The Well-Tempered Ear

Classical music: Wisconsin Chamber Orchestra concert shows Andrew Sewell is a born Bruckner conductor who uses a smaller orchestra to reveal structure

January 30, 2017
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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 hosts an early music show once a month on Sunday morning on WORT FM 89.9 FM. For years, he served on the Board of Advisors for the Madison Early Music Festival and frequently gives pre-concert lectures in Madison.

John-Barker

By John W. Barker

The Wisconsin Chamber Orchestra (below) gave the second concert of its season on Friday evening in the Capitol Theater of the Overture Center.

WCO lobby

The program opened with a rarely performed symphony, No. 30 in D Major, K. 202, by Wolfgang Amadeus Mozart. Mozart did not muster in this score anything like the ideas he delivered in his symphonies on either side of this one.

Still, it is an engaging piece, and maestro Sewell always shows great sympathy for the Austrian Classical-era composers of the late 18th century, so the performance was nicely molded.

The guest soloist this time was Croatian-born guitarist Ana Vidovic (below). She was originally scheduled to play the Second Guitar Concerto by Mario Castelnuovo-Tedesco, but for some reason she switched late on to the more substantial Concierto de Aranjuez by the 20th-century Spanish composer Joaquín Rodrigo.

ana-vidovic-2017

Unfortunately, Vidovic followed other guitarists of today who feel they must fortify their performances with electronic amplification, so she brought her own rig with her. The result was a boomy, hollow sound, completely artificial, pitted in fake balance against the natural world of the orchestral writing that was rendered, by the way, with charm and delicacy.

The composer (below) was very careful about not allowing the orchestra to overwhelm the intimate guitar, and generations of guitar players have been able to perform this and parallel concertos without benefit of sonic hype.

Alas, the combination of technology with egotism! Vidovic is obviously a musician of genuine artistry, but she quite sabotaged her playing by use of this six-string howitzer. And the knobs were still on through an encore, a trivial Cavatina by one Stanley Meyer.

joaquin rodrigo

The evening was richly redeemed by the main work. Sewell has, in recent years, been working his way into the symphonies of the 19th century, late Romantic Austrian composer Anton Bruckner—a composer usually tackled by large orchestras. But he has brought off the first two numbered symphonies with aplomb, and now was the turn of the Third.

This is a work with a complex history of versions and revisions. Sewell bravely chose to use the 1874 revision of the original 1873 version, rather than the ill-fated revision of 1877 or the once-standard bowdlerization of 1889.

Sewell could command only 20 string players, but they proved quite sufficient, even with the occasional divisions of the violins. The reduced lushness resulting allowed inner parts to come through, and the rest of the orchestra played magnificently. Sewell understands Bruckner’s individual rhetoric, with its stop-and-start pacings and dramatic shifts between tremendous power and great delicacy.

Sewell (below) is indeed a born Bruckner conductor. The second movement in particular I have never heard played so eloquently. (You can hear the second movement of the 1874 edition in the YouTube video at the bottom.) I don’t know if Sewell plans to probe still further into Bruckner’s symphonies, but I am ready to follow him eagerly if he does.

AndrewSewellnew

Far from being put off by the often-maligned music of Bruckner, the very large audience gave the performance a justly deserved standing ovation. This was, I think, a genuine landmark in the WCO’s history.


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: This Tuesday night, the Overture Center hosts a choral concert by the Mansfield University Concert Choir and the Madison Youth Choirs under former Madisonian Peggy Dettwiler. Plus, the UW-Madison Pro Arte Quartet and soprano Elizabeth Hagedorn perform this afternoon, live and via streaming, at the Chazen Museum of Art.

March 6, 2016
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ALERT: The UW-Madison‘s Pro Arte Quartet performs at the Chazen Museum of Art today at 12:30 p.m. The concert, which features soprano Elizabeth Hagedorn and includes works by Mario Castelnuovo-Tedesco, Ottorino Respighi and Ludwig van Beethoven, takes place in Brittingham Gallery 3 and is FREE to the public. You can also stream it live. Here is link:

http://www.chazen.wisc.edu/visit/events-calendar/event/sal-3-6-16/

By Jacob Stockinger

This Tuesday night, at 7:30 p.m. in Overture Hall at the Overture Center, there will be a choral concert by the Mansfield University Concert Choir (below) and the Madison Youth Choirs.

