 17th century.

“We’ll follow this with three musical gems for vocal quartet and continuo from the Kleine geistliche Konzerte (Short Spiritual Concerts, 1636−1639) that Heinrich Schütz (below) composed specifically for small ensembles, which were all that were available during the devastation of the Thirty Years’ War (1618−1648).

“The second half of the program is devoted to works by Bach. We’ll start with the exquisite Sonata in G major for Viola da Gamba and Harpsichord; gambist extraordinaire Kate Shuldiner (below) from Chicago will be featured and I’ll accompany her at the harpsichord.

“We’ll follow this with two Christmas songs from the Schemelli Songbook—a collection published in 1736 of more than 60 spiritual songs for which Bach wrote most of the harmonizations and contributed several great original tunes to boot.

“Soprano Hannah De Priest (below top) and mezzo-soprano Margaret Fox (below bottom) will be featured in the bouncy and charming duet, Wir eilen mit schwachen, doch emsigen Schritten (from Cantata 78, “We hasten, with weak, yet eager steps, O Jesus, O Master, to You, for help!”), which you can hear in the YouTube video at the bottom.) Bach not only worshipped God, but also felt comfortable enough in the relationship to occasionally party; this work is an ingenious fusion of high art and polka romp!

“The concert will conclude with Bach’s glorious motet, Lobet den Herrn, alle Heiden (Praise the Lord, All Ye Nations). It was Mozart who — when he journeyed to Leipzig in 1789, or 39 years after Bach’s death, and heard the Thomaskirche choir perform a Bach motet, from memory, no less  — exclaimed, “Now here is something one can learn from!””

TICKET INFORMATION

Advance-sale discount  tickets are $30 general admission.

Tickets are also available at  Orange Tree Imports and the Willy Street Coop East and West.

You can also purchase advance tickets online: www.madisonbachmusicians.org

Tickets at the door are  $33 for general admission, $30 for seniors 65 and over. Student Rush tickets are $10 and will be on sale 30 minutes before the 7:30 p.m. lecture.

For more information, go to: www.madisonbachmusicians.org


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Classical music: Madison Bach Musicians announces its 14th season with music by Vivaldi, Bach and Purcell

July 7, 2017
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By Jacob Stockinger

The Ear has received the following announcement from founder, artistic director and keyboardist Trevor Stephenson about the upcoming season of the Madison Bach Musicians (below):

“This season we are thrilled to present three wonderfully diverse programs of baroque masterworks.

“We’ll start in September with Imitation, exploring the Baroque fugal art of Antonio Vivaldi (below top) and Johann Sebastian Bach (below bottom) — with guest cellist Steuart Pincombe.

“December marks MBM’s seventh annual Baroque Holiday Concert (below, in a photo by Kent Sweitzer). This year we’ll feature Johann Sebastian Bach’s elegant Cantata 32 plus Vivaldi’s dramatic Winter from the Four Seasons.

“To cap it all off in April, we’ll test the limits of comic-tragic juxtaposition with a double-billing: Bach’s highly-caffeinated Coffee Cantata paired with the heart-rending operatic masterpiece Dido and Aeneas by Henry Purcell (below).

“Please join us as we explore this wonderful repertoire on period instruments in acoustically magnificent settings reminiscent of Baroque performance spaces.

“We invite you to become a Madison Bach Musicians season subscriber. As a subscriber, you will receive the largest savings on ticket prices, preferred seating, and easy online ordering. And this year we’re offering some exciting new subscription options, including a 2-concert package ($62, $55 for seniors 65 and over, $32 for students with ID) or 3-concert package ($90, $80 for seniors 65 plus, $45 for students with ID), and a very economical student subscription rate.

“Ticket sales make up our most reliable and vital funding source. Your support through season subscriptions gives us the financial security to produce these creative and artistically ambitious programs. I hope you will consider subscribing to this series of outstanding musical events.

“Thanks for supporting baroque music in Madison.

See you at the concerts!
Trevor Stephenson, Artist Director (below)”

September 23 and 24 

Bach and Vivaldi: Imitation; with soloist Steuart Pincombe, baroque cello

Saturday, September 23, 2017; 6:45 p.m. lecture, 7:30 p.m. concert;
First Unitarian Society of Madison–Atrium Auditorium

Sunday, September 24, 2017; 2:45 p.m. lecture, 3:30 p.m. concert; Holy Wisdom Monastery in Middleton

Join us in this exploration of fugues and imitation from Bach and Vivaldi–two masters of the Baroque! Fugues are created when a musical line is introduced by one voice and then repeated with slight variations by any number of other voices. It’s always an amazing experience for audiences to hear and see how the different voices interact. Vivaldi has simplicity and Bach the complexity, but both play the fugue game with equal vigor.

