The Well-Tempered Ear

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: The Madison Bach Musicians perform Bach’s “St. John Passion” this Friday night and Saturday night in authentic early music style

April 11, 2017
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By Jacob Stockinger

The Madison Bach Musicians (below), which specializes in authentic period performances of early music, will perform Johann Sebastian Bach’s “St. John Passion” this coming Friday  and Saturday nights, both at 7:30 p.m., in the Atrium Auditorium of the First Unitarian Society of Madison, 900 University Bay Drive.

On both nights at 6:45 p.m., MBM founder and music director Trevor Stephenson (below) will give a free pre-concert lecture on the “Structure and Performance History of the St. John Passion.” In his remarks, Stephenson said he will discuss the question of anti-Semitism in the famous work.

(NOTE: Stephenson and some of the players will also be on Wisconsin Public Radio’s “The Midday” with Norman Gilliland TODAY at noon.)

At the end of Part I, the Rev. Michael Schuler of the Unitarian Society will give a talk focusing on “Theological Reflections on Bach and the St. John Passion.”

This is only the second time the work has been performed in historical style in the state of Wisconsin. For more information and explanation, see the story in the Wisconsin State Journal:

http://host.madison.com/wsj/entertainment/music/st-john-passion-to-be-performed-on-all-historical-period/article_0e6e3d51-c03e-5803-9230-faed6a48ed1d.html

Tickets are $28-$33 and are available online, at Orange Tree Imports and at the door. Ticket information is at www.madisonbachmusicians.org

Trevor Stephenson writes the following about the work and the performance:

Bach was 38 years old when he composed the monumental St. John Passion during his initial year of employment in Leipzig, 1723-24. The work was first performed at the Nikolai Church during the Good Friday service on April 7, 1724.

As was the custom, no concerted music had been played in church during the previous six weeks of Lent, and the airing of the St. John Passion ― music of unprecedented complexity, lasting for over two hours — must have had an overwhelming effect on the fresh ears and devoted souls of the parishioners.

From its outset—with the whirling gear-like figures in the strings beneath the moiling of the oboes—the St. John Passion has an otherworldly aura of a story that has been foretold. Bach’s genius is in how he balances this inevitability with a sense of forward dramatic thrust: the passion story must happen, has already happened, but it also must be played out in real-time by living people, step by painful step. Time is at once both linear and circular. (Below is the manuscript for the “St. John Passion.”)

I believe that the objective of Bach (below) in setting the St. John Passion was to tell as vividly as possible the story of Jesus’ cruel earthly demise while at the same time tempering this vividness with frequent textual reminders, as well as an overarching tone, that convey the firm belief that Jesus’ Passion had not only been prophesied long before his birth but that Jesus’ suffering and death on earth was the only solution for the forgiveness of humanity’s sins.

 

The Evangelist John is our guide for the story of Jesus’ arrest, trial, crucifixion and burial. John sings his narration in the dry and angular recitative style, addressing the audience directly. He summarizes some scenes and introduces others, which are then played out in present-tense tableau format by various characters: Jesus, Peter, Pilate, Court officers, the angry mob.

Bach uses two techniques to pause and comment upon the narrative: first, with arias for solo voices and instrumental obbligato, that employ freely-composed poetry to reflect upon the story in a personal way — like the thoughts of someone observing the action; and second, by chorales which use tunes and texts that would have been familiar to Bach’s parishioners to elicit a broader communal response to the passion story. Many of the chorales are like a spiritual balm, providing moments of much needed rest throughout the work.

For the upcoming April 14 and 15 concerts of the St. John Passion on Good Friday and Holy Saturday ― the Madison Bach Musicians has endeavored as much as possible to recreate the early 18th-century sound world of that first Leipzig performance in 1724. MBM will use a 17-member baroque orchestra, conducted by UW-Madison bassoonist and performance-practice specialist Marc Vallon (below, in a photo by James Gill).

The orchestra will play entirely on 18th-century style instruments:

  • Gut-strung violins, violas, cellos, and bass played with baroque bows which facilitate articulation and phrase grouping
  • Early 18th-century single-keyed wooden traverso flutes and single-keyed wooden oboes―uniquely warm-sounding and clear-toned. Plus the baroque ancestor of the modern English horn, the tenor oboe da caccia
  • A baroque chamber organ with wooden pipes tuned in 18th-century Well Temperament
  • And specialty instruments—even by 18th-century standards. The viola da gamba, featured during the tombeau– or tomb-like Es ist vollbracht (It is fulfilled) aria heard after Jesus’ death; and two violas d’amore, delicate and velvet toned, replete with sympathetic strings for a haunting after-glow of sound. (You can hear that aria in the YouTube video at the bottom.)

These instruments will join with 10 outstanding vocalists—specialists in singing both solo and choral baroque repertoire.

