The Well-Tempered Ear

Classical music: Two noteworthy baroque concerts by Just Bach and the Wisconsin Baroque Ensemble are on tap this Wednesday afternoon and Saturday night

October 15, 2019
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By Jacob Stockinger

Fans of Baroque music have two noteworthy events this week to look forward to.

Both concerts feature period instruments and historically informed performance practices.


This coming Wednesday, Oct. 16, from noon to 12:30  p.m. at Luther Memorial Church, 1021 University Avenue, the second FREE Just Bach concert of the semester will take place.

The concerts by Just Bach (below, in a photo by John W. Barker) are now a regular feature of the Music at Midday at Luther Memorial Church.

Organist Mark Brampton Smith opens the program with a brief Fantasia on the melody of “Christ lag in Todesbanden” (Christ Lay in Death’s Bonds). That tune will reappear at the very end of the program, in the final chorale of Cantata 158.

The next piece on the program was also written for solo organ, but will be heard in an arrangement for violin, viola, cello and organ. Johann Sebastian Bach wrote six organ trio sonatas, apparently for his eldest son, Wilhelm Friedemann.

The C Minor Sonata, the second in the set, is full of fiery drama in the outer movements, framing a dreamy, peaceful Largo.

UW-Madison baritone Paul Rowe will lead the chorale sing-along, a beloved audience-participation feature of these programs.

The program closes with Cantata 158, “Der Friede sei mit dir” (Peace Be with You), with solo bass-baritone Jake Elfner. Elisheva Pront provides the luminous “cantus firmus” (an existing melody used in a polyphonic composition) in the second movement, which also features a beautiful violin solo played by Kangwon Kim. The Cantata ends with a chorale on the tune of “Christ lag in Todesbanden.”

You may bring your lunch and beverage.

The concert is FREE and open to the public, with a goodwill offering collected.

Other Just Bach concerts this fall, all Wednesdays at Noon, are: Nov. 20 and Dec. 18.

Performers this week are: Jake Elfner, bass-baritone; Elisheva Pront, soprano; Kangwon Kim, violin; Leanne League, violin; Marika Fischer Hoyt, viola; James Waldo, cello; and Mark Brampton Smith, organ.

For more information, go to: or


This Saturday night, Oct. 19, at 7:30 p.m. in Saint Andrew’s Episcopal Church, 1833 Regent Street in Madison, the Wisconsin Baroque Ensemble (below) will perform a concert of varied chamber music.

Performers include: Mimmi Fulmer, UW-Madison soprano; Nathan Giblierano, baroque violin; Eric Miller, viola da gamba and baroque cello; Chelsie Propst, soprano; Charlie Rasmussen, viola da gamba and baroque cello; Consuelo Sañudo, mezzo-soprano; Anton TenWolde, baroque cello; and Max Yount, harpsichord.

Tickets are at the door only: $20 for the public, $10 students. After the concert, a reception will be held at 2422 Kendall Ave, second floor.

The program is:

Henry Purcell: Three Fantasias

Giacomo Carissimi: “Scrivete, occhi dolente” (Write, Sore Eyes)

George Frideric Handel: Violin Sonata, HWV 372 (heard in an animated graphic depiction the YouTube video at the bottom)

Claudio Monteverdi: “Baci soave e cari” (Soft and Dear Kisses)


Luzzasco Luzzaschi: “O dolcezze amarissime” (O Bitter Sweetness)

Martin Berteau: Trio for violoncellos

Giulio Caccini: Excerpts from “La liberazione di Ruggiero” (The Liberation of Ruggiero)

For more information, go to:

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Classical music review: British soprano Amy Haworth brings her outstanding voice to Madison in Baroque arias and Schubert songs.

October 12, 2012
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REMINDER: This Sunday in Mills Hall, the University of Wisconsin-Madison Concert Band and the University Bands — the first directed by  Scott Teeple  (below) and the second by Justin Stolarik and Matthew Mireles — will perform FREE concerts at 2 p.m. and 4 p.m., respectively. The Concert Band  will perform works by Del Borgo, Jacob, Chance, Holst and Nixon. Sorry, no word about the program for the University Bands.