Madison Bach Musicians is thrilled to have cellist Steuart Pincombe (below) returning for this season’s opening concert. Steuart can be heard in concert venues across Europe and quite possibly around the corner in your local brewery or cafe. Wherever he performs, Steuart aims to engage with his audience through creative presentations of the classical repertoire. Don’t miss this spectacular season opener.

December 9 

Baroque Holiday Concert; Saturday, December 9, 2017; 7:15 p.m. lecture, 8 p.m. concert; First Congregational United Church of Christ

Our seventh annual Baroque Holiday Concert will once again be held in the beautiful and sonorous sanctuary of the First Congregational Church.

Soprano soloist Alisa Jordheim (below top) will be joined by oboist Aaron Hill and a baroque string ensemble in Bach’s lyrical masterpiece Cantata BWV 32 Liebster Jesu, mein Verlangen. And MBM concertmaster Kangwon Kim (below bottom) will be the featured violin soloist in Winter from Vivaldi’s Four Seasons.

April 7 & 8 

Purcell’s Dido & Aeneas and Bach’s Coffee Cantata, BWV 211

Saturday, April 7, 2018; 6:45 p.m. lecture, 7:30 p.m. concert

Sunday, April 8, 2018; 2:45 p.m. lecture, 3:30 p.m. concert

First Unitarian Society Atrium Auditorium (below, in a photo by Zane Williams)

MBM will conclude the season with period performances of the tragic operatic masterpiece, Dido & Aeneas, by Henry Purcell (below) paired in a double-billing with one of J. S. Bach’s rare comic outings, the mischievous Coffee Cantata―where substance-preoccupation (coffee, no less) and family dynamics collide.

We are pleased to offer the production of Dido and Aeneas as a semi-staged baroque opera featuring outstanding soloists, a full baroque orchestra, and beautiful dancing sequences ―thanks to the collaboration of director David Ronis (below top, in a photo by like Delalio) artistic director of the University Opera), Karen McShane–Hellenbrand (UW-Madison Dance Department), and baroque-performance specialist conductor and UW-Madison bassoon professor Marc Vallon (below bottom, in a photo by James Gill).

Come hear spectacular vocal soloists, a sumptuous chorus, gut-strung violins, violas and cellos, viola da gamba, lute, harpsichord, baroque flute―and an amazing wind machine. (You can hear “Dido’s Lament” in the YouTube video at the bottom.)

For more information and to see the season brochure, go to:

https://drive.google.com/file/d/0B1nPBhC1sb3WWDZ5RG9CQ3VpSlNkVFM2d3AxQ3JiZmthQlNZ/view


Classical music: Starting this Friday, the Madison Early Music Festival will devote a week to exploring familiar and unfamiliar Iberian music during the age of Cervantes. Part 1 of 2

July 2, 2017
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By Jacob Stockinger

This coming Friday, when the Madison Early Music Festival (MEMF) starts its week-long exploration of Iberian music during the Renaissance Age of novelist Miguel de Cervantes (below) and his pioneering novel “Don Quixote,” much will be familiar but much will also be new.

To provide a look at what to expect, the longtime co-artistic directors of the festival – wife-and-husband singers soprano Cheryl Bensman Rowe and baritone Paul Rowe (below) – provided the following overview through an email Q&A with The Ear.

All-festival passes are $90 and tickets to individual concerts cost $20, $10 for students.

Click here to buy online, call 608-265-ARTS (2787), or visit the Campus Arts Ticket Box Offices in Memorial Union or Vilas Hall (click here for hours).

(Note: All MEMF Concert Series concerts and lectures are free for participants in the MEMF Workshop. There is a $4 transaction fee per ticket when purchasing online or by phone.)

How successful is this year’s festival compared to others in terms of enrollment, budgets, performers, etc.? How does this program of MEMF’s reach nationally or even internationally compare to previous years?

We will have about 100 students at our workshop this summer, which has been a steady number for the past five years. Our budget increased to cover the big Don Quixote project by Piffaro, which you can read about below.

We continue to attract workshop participants and performers from all over the United States and Canada, and this year our concert series will present Xavier Diaz-Latorre from Spain. For more information, go to: www.xavierdiazlatorre.com

What is new and what is the same in terms of format, students, faculty members and performers?