Internationally recognized, and Grammy Award winning tenor, Dann Coakwell (below, in a photo by Mary Gordon) will sing the part of John the Evangelist.

The Passion will be sung in its original German; but an English translation of the text will be projected in supertitles scene-by-scene throughout the performance.

MBM is thrilled to be presenting this masterwork in the Atrium Auditorium (below, in a  photo by Zane Williams) at First Unitarian Society, a space beautifully suited to early music. The sightlines are superb, and the acoustics offer a great balance of clarity, crispness, and spaciousness.

Seating is limited, so advance ticket purchase is suggested.


Classical music: From Big 10 oboe music to Big Beethoven sonatas to a maestro’s final bow, this is a varied and busy week at the UW for faculty, guest artists and students

April 4, 2017
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By Jacob Stockinger

The Ear doesn’t see a unifying theme to this week’s events at the University of Wisconsin-Madison Mead Witter School of Music. But there is a lot of varied and appealing music and events — by acclaimed faculty members, guest performers and prize-winning students — on tap.

All concerts are FREE and OPEN TO THE PUBLIC.

Here is the lineup by day:

TODAY

At 7:30 p.m. in Mills Hall, oboist Aaron Hill (below) will give a recital featuring “Oboe Music From the Big 10.” The program includes works by three contemporary composers: Theresa Martin, Teddy Niedermaier and Daniel Black. Also performing are his UW colleagues bassoonist Marc Vallon and pianist Christopher Taylor.

For more information about the performers, the composers and the music, go to:

http://www.music.wisc.edu/event/oboist-aaron-hill-faculty-concert/

WEDNESDAY

From 11:30 to 1:30 in Music Hall, guest conductor Gary Thor Wedow (below), who will conduct the Madison Opera’s upcoming production of “The Magic Flute” by Wolfgang Amadeus Mozart, will give a public master class. Singers from the University Opera and the UW opera program will be featured.

For more information, go to:

http://www.music.wisc.edu/event/master-class-gary-thor-wedow/

At 7:30 in Mills Hall, clarinetist Amy McCann (below) will perform a recital featuring two works: the Sonata for Clarinet and Piano by Argentinean composer Carlos Guastavino; and the Clarinet Trio by Johannes Brahms. Pianist Martha Fischer and pianist Parry Karp will perform with McCann.

SATURDAY

At 3:30 p.m. in Morphy Recital Hall, the all-student Perlman Trio will perform its annual recital.

The program includes the Piano Trio in D Major, Hob. XV/7 by Franz Joseph Haydn; the Piano Trio N. 4 in E Minor (“Dumky”), Op. 90, by Antonin Dvorak; and the Piano Trio No. 2 in C Major, Op. 87, by Johannes Brahms.

Members of the Perlman Trio, which is funded by a gift from Dr. Kato Perlman, are (below, from left, in a photo by Katherine Esposito): cellist Michael Cheng, pianist Chan Mi Jean and violinist Adam Dorn.

For more information about the performers, go to:

http://www.music.wisc.edu/event/the-perlman-trio-annual-recital/

SUNDAY

At 3:30 in Morphy Recital Hall, the winners of the 32nd annual Beethoven Sonata Competition will perform. The program is: Kangwoo Jin playing the Sonata in C Major, Op. 53 (“Waldstein”); Leah Kang playing the Sonata in E Major, Op. 109; and Alberto Peña-Cortes playing the Sonata in A Major, Op. 101.

For more information, go to:

http://www.music.wisc.edu/event/32nd-annual-beethoven-piano-competition-winners-recital/

At 7:30 in Mills Hall, the UW Symphony Orchestra will perform its last concert under professor of conducting James Smith (below), who is retiring after 34 years at the UW-Madison.

The program includes the Overture to “Romeo and Juliet” by Peter Tchaikovsky; the Sinfonia Concertante for Violin and Viola by Wolfgang Amadeus Mozart; and the music from “Fancy Free” by Leonard Bernstein.

For more information go to:

http://www.music.wisc.edu/event/uw-symphony-orchestra-6/

UW Chamber Orchestra, James Smith, conductor

For information about the many student degree recitals that were scheduled, go to:

http://www.music.wisc.edu/events/


Classical music: UW bassoonist Marc Vallon plays a FREE all-Russian concert with other faculty and student colleagues this Friday night

February 2, 2017
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ALERT: This week’s FREE Friday Noon Musicale, at the First Unitarian Society of Madison, 900 University Bay Drive, features The Madison Savoyards singing music of Gilbert & Sullivan, Jule Styne and Sheldon Harnick. The concert runs from 12:15 to 1 p.m.