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 every other Sunday morning on WORT 88.9 FM. He serves on the Board of Advisors for the MadisonEarly Music Festival and frequently gives pre-concert lectures in Madison.

By John W. Barker

Save for the astute scrutiny of Jake Stockinger and his Ear, a striking young artist has stolen into town, otherwise under most everyone’s radar, for a pair of exciting concerts.

The artist is the British soprano Amy Haworth (below), brought to the upper Midwest through the auspices of Trevor Stephenson, founder and director of the Madison Bach Musicians.

Stephenson first heard Haworth a few years ago when, at the Boston Early Music Festival, he singled her out among members of the famous Tallis Scholars chamber choir. Excited by her talents, he negotiated for her to work with him in what has become now a complex of activities. This is built around a series of their appearances in Wisconsin, Minnesota and Illinois during the month of October, offering a pair of concert programs.

These programs were showcased in Madison in recent days. Last Saturday night at the First Unitarian Society, Haworth presented one of these programs, with the backing of Stephenson on harpsichords and Chicago gamba-player Anna Steinhoff (below).

The two instrumentalists each had their solo moments, but the concentration was on Haworth’s singing of short selections by Baroque composers ranging from Luzzasco Luzzaschi and Giulio Caccini of the late 16th century, through Monteverdi, Caldara, Cesti, the two Scarlattis, and Purcell, of the 17th and early 18th centuries, culminating in examples from J. S. Bach and Handel.

Then, on this past Wednesday evening, Haworth and Stephenson gave their second program, devoted entirely to Lieder of Schubert, and held at his home.

Haworth (below) is an example of the singers generated by early music-making in England — with Emma Kirkby as prime specimen of the type. Haworth’s experience in working with chamber choirs and vocal concerts has carried over into solo singing of a wide literature extending through the 19th century.

Her background experience is shown in her cultivation of the clear and “white,” vibrato-less singing now common in early music performance. But she has developed a technique, used variably, of attacking a note with a “straight,” almost piercing tone and then letting it blossom into carefully controlled vibrato.

Her sense of pitch is invariably spot-on, her diction is refined in any language, and her projection can be fitted to venues either small or large. Though successful in singing a Handel aria, she professes no interest in opera performance, Baroque or otherwise, preferring concert work.

Particularly endearing was her singing of Schubert with Stephenson. He has experimented before with accompanying that composer’s Lieder on the fortepiano, the early keyboard model expanded eventually into the modern concert grand.

But the lighter, more deft and delicate sound-world of the fortepiano (below) gives a whole meaning to such music. The singer no longer has to fight the power of the later instrument and can enjoy the intimate balance and more silvery tone of the earlier one. With Haworth Stephenson has found a perfect partner for the kind of music-making that Schubert himself relished in his “Schubertiad” evenings with his friends.

But there is more.

In addition to giving these two performances in Madison, and to the carrying them on tour this month, the ever-resourceful Stephenson has used the opportunity to add two new recordings to his Light and Shadow label. The 24 vocal items of the Baroque Songs and Arias program has already been recorded and just now released. And the program of 17 Schubert songs heard at the house concert are about to be recorded, for imminent release.

Finally, a word should be said about the house concert idea itself. House concerts have become quite common in our musical life these days, many of them designed for promotional and fund-raising purposes. But, for some years now, Stephenson has been presenting a season of offerings in his home, parallel to his season with the Madison Bach Musicians.

For these domestic concerts, Stephenson has sometimes brought other musicians to join him, but mostly he gives programs by himself on harpsichord or piano, regularly on some theme or on the music of a given composer.

Stephenson (below, explaining the action of the fortepiano) has developed a practice of giving pre-concert talks at the MBM events, and he extends the idea for the house concerts, filling them with both insightful commentary and witty charm.

These programs are open to the public by reservation, since space is limited to about 40 people each time. For those who have become habituated to them, they are among the special delights of Madison’s variegated musical life.

Stephenson’s MBM has two public appearances ahead, on Dec. 14-15 and April 20-21, while dates for further house concerts are pending. Information on events, and on recordings, may be had at

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