The following events are new to MEMF this summer:

The Historical Harp Society will be giving a conference before MEMF begins, from Thursday, July 6 through Saturday, July 8, with classes and lectures that will culminate in a concert of Harp Music from the Spanish Golden Age on Friday, July 7, at 7:30 p.m. in Morphy Recital Hall, which is FREE and open to the public. Go to www.historicalharpsociety.org

Master teacher and performer Xavier Diaz-Latorre  will be giving a master class in Morphy Recital Hall on Saturday, July 8, from 10 a.m. to noon. It is free and open to the public.

We have a new partnership with the Latin American, Caribbean, and Iberian Studies (LACIS) Program at UW-Madison. LACIS has helped us translate materials and supported MEMF with two grants. www.lacis.wisc.edu

A new display in the Memorial Library foyer will celebrate the 2017 Madison Early Music Festival with a special exhibit of Don Quixote Through the Ages, featuring a selection of books, musical scores, and other materials from the UW-Madison Libraries. While viewing the exhibition, patrons can scan a QR code and listen to a Spotify playlist featuring music that will be heard at the MEMF 2017 Concert Series! This is a MEMF first, created by co-artistic director Paul Rowe.

We worked with several librarians to select the materials: Paloma Celis-Carbajal, Ibero-American Studies and Romance Languages Librarian; Jeanette Casey, head of Mills Music Library; and Lisa Wettleson from Special Collections at Memorial Library (below, in a photo by Brent Nicastro).

Dates: June 26 – August 10, 2017

Location: Memorial Library foyer | 728 State Street | Madison

Library Hours: 8 a.m.-9:45 p.m.

We have several new performers this year.

Xavier Diaz-Latorre, a vihuela player from Spain, and the ensemble Sonnambula from New York. Xavier is a world-renowned musician, and plays the vihuela, a Spanish Renaissance type of guitar, and the lute.

Xavier will perform a solo recital featuring music of the vihuela by composers Luis Narváez, Alonso Mudarra, Gaspar Sanz and Santiago de Murcia. The link below will give you more information about the predecessors to the guitar:

http://www.cs.dartmouth.edu/~lsa/aboutLute/Vihuela.html

Daphna Mor and Kane Mathis will present a program featuring music from the geographic regions of Andalusia, North Africa, the Ottoman Empire and the Sephardic Diaspora. Based on the monophonic music of modes referred to as the Makam, the audience will be drawn to distinct beauty and great similarities of music from the courts, liturgical forms, dance airs and folk music.

Daphna Mor (below top) sings and plays several historical wind instruments, and Kane Mathis (below bottom) plays the oud, a lute type of stringed instrument with 11 or 13 strings grouped in 5 or 6 courses, commonly used in Middle Eastern music.

Percussionist Shane Shanahan (below) will join them. Shane is an original member of the Silk Road Ensemble with Yo-Yo Ma and a Grammy award winner. https://www.stepsnyc.com/faculty/bio/Shane-Shanahan/

And watch Shane play frame drum in the Cave Temples of Dunhuang at the Getty Museum:

https://www.youtube.com/watch?v=tQjC3y6CXQ8

Hear and read about Daphna Mor: http://www.daphnamor.com/

You can watch Kane Mathis play the oud at this link:

https://www.youtube.com/watch?v=7tHrxEohai8

Sonnambula (below), an ensemble of violins and viol da gambas, has performed at the Metropolitan Museum of Art, and have a regular series at the Hispanic Society of America in New York. It played a sold-out program of Spanish Golden Age works drawn from the over 450 pieces in the Cancionero Musical de Palacio, a manuscript at the Royal Palace of Madrid. This same program will be presented at MEMF on Friday, July 14. (You can hear them perform Spanish music in the YouTube video at the bottom.)

www.sonnambula.org

Why was the theme of the Spain’s Golden Age and The Age of Cervantes and Don Quixote chosen for the festival? What composers and works will be highlighted?

We liked the connection with last year’s theme, Shakespeare 400, because, although they never knew one another, Cervantes and Shakespeare (below) were contemporaries and share a “deathaversary,” as they both died on April 23, 1616. They led quite different lives, as Shakespeare was very successful throughout his lifetime and Cervantes wasn’t well known until the end of his life, when Don Quixote was published in 1605.

http://www.dw.com/en/shakespeare-and-cervantes-two-geniuses-and-one-death-date/a-19203237

Also, the Renaissance band Piffaro (below, in a photo by Church Street Studios) — an ensemble from Philadelphia that is well loved by MEMF audiences — suggested we explore this connection to Don Quixote and present their program The Musical World of Don Quixote, a huge project that they have been researching for several years.