CORRECTION: The Arbor Ensemble will perform an all-French program of chamber music at 7:30 p.m. on this SATURDAY night – NOT Friday as mistakenly first posted — at the First Unitarian Society of Madison, 900 University Bay Drive. Here is a link with more information:

https://welltempered.wordpress.com/2017/01/31/classical-music-the-all-female-arbor-ensemble-performs-an-evening-of-all-french-chamber-music-on-this-friday-night/

By Jacob Stockinger

On this Friday night at 8 p.m. in Morphy Recital Hall, UW-Madison bassoonist Marc Vallon (below, in a photo by James Gill) will perform a FREE faculty concert.

Marc Vallon 2011 James Gill (baroque & modern)[2]

Colleagues who will join Vallon, an outspoken proponent of modern and contemporary new music, include Sally Chisholm, viola; Christopher Taylor, piano; Yana Avedyan, piano; Amy McCann, clarinet; Ivana Ugrcic, flute; and special guest Yuriy Kolosovskiy, domra (below).

domra

The all-Russian program includes: Michael Glinka (1804-1857), Sonata movement, originally for viola; Edison Denisov (1929-1996), Trio for flute, bassoon and piano; Russian Folksongs with Yuriy Kolosovskiy, domra; Michael Glinka, Trio Pathétique for clarinet, bassoon and piano; and Sofia Gubaidulina (born 1931, below), Trio Quasi Hoquetus for viola, bassoon and piano (heard in the YouTube video at the bottom).

sofia-gubaidulina

Here is a link to the UW website:

http://www.music.wisc.edu/event/bassoonist-marc-vallon-faculty-concert/


Classical music: Madison Bach Musicians perform their sixth annual Baroque holiday concert this coming Saturday night. Plus, the Wisconsin Chamber Orchestra’s “Messiah” on Friday night is close to selling out

December 5, 2016
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ALERT: The Wisconsin Chamber Orchestra and its acclaimed music director Andrew Sewell are pretty busy these days playing the accompanying music for the Madison Ballet‘s multiple performances of Peter Tchaikovsky‘s holiday ballet “The Nutcracker.”

Then on this coming Friday night at 7 p.m. at the Blackhawk Church in Middleton, the WCO, the WCO Chorus, the Festival Choir of Madison and guest soloists, all under the baton of Sewell, also give their annual and usually sold-out performance of George Frideric Handel‘s oratorio “Messiah.” The Ear has been told that this year’s performance is also close to selling out to. For more information and tickets, go to: 

http://www.wisconsinchamberorchestra.org/performances/messiah-at-blackhawk-church-middleton/

By Jacob Stockinger

At 8 p.m. this Saturday night, Dec. 10, the Madison Bach Musicians (below top) will give their sixth annual Baroque Holiday Concert.

mbm-baroque-holiday-2015-all-singing

The event will once again be held in the beautiful and sonorous sanctuary (below) of the First Congregational United Church of Christ, 1609 University Avenue.

mbm-baroque-holiday-2015-audence-and-players

MBM holiday 2014 Marc Vallon on bassoon JWB

There is a free pre-concert lecture by the always witty, informative and entertaining MBM founder, artistic director and harpsichordist Trevor Stephenson (below) at 7:15 p.m. NOTE: Trevor Stephenson will also discuss the upcoming holiday concert and play excerpts from past ones TODAY AT NOON on The Midday program aired by Wisconsin Public Radio.

Trevor Stephenson full face at keyboard USE

The program will feature: a cappella (solo vocal) masterworks by Orlando di Lassus and Josquin des Prez performed by a vocal quartet; a Christmas Cantata for soprano and strings by Alessandro Scarlatti—featuring soprano soloist Chelsea Morris (below top); a trio sonata by Johann Joseph Fux; an intriguing  Partita for two scordatura violins (scordatura means the open strings are re-tuned into a new interval configuration!) by Heinrich Biber; the Sonatina in A minor for baroque bassoon and continuo by Georg Philipp Telemann ― with soloist and UW-Madison professor Marc Vallon (below bottom, in a photo by James Gill); one of the Christmas Cantatas, BWV 122Das neugeborne Kindelein (The Newborn Baby) by Johann Sebastian Bach (heard in the YouTube video at the bottom); and a bonus feature ― a preview of MBM’s upcoming April performance of Bach’s oratorio  St. John Passion, the tenor aria Ach, mein Sinn.

CHELSEA Shephard

Marc Vallon 2011 James Gill (baroque & modern)[2]

Advance-sale discount tickets: $28 for general admission, $23 for students and seniors 65 and over. They are available at Orange Tree Imports, Farley’s House of Pianos, Room of One’s Own, and Willy Street Co-op (East and West) . You can also find online advance-sale tickets at madisonbachmusicians.org 

Tickets at the door are: $30 for general admission; $25  for students and seniors 65 and over.
 Student Rush tickets are $10 at the door and go on sale 30 minutes before lecture (student ID is required)

Musicians will include: Chelsea Morris, soprano; Joseph Schlesinger, counter-tenor; Scott Brunscheen, tenor; Matthew Tintes, bass; Kangwon Kim and Brandi Berry, baroque violins; Marika Fischer Hoyt, baroque viola; Martha Vallon, baroque cello; Marc Vallon, baroque bassoon; and Trevor Stephenson, harpsichord


Classical music: Here are the Top 10 things to know about Handel’s “Messiah.” The Madison Bach Musicians will perform it with period instruments this Friday night and Sunday afternoon.