Mansfield University Concert Choir

The two groups will perform under the direction of former Madisonian Peggy Dettwiler (below). For more information, visit her web site:

http://www.peggydettwiler.com

Peggy Dettwiler

Composers include Johann Sebastian Bach, Charles Villiers Stanford, Olivier Messiaen, Benjamin Britten, Lily Boulanger and Ralph Vaughan Williams.

Tickets are $20 except for student rush tickets, which are $10 on the day of the performance.

For tickets and more information, including specific works on the program, go to:

http://madisonsymphony.org/mansfieldchoir

Here is some background:

The Mansfield University Concert Choir directed by Peggy Dettwiler has distinguished itself internationally by winning three gold medals at the World Choir Games in 2012 and the gold medal at the Robert Schumann International Choir Competition in Germany.

(You can hear the Mansfield Choir performing in Carnegie Hall in January, 2014 in a YouTube video at the bottom.)

The Mansfield Choir will be joined by the Madison Youth Choirs (below top), directed by Michael Ross (below bottom).

Madison Youth Choirs Winter Concert 2014

Michael Ross

Madison Symphony Orchestra organist Samuel Hutchison (below) will accompany the choirs.

Overture Concert Organ overview

Sam Hutchison close up


Classical music: Today is Veterans Day in the U.S. and this week brings Remembrance Day in the Commonwealth nations including Great Britain, Canada and Australia. To honor veterans -– both military and civilian — The Ear plays the “Nimrod” section from Sir Edward Elgar’s “Enigma Variations.” What music would you play?

November 11, 2014
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ALERT: On this Wednesday night at 7:30 p.m. in Mills Hall, the UW-Madison Guitar Ensemble, under the direction of UW-Madison professor Javier Calderon, will give a FREE concert of music by Heitor Villa-Lobos, Mario Castelnuovo-Tedesco, Gilbert Bibarian and others.

Javier Calderon color

By Jacob Stockinger

He may be wrong, but The Ear does not think that Veterans Day — and Remembrance Day in the Commonwealth nations of the former British Empire — is just about war. And there is plenty of music one could play that aims to depict war and conflict.

But Veterans Day -– which was originally Armistice Day and was intended to mark the end of that vicious meat-grinder World War I that started 100 years ago this year and officially ended on the 11th hour of the 11th day of the 11th month of 1918 –- is more about people and loss. So is Remembrance Day.

world war1 somme

Given the way “total war” has evolved and been waged since World War I — just look at the Middle East and ISIS these days — one has to wonder: Shouldn’t civilians, including women and children, also be honored? When war is waged, usually all suffer and all sacrifice.

Not that the armed forces don’t come at the head of the line and hold a special place in our thoughts.

But these days a Requiem for All seems fit and appropriate.

That is why The Ear can’t think of a more moving and quietly appropriate piece of music than the “Nimrod” section from the Edwardian era British composer Sir Edward Elgar’s “Enigma” Variations.

That is probably why the prize-winning and popular documentary filmmaker Ken Burns also used the same music, arranged for solo piano, in his 2007 epic film about World War II called, simply, ‘The War.”

Here it is, played by conductor Daniel Barenboim and the Chicago Symphony Orchestra  in a popular YouTube with more than 2.5 million hits — as a salute to all those who suffered and who served:

 

 


Classical music: The Madison Symphony Orchestra sells out Dvorak’s “New World” Symphony tomorrow. Critic Greg Hettmansberger weighs in on the Wisconsin Chamber Orchestra. And NPR provides a terrific comprehensive look at the life and career of the late Italian conductor Claudio Abbado.