They created a musical soundtrack to the novel in chronological order, and their program will open our 2017 concert series. This link from the Early Music America article “Piffaro Tilts At Musical Windmills” will tell you about their project in depth:

https://www.earlymusicamerica.org/web-articles/emag-piffaro-tilts-at-musical-windmills/

www.piffaro.org

The other concerts in the series draw from the music that is mentioned in Don Quixote and from the Spanish Renaissance, known as Siglo de Oro, or the Century of Gold. Many composers from this time period will be represented: Tomás Luis de VictoriaCristóbal de MoralesFrancisco GuerreroLuis de Milán and Alonso Lobo

https://en.wikipedia.org/wiki/Spanish_Golden_Age

https://artsinstitute.wisc.edu/memf/concerts.htm

Check out our website for the most up-to-date information and how to get tickets:

www.madisonearlymusic.org

Tomorrow: What makes Renaissance music in Spain different? What composers and music will be featured in concerts?


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Classical music education: This Sunday the Madison Youth Choirs will present their Winter Concert Series celebrating “Shakespeare 400 “

December 6, 2016
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By Jacob Stockinger

This winter, the Madison Youth Choirs are joining cultural institutions around the world by celebrating the 400th anniversary of the death of William Shakespeare (below) and his ongoing legacy.

shakespeare BW

Singers of various ages will perform musical settings from the plays Twelfth Night, A Midsummer Night’s Dream, Love’s Labour’s Lost and The Tempest by composers including William Byrd, Thomas Morley, Henry Purcell, Franz Schubert, Felix Mendelssohn, Benjamin Britten, Giuseppe Verdi, Cesar Franck, Ralph Vaughan Williams, Gerald Finzi, John Rutter and others.

Examining the role that motif, tension, structure and rhythm play in the repertoire and Shakespeare’s vast body of work, the choirs will explore the elements that combine to create compelling art that stands the test of time.

madison-youth-choirs-shakepeare-400-logo

The MYC Winter Concerts, “Shakespeare 400,” will take place this Sunday, Dec. 11, at the First Congregational United Church of Christ (below), 1609 University Ave., near Camp Randall stadium.

Here is the schedule: 1:30 p.m. Girl choirs; 4 p.m. Boy choirs; 7 p.m. High School Ensembles

Tickets will be available at the door. Admission to each of the three concerts is $10 for the general public, $5 for students 7-18, and free for children under 7

Madison Youth Choirs Winter Concert 2014

PROGRAMS

Here is the repertoire for the MYC 2016 Winter Concert Series “Shakespeare 400”:

1:30 p.m. Concert (Featuring MYC Girlchoirs)

Choraliers

“Hey Ho! To the Greenwood” by William Byrd

“Spirits” by Douglas Beam

“Orpheus With His Lute” by Ralph Vaughan Williams

“Double, Double Toil and Trouble” by Leeann Starkey

photo

Con Gioia

“When Icicles Hang by the Wall” by David Lantz III

“You Spotted Snakes” by Toby Young

“Ban Ban Caliban” by Dan Forrest

Capriccio

“Hark! The Echoing Air” by Henry Purcell

“Blow, Blow Thou Winter Wind” by Sarah Quartel

“Philomel with Melody” and “I Will Wind Thee in My Arms” by Cary Ratliff

“It Was a Lover and His Lass” by John Rutter

Cantabile

When Icicles Hang” by Stephen Hatfield

“Che faceste” from Macbeth (sung in Italian) by Giuseppi Verdi

Madison Youth Choirs 2

4 p.m. Concert (Featuring MYC Boychoirs)

Combined Boychoirs

“One December, Bright and Clear” Traditional Catalonian carol, arr. By Wilberg

“Panis Angelicus” by Cesar Franck

Purcell

“Chairs to Mend” by William Hayes

“Blow, Blow Thou Winter Wind” by John Rutter (heard in the YouTube video at the bottom)

“The Coasts of High Barbary” Traditional English sea song, arr. By Julseth-Heinrich

Britten

“Blow, Blow, Thou Winter Wind” by Roger Quilter

“Full Fathom Five” by John Ireland

“Who is Silvia” by Franz Schubert

Holst

“Full Fathom Five” by Robert Johnson

“Sing We and Chant It” by Thomas Morley

Ragazzi

“Come Away, Death” by Gerald Finzi

“The Witching Hour” by Brandon Ayres

Madison Youth Choirs Con Gioia Karen Holland

7 p.m. Concert (Featuring High School Ensembles)