April 4, 2016
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ALERT:  Tomorrow on Tuesday, April 5, there will be two on-air events about the Madison Bach Musicians’ performances of Handel’s “Messiah”: On Wisconsin Public Radio’s Midday program on WERN (88.7 FM) noon-12:30 p.m., MBM director Trevor Stephenson will be Norman Gilliland’s guest. They’ll play and discuss selections from “Messiah.” Then MBM will perform two arias from “Messiah” live on the CBS affiliate WISC-TV Channel 3 “Live at 4” program 4-5 p.m.

By Jacob Stockinger

This coming Friday night and Sunday afternoon, the Madison Bach Musicians will perform the well-known oratorio “Messiah” by George Frideric Handel (below). The performances feature period instruments and historically authentic performances practices.

handel big 3

Here are the details:

FRIDAY: 6:45 p.m. lecture followed by a 7:30 p.m. concert

SUNDAY: 2:45 p.m. lecture followed by a 3:30 p.m. concert

Both performances are at the First Congregational United Church of Christ (below), 1609 University Avenue, Madison, near Camp Randall Stadium.

MBM holiday 2014 singers and instrumentalists JWB

The forces and period instruments MBM has assembled for this event are similar in many respects to those used by Handel in the world premiere of “Messiah” in Dublin in April of 1742.

For more information, including a complete list of performers, visit:

http://madisonbachmusicians.org/april-8-10-2016/

The concerts feature an all-baroque orchestra ─ with gut strings, baroque oboes, natural trumpets and calf-skin timpani ─ plus eight internationally-acclaimed soloists, and the Madison Boychoir (part of Madison Youth Choirs), which will collaborate in the “Hallelujah” Chorus and Amen, under the direction of early-music specialist Marc Vallon (below, in a photo by James Gill), professor of bassoon at the University of Wisocnsin-Maidson School of Music.

Marc Vallon 2011 James Gill (baroque & modern)[2]

Pre-concert lectures at both events will be given by MBM founder and artistic director Trevor Stephenson (below), who is as entertaining as he is enlightening.

Prairie Rhapsody 2011 Trevor Stephenson

Advance-sale discount tickets are: $33 general, $28 students and seniors (65+). They are available at Orange Tree Imports, Farley’s House of Pianos, Room of One’s Own, and Willy Street Co-op (East and West)

You can also buy advance sale tickets online at www.madisonbachmusicians.org

Tickets at the door are $35 general, $30 students and seniors (65+), Student Rush: $10 on sale 30 minutes before lecture (student ID required) Visit or call www.madisonbachmusicians.org at 608 238-6092.

To prepare you to appreciate the oratorio, here is Trevor Stephenson’s Top 10 list of things – a la David Letterman — that you should know about it:

TOP 10 THINGS TO KNOW ABOUT HANDEL’S ‘MESSIAH

#10. Its title is “Messiah” not “The Messiah”

#9. Handel, at 56 years of age, wrote Messiah in just 24 days in the late summer of 1741.

#8.  Some of the pieces ─ like “For unto us a child is born” and “All we like sheep” ─ Handel borrowed or adapted from pieces he had composed earlier, usually by laying the new text over the existing musical material. This technique, known as “parody,” was employed by most composers as a way of recycling good musical material.

#7. The original words to the tune we know as “For unto us a child is born” were  (Italian) “No, di voi non vo’ fidarmi, cieco Amor, crudel Beltà” — meaning roughly “No, I won’t trust you, blind Love, cruel Beauty” (Hear the YouTube video at bottom.)

#6. Messiah premiered in 1742 in Dublin, Ireland two weeks after Easter (March 25 that year) on April 13. By uncanny dumb luck, this 2016 period-performance of Messiah by MBM will also take place two weeks after Easter (March 27) on April 8 and 10.

#5. Handel divided this oratorio into three parts. Part I: a world in need of salvation; the promise that salvation is on the way; arrival of the savior in the world; Part II: Christ’s passion and crucifixion, descent to hell and resurrection, beginnings of the church, triumph of truth over death (Hallelujah); Part III: Faith and the world to come; the awakening of all souls (The Trumpet Shall Sound), paean to the Lamb of God; closing, majestic meditation on Amen.