Cantilena

“The Willow Song” by Arthur Sullivan

“Willow, Willow, Willow” by Charles H.H. Parry

“Fair Oriana Seeming to Wink at Folly” by Robert Jones

“You Spotted Snakes” (from A Midsummer Night’s Dream) by Felix Mendelssohn

“Give Them Thy Fingers” by Stefan Kalmer

Ragazzi

“Four Arms, Two Necks, One Wreathing” by Thomas Weelkes

“Come Away, Death” by Gerald Finzi

“And Draw Her Home with Music” by Nancy Hill Cobb

“The Witching Hour” by Brandon Ayres

Cantabile

“Che faceste” from Macbeth (sung in Italian) by Giuseppi Verdi

“Come Away, Death” by Roger Quilter

Selections from A Midsummer Night’s Dream by Benjamin Britten

“When Icicles Hang” by Stephen Hatfield

Cantabile and Ragazzi

“Ave Verum Corpus” by William Byrd

“Jingle, Bells!” by James Pierpont, arr. by David Wilcocks

madison-youth-choirs-older-boys-2016

These concerts are generously endowed by the Diane Ballweg Performance Fund with additional support from the American Girl’s Fund for Children, BMO Harris Bank and the Wisconsin Arts Board.

About the Madison Youth Choirs (MYC): Recognized as an innovator in youth choral music education, Madison Youth Choirs (MYC) welcomes singers of all ability levels, annually serving more than 1,000 young people, ages 7-18, through a wide variety of choral programs in our community.

Cultivating a comprehensive music education philosophy that inspires self-confidence, personal responsibility, and a spirit of inquiry leading students to become “expert noticers,” MYC creates accessible, meaningful opportunities for youth to thrive in the arts and beyond.

For further information, contact: Nicole Sparacino, Madison Youth Choirs, Nicole@madisonyouthchoirs.org or call (608) 238-7464


Classical music: The FREE weekly Friday Noon Musicales resume this Friday at the First Unitarian Society of Madison

October 6, 2016
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By Jacob Stockinger

This Friday, the weekly Friday Noon Musicales will start a new season at the First Unitarian Society of Madison (below), 900 University Bay Drive, in the near west side.

FUS1

The FREE concerts take place in the historic Landmark Auditorium (below) of the Frank Lloyd Wright-designed Meeting House.

FUS1jake

The concert runs from 12:15 p.m. to 1 p.m.

This week features guitarist Christopher Allen, violinist Shannon Farley and lutenist Doug Towne.

The trio will perform music by Peter Tchaikovsky, Mario Castelnuovo-Tedesco and Luigi Legnani.

Sorry, but The Ear has no word about specific program or pieces.

 


Classical music: The Madison Bach Musicians perform Baroque and Renaissance English music this coming Friday night and Sunday afternoon

October 3, 2016
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ALERT: The strike by the players in the Philadelphia Orchestra has been settled. For details, go to this website:

http://www.philly.com/philly/news/20161003_Philadelphia_Orchestra_strike_ends__contract_vote_73-11.html

For more background about that strike and others, which The Ear writes about yesterday, go to:

https://welltempered.wordpress.com/2016/10/02/classical-music-the-pittsburgh-and-philadelphia-symphony-orchestras-start-their-seasons-with-a-strike-by-the-players/

By Jacob Stockinger

The Madison Bach Musicians will open its 2016-17 season this coming weekend with two performances of a program that features English music from the Baroque and Renaissance eras.

mbm-2016

The first performance is this Friday, Oct. 7, at 7:30 p.m., preceded by 6:45 lecture, in the Atrium Auditorium (below, in a photo by Zane Williams) of the First Unitarian Society of Madison, 900 University Bay Drive.

FUS Atrium, Auditorium Zane Williams

The second is this coming Sunday, Oct. 9, at 3:30 p.m., preceded by a 2:45 lecture, at the Holy Wisdom Monastery (below), 4200 County Highway M in Middleton.

Holy Wisdom Monastery interior

If bought in advance, tickets are $28 for the general public and $23 for students and seniors over 65; at the door tickets will be $30 and $25, respectively. Student rush tickets are $10, require a student ID and are available 30 minutes before the lectures. For more information, visit www.madisonbachmusicians.org

The program features: Sonata in Four Parts in F major “Golden Sonata” by  Henry Purcell (1659−1695); Suite No. 2 in D major from “Consort of Four Parts” by Matthew Locke (c. 1621−1677); Songs to texts by William Shakespeare by Robert Johnson (1583−1633); “Diverse bizzarie Spra La Vecchia” by Nicola Matteis (c. 1650−c. 1709); Division No. 7 for two bass viols by Christopher Simpson (c. 1606−1669); “Solus cum sola” for solo lute solo  by John Dowland (1563−1626); “The Broken Consort” Part 1, Suite no. 2 in G major by Matthew Locke; “The Carman’s Whistle” by William Byrd (c. 1540−1623); “Light of Love” by Anonymous as arranged by David Douglass; “John Come Kiss Me Now” by John Playford (1623−c. 1686) as arranged by David Douglass; “Long Cold Night” and “Queen’s Jig.”

Performers include: Dann Coakwell, tenor; David Walker, lute and theorbo; Kangwon Kim violin and concertmaster; Brandi Berry, violin; Anna Steinhoff and Martha Vallon, viola de gamba; and Trevor Stephenson, harpsichord.

mbm-playing-2016

PROGRAM NOTES

Here are some edited notes by MBM founder and director Trevor Stephenson (below):

Madison Bach Musicians is delighted to start off its 13th season with a foray into new repertoire for the group: English music from the Renaissance and Baroque.

A special feature of the program will be the recognition in song of the 400th anniversary of the death of William Shakespeare (1564-1616).

Both the smaller lute and the larger theorbo were considered ideal for accompanying the voice in songs, and the theorbo could project a bit better in larger ensembles.

Like the lute, the viola da gamba is also fretted, but it is bowed and not plucked. Moreover, the gamba is held between the legs, the “gams,” and its name literally means “viol of the legs.”

MBM Trevor Stephenson at Immanuel concertos

The baroque violins we’ll use in this program will be strung in the usual fashion of the 16th and 17th centuries, that is, with gut strings (from dried sheep intestine); and the bows will be of the Elizabethan “short” variety (shorter length, and with the stick arching away from the hair), which make them ideally suited for the intricate articulations and lively dance rhythms of this repertoire.

All of these instruments enjoyed great popularity in England during the 16th and 17th centuries.

Henry Purcell (below) flourished during the arts boom of the Restoration period under King Charles II and is widely known for his theater music and operas. However, he also wrote quite a bit of instrumental music.

The four parts of this sonata refers here not to numbers of movements, but to the number of simultaneous instrumental lines—in this case, four, which is notably different from the typical three-part (or trio sonata) Italianate texture of the 17th century.

purcell

The Purcell sonata is followed by an instrumental Suite in D major by Matthew Locke (c. 1621-1677). Locke was a close friend of the Purcell family and in particular of Purcell’s father, Henry Purcell Sr. The younger Henry Purcell wrote a musical elegy on Locke’s death in 1677.

Locke’s years of greatest musical activity in London began as the period of Puritanical Commonwealth rule, under Oliver Cromwell, was waning in the late 1650’s. The Commonwealth had severely restricted the theater and the arts in general. Fun fact: Locke (below) was the first composer to indicate a musical crescendo and decrescendo in a score.

matthew-locke

The texts for the songs are from various Elizabethan poets—John Fletcher, John Webster and Shakespeare himself—and all of the music was composed by lutenist Robert Johnson (below, 1583-1633).

Johnson worked closely with Shakespeare in theatrical productions at the court of James I during the first few years of the 17th century. Johnson even provided music for Shakespeare’s original production of “The Tempest.”

robert-johnson-lute

The first part of the MBM program will conclude with two works that explore a favorite 17th-century technique of ornamentation over a repeated bass line, sometimes called a ground bass or chaconne.

The first is by the Italian virtuoso violinist Nicola Matteis (below, in a painting by Gottfried Kneller, c. 1650-1709), who enjoyed a successful career in London during an era when the English were importing Italian music masters by the dozens.

nicola-matteis-by-godfrey-kneller

The second work, by Christopher Simpson (below, c. 1606-1669), explores “divisions” or variations tossed back and forth between two bass viols (gambas) while they simultaneously repeat a ground bass.

christopher-simpson

The second half of the program will feature songs for tenor and voice by John Dowland (below). We’ll also play Locke’s Broken Consort, “broken” meaning “mixed”–in that violins and gambas, which were considered in Elizabethan times to be artistically quite different instruments—were being asked by the composer to play nicely together.

John Dowland

Following that, I’ll play a rousing set of variations for harpsichord, “The Carman’s Whistle,” by William Byrd (below).

William Byrd

And to conclude the program, the consort will play a set of sprightly dances originally published in 1651 in the collection “The English Dancing Master” by John Playford (below).

john-playford

 


Classical music: Spend a week in the Age of Shakespeare and Queen Elizabeth I when the 17th annual Madison Early Music Festival is held, starting this Saturday. Part 2 of 2.

July 6, 2016
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By Jacob Stockinger

Starting this Saturday, the 17th annual Madison Early Music Festival will take place on the University of Wisconsin-Madison campus.