MBM Messiah poster

#4.  In a baroque orchestra the string instruments use gut strings—made from dried and carefully processed sheep intestine. Gut strings assist in the performance of baroque music in two important ways: 1) because gut as a material is very supple, the tone it produces is naturally “warm” in an acoustic/aesthetic sense; therefore, vibrato is not necessary in order to produce a pleasing sound and the player’s attention can focus more on pitch. 2) Gut strings, because they are very textured, produce a natural friction with the hair of the baroque bow which ensures that the instant the player’s bow hand moves the pitch is in the air. This optimizes the sense of directness in performance.

#3. The harpsichord and organ were used as continuo instruments in baroque music. MBM will be using both instruments in the upcoming Messiah performances. 18th-century keyboard tunings were generally of the un-equal/circulating variety known as Well Temperaments, as in “The Well-Tempered Clavier” of Johann Sebastian Bach. In these tunings, every tonality has a unique acoustic color, ranging from the transparently clear and harmonious keys (C major, A minor and other keys near the top of the circle of fifth, unencumbered by accidentals), then shading all the way down to the lugubriously opaque and gnarled keys in the basement of the circle of fifths, like G-flat major and E-flat minor. Notice in Messiah the contrast between the acoustical openness of the initial Sinfonia in E minor (one sharp) and the rigid density of the passion-of-Christ choruses near the beginning of Part II, “Surely, He hath borne our griefs” and “And with His stripes we are healed” both in F minor (four flats). 18th-century temperament will bring such differences into keen relief.

#2. Messiah was very successful and greatly admired in Dublin at its premiere. When Handel led performances of it in London several months later, the reception was much cooler. Nevertheless, from there on the popularity of Messiah grew steadily and it was performed often in Handel’s lifetime under his direction. Though much of Handel’s music was widely published in his lifetime, Messiah was not published until a few years after Handel’s death in 1759.

#1.  In Messiah, the balance between the sense of play and sense of purpose is unrivalled (though a different animal in many ways, a blood brother of Messiah in the movie domain might be The Wizard of Oz). Indeed, it is almost as if in Handel’s world, these two elements — play and purpose — do not oppose, but rather fuel each other. Handel’s descendent in this regard is Wolfgang Amadeus Mozart, whose also could consistently fuse melodic joy with harmonic and theatrical pacing, pushing scene after scene ever-higher until it seems the roof opens to the realms of limitless joy.


Classical music: UW-Madison Professor Marc Vallon offers a personal appreciation of the pioneering French composer and conductor Pierre Boulez who has died at 90. Plus, this Sunday afternoon Wisconsin Public Radio starts a 13-week series of concerts by the Milwaukee Symphony Orchestra

January 9, 2016
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ALERT: This Sunday at 2 p.m., Wisconsin Public Radio (WERN-FM 88.7 in the Madison area) will start a new weekly two-hour broadcast series. It features 13 weeks of live recorded concerts given by the Milwaukee Symphony Orchestra. This Sunday’s music, conducted by MSO music director Edo de Waart, includes three outstanding works: the Four Sea Interludes from the opera “Peter Grimes” by Benjamin Britten; the beautiful Cello Concerto by Sir Edward Elgar with soloist Alisa Weilerstein; and the lyrical Symphony No. 8 in G Major by Antonin Dvorak. 

For more information about the series and performers, visit:

http://www.wpr.org/programs/milwaukee-symphony-orchestra

By Jacob Stockinger

This past Tuesday, avant-garde French composer and conductor Pierre Boulez (below) died at his home in Baden Baden, Germany. He was 90. No cause of death was given.

Pierre Boulez obit portrait

Just last year saw celebrations of Boulez, on the occasion of his 90th  birthday, around the world.

That included one here at the University of Wisconsin-Madison School of Music by bassoonist and Professor Marc Vallon (below, in a photo by James Gill) who studied and worked with Boulez and the famous Ensemble Intercontemporain in Paris.

Professor Vallon generously agreed to write a personal reminiscence and appreciation of Pierre Boulez for The Ear.

Here it is:

Marc Vallon 2011 James Gill (baroque & modern)[2]

By Marc Vallon

I had the privilege to work with Pierre Boulez in the early 1980s, a couple of years after he founded the Ensemble Intercontemporain (below) in Paris, the first-ever fully salaried ensemble devoted to contemporary music.

Ensemble Intercontemporain

Boulez was a very demanding conductor (below) and everyone would come to the rehearsals very prepared. If you were not, you would likely take the sting of his sarcastic humor.

I remember a situation when the flutist kept fumbling on a tricky passage in Igor Stravinsky’s Symphony for Wind Instruments. After a couple of unsuccessful attempts, he made the mistake of saying, “I don’t understand, it worked perfectly at home,” to which Boulez replied, “Well then, perhaps we should play the concert in your living room.”

Conductor and composer Pierre Boulez from France conducts the Lucerne Festival Acadamy Orchestra during a concert at the Lucerne Festival in Lucerne, Switzerland, Thursday, Sept. 14, 2006. (AP Photo/Keystone, Sigi Tischler)

Conductor and composer Pierre Boulez from France conducts the Lucerne Festival Academy Orchestra during a concert at the Lucerne Festival in Lucerne, Switzerland, Thursday, Sept. 14, 2006. (AP Photo/Keystone, Sigi Tischler)

I was involved in the first performance of the work often considered as Boulez’s masterpiece, Répons for orchestra and live electronics (heard at bottom in a YouTube video). It was a fascinating window into Boulez’s compositional process.

During the two-week rehearsal period, the parts would be collected after each session and would come back on our music stands the next day with numerous additions of grace notes and changed rhythms and dynamics. The longer we worked, the more intricate and multi-layered the piece became.

This is not surprising if one remembers Boulez’s definition of good music: It is complex and can be looked at from so many different angles that it ultimately resists full analysis.

Another important contribution that Boulez brought to the French musical scene, and the artistic world in general, was the often explosive radicalism of his ideas.

From “Schoenberg is dead” to “We have to blow up the opera houses,” who else would proclaim the end of serialism or attack the conservatism of established opera houses in such provocative terms?

Boulez’s public aversion to any artistic conservatism was, in the 1970s, a much-needed antidote to an international musical scene that was often too easily tempted to fill concert halls by programming symphonies by Tchaikovsky again and again.

It is still needed today. “Boulez est mort,” but his fight for the endless renewing of musical creation should go on.

For more obituaries and appreciations of Pierre Boulez, who served as music director of the New York Philharmonic and was a major guest conductor of the Chicago Symphony Orchestra, here are four sources:

The New York Times:

http://www.nytimes.com/2016/01/07/arts/music/pierre-boulez-french-composer-dies-90.html?_r=0

National Public Radio or NPR:

http://www.npr.org/sections/deceptivecadence/2016/01/06/462176284/french-composer-pierre-boulez-dies-at-90

ABC-TV NEWS:

http://abcnews.go.com/International/wireStory/pierre-boulez-leading-figure-classical-music-dies-90-36121322

And here is a terrific and insightful personal appreciation of Pierre Boulez, with a link to current issues and events in classical music, by Anthony Tommasini, the senior classical music critic for The New York Times:

http://www.nytimes.com/2016/01/07/arts/music/recalling-pierre-boulez-a-conductor-composer-with-an-ear-to-the-alternative.html?_r=0

 


Classical music: The Madison Area Youth Chamber Orchestra (MAYCO) will perform music by Handel, Haydn and Bloch this Friday night.

August 19, 2015
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By Jacob Stockinger

The Ear’s multi-talented friend Mikko Rankin Utevsky (below) -– who is a singer, violist and conductor -– writes:

new Mikko Utevsky baton profile USE

The Madison Area Youth Chamber Orchestra (MAYCO, below) closes its fifth season with works by Franz Joseph Haydn, Ernest Bloch and George Frideric Handel in a program titled “Concerto Grosso II: Surprise!”

The concert is this Friday at 7:30 p.m. in the Old Music Hall on Bascom Hill. Tickets are $7 at the door (students are admitted by donation). The program is presented with the support of the Wisconsin Youth Symphony Orchestras (WYSO), and co-sponsored by the UW-Madison School of Music.

This concert will also feature the most returning players in five seasons — fully 20 of the 30-odd members of the orchestra have performed with the group before, some throughout all five years.

MAYCO Aug. 2014 Shostakovich 9

The program opens with a Concerto Grosso by Handel — Op. 6, No. 5 in D major — whose contributions to the form (which has been our theme for the season) were many and varied. This one opens with a majestic French Overture, followed by a light-footed Presto, a weeping Largo, a graceful Minuet, and a spirited Allegro to close.

handel big 2

Trevor Stephenson (below top), of the Madison Bach Musicians, joined the orchestra this past weekend for a wonderful workshop on the music of Handel as part of our new historical performance program, which also included coaching on Haydn with UW-Madison bassoon professor Marc Vallon (below bottom, in a photo by James Gill).

Trevor Stephenson Explains

Marc Vallon 2011 James Gill (baroque & modern)[2]

Next up is another Concerto Grosso, the first by Swiss-American composer Ernest Bloch (below top). Written in 1925 for piano obbligato and string orchestra, it is an exciting and powerful work encompassing a broad emotional range. Our piano soloist is Jason Kutz (below bottom), currently finishing his master’s degree at the UW-Madison School of Music with Professor Martha Fischer.

Ernest Bloch in 1915

jason kutz at piano

Our second Haydn symphony of the summer closes the concert, the famous “Surprise”  Symphony, No. 94. I’m excited to explore both ends of his career this season.