The theme this year focuses on William Shakespeare and the Age of Queen Elizabeth I.

You can check out all the details of the festival at: http://www.madisonearlymusic.org

The co-directors of the festival – the wife-and-husband team of singers Cheryl Bensman Rowe and Paul Rowe (below, in a photo by Katrin Talbot and signaled in the answers by the initials CBR and PR) took time out from the hectic preparations to answer an email Q&A with The Ear.

Here is a link to Part 1 that appeared yesterday:

https://welltempered.wordpress.com/2016/07/05/classical-music-spend-a-week-in-the-age-of-shakespeare-and-queen-elizabeth-i-when-the-17th-annual-madison-early-music-festival-is-held-starting-this-saturday-part-1-of-2/

Today is the last of two parts:

Paul Rowe and Cheryl Bensman Rowe 2016 CR KATRIN TALBOT

Why was the theme of the “Shakespeare 400: An Elizabethan Celebration” chosen for this year’s festival? What composers and works will be highlighted?l

CBR: We chose the theme to honor the 400th anniversary of the death of William Shakespeare and the musical connections in his plays and sonnets, which also reflect the world of Queen Elizabeth I.

Audiences will hear many works of famous Elizabethan composers including Orlando Gibbons, Thomas Tallis, Anthony Holborne, John Dowland and others.

How does Elizabethan music differ from its counterparts in, say, Italy, France and Spain. What is the historical origin and role of the music from that era?

PR: The most familiar music from this time, the madrigal, is “borrowed” from the Italians. There were several Italian composers who came to England to instruct the English in their music. The most famous collection of these pieces is called “Musica transalpine” or Italian madrigals “Englished.”

The lute song also originated in Italy but was taken to new poetic heights by John Dowland and his compatriots.

The English composers did create a unique style of sacred music with William Byrd (below top) and Thomas Tallis (below bottom) as the greatest of these Elizabethan composers.

William Byrd

Thomas Tallis

What music and composers of the era have been most neglected and least neglected by historians and performers? What big things should the public know about Elizabethan music?

PR: Audience members may be less familiar with the vocal and instrumental consort music of this era. Many of these pieces were not intended for public performance, but were played as home or parlor entertainment. The pieces were designed to be very flexible and could be played with a variety of voices and instruments.

The reign of Queen Elizabeth I (below) with her active encouragement of the arts was a peak of artistic achievement in the long history of the British Empire. Music, poetry, dance and theater all thrived for more than 20 years and produced some of the greatest masterworks of Western culture, including the plays of Shakespeare.

Queen Elizabeth I

Can you tell us about the All-Festival concert program on Saturday night, July 16?

CBR: The All-Festival Concert will feature MEMF students and faculty performing a new program created exclusively for MEMF by Grant Herried (below), “Shakespeare’s Musical World: A Day in the Life of Elizabethan London.

Grant Herreid

The program is organized by times of the day with speeches from different plays of Shakespeare. Musical reflections include several wonderful pieces by Orlando Gibbons including “The Cries of London,” “O Come Let Us Sing Unto the Lord” and a setting of the “Magnificat” by Orlando Gibbons, “Music Divine” by Thomas Tomkins, a motet by Thomas Tallis, and other works by Thomas Weelkes, Thomas Morely, John Coperario and John Dowland.

Retired UW-Madison history professor John W. Barker will be giving the 6:30 p.m. pre-concert lecture on “Queen Elizabeth I: The Politician” in the Elvehjem Building of the Chazen Museum of Art.

MEMF all festival concert 2015

Are there other sessions, guest lectures and certain performers or performances that you especially recommend for the general public?

PR: We would like to encourage everyone to see all the concerts and experience the entire week. It’s like stepping back in time to a different era—a living history lesson complete with an authentic sound track.

Is there anything else you would like to add?

CBR and PR: Check out our website for more details about everything. There is a lot to hear, see, and experience! You can purchase tickets: online; at the Vilas Hall Box Office; at the Wisconsin Union Theater Box Office (Memorial Union); by calling 608-265-ARTS (2787); or the door. For more information about the MEMF concert series and workshop, please visit our website: http://www.madisonearlymusic.org

 


Classical music: Spend a week in the Age of Shakespeare and Queen Elizabeth I when the 17th annual Madison Early Music Festival is held, starting this Saturday. Part 1 of 2.

July 5, 2016
1 Comment

By Jacob Stockinger

Starting this Saturday, the 17th annual Madison Early Music Festival will take place on the University of Wisconsin-Madison campus.

The theme this year focuses on music in the work of William Shakespeare and the Age of Queen Elizabeth I.