Our last program opened with his Symphony No. 6 (“Le Matin” or Morning), written for the Esterhazy family; the “Surprise” belongs to his final series of 12 “London” symphonies. Everyone is well acquainted with the slow movement — heard at the bottom in a YouTube video — but how many people remember the fantastic Finale?


Classical music: The Madison Bach Musicians successfully mines early music for its latest holiday concert of unusual offerings superbly performed.

December 15, 2014
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By Jacob Stockinger

Here is a special posting, a review written by frequent guest critic and writer for this blog, John W. Barker. Barker (below) is an emeritus professor of Medieval history at the University of Wisconsin-Madison. He also is a well-known classical music critic who writes for Isthmus and the American Record Guide, and who for 20 years hosted an early music show every other Sunday morning on WORT FM 89.9 FM. He serves on the Board of Advisors for the Madison Early Music Festival (MEMF) and frequently gives pre-concert lectures in Madison. And he also provided the performance photos for this review.

John-Barker

By John W. Barker

Trevor Stephenson (below top) and his Madison Bach Musicians (below bottom) have established a solid tradition of offering a December “holiday” concert as a triumphant antidote to the debasement of musical life that the Christmas season seems to bring inevitably with it.

MBM holiday 2014 Trevor speaks JWB

MBM holiday 2014 all usicians JWB

This time around — specifically, last Saturday night at the First Congregational Church United Church of Christ — was no exception, and even a step forward.

It was further testimony, also, of Stephenson’s thriving collaboration with Marc Vallon of the University of Wisconsin-Madison School of Music faculty. Vallon chose a good many of the selections, organized the program, conducted (below top) some of it, and played the dulcian (Baroque bassoon, below bottom on the right).

MBM holiday 2014 Vallon conducting JWB

MBM holiday 2014 Marc Vallon on bassoon JWB

In that last, Vallon was joined by his wife, Martha Vallon, on viola da gamba as well as by Anna Steinhoff on the same instrument, violinists Kangwon Kim and Brandi Berry, plus Linda Pereksta on recorder.

IMG_1307

There was also a fine vocal quartet of soprano Chelsea Morris (below, far left), alto Sarah Leuwerke (far right), tenor Kyle Bielfeld (center left) and bass Davonne Tines.

MBM holiday 2014 singers

Stephenson himself, held much of it together playing on a dandy “orgel positif” or chamber organ, made all of wood.

MBM holiday 2014 pos tive or chamber organ JWB

The program was a nicely varied mix of vocal and instrumental music, and going back further than the usually featured 18th century.

Of the vocal works, all but one were sacred in character and function, though few were specifically related to the Christmas season.

The 16th century was represented by Orlando di Lasso (1532-1594) in four Latin pieces for the vocal group alone.  (One was an extraordinary chromatic study, typical of the composer’s experimentation with tonic bypassing of the old modal system.) The rest of the material was effectively from the 17th century, a time of wide explorations of the new Baroque idiom.

Orlando di Lasso

After an organ fugue by Giovanni Gabrieli, the explicitly instrumental pieces came from the pens of Johann Schenck (1660-1716), and Antonio Bertali (1605-1669), with varying instrumentations—the one by Schenck for two gambas (below, with Martha Vallon on the left and Anna Steinhoff) was particularly delicious.

MBM holiday 2014 Martha Vallon left and Anna Steinhoff CR JWB

Again in varying combinations, singers and players joined in selections by Heinrich Schütz (1585-1682), Johann Froberger (1616-1692), and Johann Schelle (1648-1701), as well as by two members of the musically prolific Bach family, of generations before Johann Sebastian Bach: Heinrich Bach (1615-1692), and Johann Michael Bach (1648-1694).  The latter’s double-choir German motet provided a chance for all 11 performers to come together for a grand finale (singers in one choir, instruments in the other).

MBM holiday 2014 singers and instrumentalists JWB

German was the predominant language of these vocal works. But an interesting curiosity was an adaptation that Heinrich Schütz made (his SWV 440), fitting a German translation to Italian composer Claudio Monteverdi’s Italian madrigal, “Chiome d’oro” (the Monteverdi version is in a YouTube video at the bottom).

All the performers were expert in their work, though the two gamba players were particularly appealing among the instrumentalists, while — with no disrespect to the others — Morris and Leuwerke were truly wonderful in their singing assignments.

What matters most is that Stephenson and his colleagues have once again demonstrated that the realms of early music have endless treasures to offer — ones most particularly welcome on the parched December scene.

A large and enthusiastic audience testified to public recognition of that fact.


Classical music: Is Rameau the French Bach? UW-Madison faculty players and Baroque scholar Charles Dill will explore Rameau throughout this season. The first two FREE events are this Thursday and Friday nights.

November 10, 2014
1 Comment

By Jacob Stockinger

For some musicologists and audiences, the French Baroque composer  Jean-Philippe Rameau (below) is wholly misunderstood, under-performed and underappreciated.  Some even see him as the French counterpart to Johann Sebastian Bach.

But a year-long project by the University of Wisconsin School of Music aims to correct that lack of knowledge and appreciation.

That effort starts with two FREE concerts this week.

Here is a link to a Q&A about Rameau done with UW-Madison musicologist Charles Dill for the UW-Madison School of Music blog:

http://www.music.wisc.edu/2014/10/16/rameau-dill/

Jean-Philippe Rameau

THURSDAY

On Thursday night, Nov. 13, at 7:30 p.m. in Room 180 of Science Hall, at the intersection of Langdon Streets and  North Park Street, the FREE program “Rameau and Musical Expression” will take place. The subject is the French composer Jean-Philippe Rameau. The 250th anniversary of his death is being marked this year around the world.

Music of the mid-18th century can strike modern audiences as stilted or dispassionate, but composers of the time, like society at large, thought about the passions a great deal — how to describe them, what their physical properties were, and how to depict them on stage for the benefit of audiences.

David Ronis (below top, in a photo by Luke Delalio), a stage director who has specialized in Baroque staging practices, and Anne Vila (below bottom), a scholar specializing in 18th-century theories of the emotions, will discuss passion in the thought of Rameau’s contemporaries, suggesting cues for listening to Rameau’s music. The evening will include a performance of  cantata Les Amants trahis by Paul Rowe, Chelsie Propst, John Chappell Stowe and Eric Miller.

David Ronis color CR  Luke DeLalio

vila_CV

FRIDAY

Then on this Friday might, Nov. 14, at 8 p.m. in Mills Hall, UW-Madison bassoonist and native Frenchman Marc Vallon  (below, in a photo by James Gill) will present a FREE all-French program that highlights his own works and arrangements as well as the music of Jean-Phillippe Rameau in one of his most well-known works, “Les Indes Galantes.”

Marc Vallon 2011 James Gill (baroque & modern)[2]

Vallon will be joined by other performers and period instruments will be used in historically informed performances.

Here is the program:

Maurice Ravel (1875-1937)   Pièce en forme de Habanera for bassoon and piano

Marc Vallon (b.1955)    Serbian Songs for viola and bassoon – Tuzbalica-Harvest Song-Trezkavica

Marc Vallon      Ami for Baroque flute

Jules Massenet (1842-1912)  (arr. M. Vallon)  La Lettre

Georges Bizet (1838-1875) (arr. M. Vallon)

Emmanuel Chabrier (1841-1894)           L’Invitation au Voyage

INTERMISSION

Jean-Philippe Rameau (1683-1764), Les Indes Galantes, a 45-minute version. Ouverture; Menuets 1 & 2; Musette en Rondeau; Air; L’Amour “Ranimez vos Flambeaux”; Ritournelle, “Le Turc Généreux,”;  Air, “Osman Il faut que l’amour s’envole”; Récit et Orage; Choeur des Matelots; Emilie; Rigaudons; Air pour les esclaves Africains; Tambourins; “Les Incas du Pérou,”  Scène 1; Air “Le calumet de la Paix”; Air et Choeur “Traversez les plus vastes mers.”

(At the bottom is a concluding movement from “Les Indes Gallantes” in a popular YouTube video that more than one million hits. It is performed by Marc Minkowski directing Les Musicians du Louvre.)

Marc Vallon has split his impressive performing career between the modern and baroque bassoons. In addition to appearances with many of Paris’ orchestras and celebrated contemporary ensembles, Vallon has played baroque bassoon with leading early music ensembles such as La Chapelle Royale, Les Arts Florissants, the Orchestra of the Age of Enlightenment, and Tafelmusik.  In this recital, Marc Vallon will bring his skill on both instruments and thorough knowledge of and feeling for baroque music to works by Jean-Philippe Rameau and J.S. Bach, two great masters of the late baroque period.

Other participants include: Thomas Kasdorf, piano; Sally Chisholm, viola; Nathan Giglierano, Ilana Schroeder, Gene Purdue, baroque violins; Micah Behr, baroque viola; Martha Vallon, Andrew Briggs, baroque cellos; Jeanne Swack and Mili Chang, baroque flute; Konstantinos Tiliakos, baroque oboe; Brian Ellingboe, baroque bassoon; John Chappell Stowe, harpsichord.

Mesdames singers: Elizabeth Hagedorn, Chelsie Propst, Christina Kay.

Messieurs singers: Paul Rowe, Dennis Gotkowski, Antonio De Souza.

There will also be an Introduction to the second half by UW-Madison School of Music musicologist Charles Dill (below, in a photo by Katrin Talbot), who has been speaking about Rameau in the U.S. and France.

Charles Dill  cr Katrin Talbot

This concert is part of the school’s year-long retrospective of the work of Rameau. Click here for more information.

 


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