You can check out all the details of the festival at: http://www.madisonearlymusic.org

The co-directors of the festival – the wife-and-husband team of singers Cheryl Bensman Rowe and Paul Rowe (below, in a photo by Katrin Talbot and signaled in the answers by the initials CBR and PR) took time out from the hectic preparations to answer an email Q&A with The Ear:

Paul Rowe and Cheryl Bensman Rowe 2016 CR KATRIN TALBOT

How successful is this year’s 17th annual weeklong festival (July 9-16) compared to others in terms of enrollment, budgets, performers, etc.? How well established is MEMF now nationally or even internationally?

CBR: Enrollment is up this year, with over 100 people enrolled in the workshop. Shakespeare (below) and the Elizabethan era is a great draw.

Other exciting news it that MEMF is one of five organizations that was chosen to be part of the “Shakespeare in Wisconsin” celebration, which includes the touring copy of the first Folio of Shakespeare’s plays from the Folger Shakespeare Library in Washington, D.C. It is The Book that Gave Us Shakespeare, and it will be at the Chazen Museum of Art this fall. https://shakespeare.library.wisc.edu/

MEMF is definitely on the map in the early music world due to our great faculty and our concert series that features musicians from all over the country, Canada and Europe.

We are also excited to be a part of the Arts Institute on the University of Wisconsin-Madison campus. The institute is bringing us into the modern world of Facebook, e-letters, Twitter and so much more. We also have a new program director, Sarah Marty, who is full of fresh ideas and has many new contacts in the UW and the Madison community.

shakespeare BW

What is new and what is the same in terms of format, students, faculty members and performers?

CBR: Our format has stayed the same because, after 17 seasons, it seems to be working. We are excited about everything that will be happening during the week. https://artsinstitute.wisc.edu/memf/concerts.htm

New to MEMF this year is the ensemble New York Polyphony (below). They will be performing their program “Tudor City,” featuring the music of the Church, including the sacred music of Thomas Tallis and William Byrd, Christopher Tye and Walter Lambe. Their recording of this program, Tudor City, spent three weeks in the Top 10 of the Billboard classical album chart. You can read more about them on their website: http://www.newyorkpolyphony.com/

To get a preview of what you will hear please visit: http://www.newyorkpolyphony.com/media2/

new york polyphony

MEMF goes to the Movies! The Newberry Violin Band (below top) will be performing as a live accompaniment to the silent film, Elizabeth I, made in 1912. Sarah Bernhardt is the star, even though she was 68 years old when the movie was made. The music is a great sampler of many of the most famous Elizabethan composers. Ellen Hargis (below bottom) will also be singing some classic John Dowland songs. An early movie with early music! http://newberryconsort.org/watch-listen-2/

Newberry Violin Band

ellen hargis 2016

Also, we have several unique programs that have been created just for this 400th “deathaversary” year.

The Baltimore Consort (below) is returning to MEMF with a program created especially for this anniversary year, The Food of Love: Songs, Dances and Fancies for Shakespeare, which has musical selections chosen from the hundreds of references to music in the works of Shakespeare. Shakespeare had directions in his plays for incidental music used for dancing, interludes and ceremony.

Specific songs are included in the text of the plays, and these texts were set to the popular songs of the day. Very few of these were published, but there are some early survivors which were published and from manuscripts.

Watch the YouTube video “From Treasures from the Age of Shakespeare” by the Baltimore Consort.” https://www.youtube.com/watch?v=soqw5oSdkVs

Baltimore Consort

On Friday night we have a very unique program, Sonnets 400, a program that actor Peter Hamilton Dyer, from the Globe Theatre, conceived to celebrate the 400th anniversary of the publication of Shakespeare’s sonnets.

The program is a pairing of Shakespeare’s words with Anthony Holborne’s music. Holborne was one of the most respected lutenists of his and Shakespeare’s time. Madison actor Michael Herold (below) will be reciting the narrative arc of the selected sonnets, and the music of Holborne will be played as interludes, or softly under the narration.

Recorder player and MEMF favorite, Priscilla Herreid, brought this program to our attention. Several years ago she performed with Peter in the Broadway production of “Twelfth Night,” and he told her about this pairing of music and sonnets from the Elizabethan era. Lutenists Grant Herreid and Charles Weaver will be joining Priscilla on Friday, July 15, at 7:30 p.m. The pre-concert lecture –“Repackaging Shakespeare’s Sonnets” — will be given by UW-Madison Professor of English Joshua Calhoun.

Michael Herold

Tomorrow: Part 2 of 2 — What makes Elizabethan English music special and what will the All-Festival wrap-up concert include?

 


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