January 25, 2014
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By Jacob Stockinger

FIRST, SOME LOCAL NEWS:

1. The Madison Symphony Orchestra has scored a SOLD-OUT HOUSE with its inaugural “Beyond the Score” performance of the “New World” Symphony by Antonin Dvorak (below) this Sunday afternoon at 2:30 p.m. in Overture Hall at the Overture Center. The official word comes from MSO marketing director Teri Venker.

That sellout –- the first in a while for the MSO, I think — bodes well for future success and repeat performances of the “Beyond the Score” format applied to different symphonic works.

Dvorak sepia photo

Here are two other links to posts I did about the concert.

The first post describes what happens during the multi-media “Beyond the Score” format that was pioneered by the Chicago Symphony Orchestra,

https://welltempered.wordpress.com/2014/01/20/classical-music-the-madison-symphony-orchestra-will-unveil-its-first-beyond-the-score-multi-media-performance-of-antonin-dvoraks-popular-symphony-no-9-fro/

The second link is to a Q&A with MSO music director and conductor John DeMain (below, in a photo by Prasad) who discusses how the “Beyond the Score” format came about and how likely it is that future such concerts will be programmed by the MSO:

https://welltempered.wordpress.com/2014/01/23/classical-music-conductor-john-demain-takes-listeners-behind-the-scenes-of-the-madison-symphony-orchestras-inaugural-beyond-the-score-concert-of-dvoraks-popular/

John DeMain full face by Prasad

All in all, The Ear is impressed with what seems a smart marketing move that will benefit the MSO (below), but will also attract new listeners and younger, inexperienced audiences. As for seasoned, symphony loyalists, the multi-media format sounds as if it will deepen anyone’s appreciation of the iconic work — or so DeMain promises.

But WHAT DO YOU THINK? Leave a comment that tells The Ear and the MSO.

John DeMain and MSO from the stage Greg Anderson

2. A week ago Friday, the Wisconsin Chamber Orchestra (below top), under the baton of music director and conductor Andrew Sewell, (below bottom) turned in a superb performance as it opened the second half of the current season. I offered a review of my own and linked to a review by John W. Barker of Isthmus.

WCO lobby

andrewsewell

Here are links to those reviews:

https://welltempered.wordpress.com/2014/01/19/classical-music-the-wisconsin-chamber-orchestra-shows-its-impressive-mastery-of-many-musical-styles-in-a-concert-of-mozart-castelnuovo-tesdeco-and-bruckner-that-marks-again-just-how-superb-its-music/

http://www.thedailypage.com/daily/article.php?article=41864

But unfortunately, I overlooked another very positive and very perceptive review by Madison Magazine’s experienced classical music blogger Greg Hettmansberger (below top). Here is his review of the WCO with its guest guitar soloist Ana Vidovic (below bottom) and its program of music by Wolfgang Amadeus Mozart, Mario Castelnuovo-Tedesco and Anton Bruckner.

http://www.madisonmagazine.com/Blogs/Classically-Speaking/January-2014/Wisconsin-Chamber-Orchestra-Goes-Big-Small-and-Just-Right/

greg hettmansberger mug

Ana Vidivic

Finally, as you may have already heard, Italian conductor Claudio Abbado (below) died this past week at the age of 80.

Earlier, I provided some links to stories in The New York Times and The Washington Post. Here they are.

http://www.nytimes.com/2014/01/21/arts/music/claudio-abbado-italian-conductor-dies-at-80.html?_r=1

http://www.washingtonpost.com/local/obituaries/claudio-abbado-age-italian-conductor-who-led-european-orchestras-into-modern-era/2014/01/20/d23c267c-30f7-11e3-8627-c5d7de0a046b_story.html

Claudio Abbado

But the best summary of Claudio Abbado’s career – which also included recommended recordings and even sounds clips from some of those recordings (include a symphony by Gustav Mahler and an opera  by Giacchino Rossini – came later, as it often does, on NPR’s outstanding classical blog “Deceptive Cadence.”

Here is a link that you how Abbado developed from a young man into a world-class star complete with compelling professional and personal information, including testimonials from musicians who loved performing under his direction of this refreshingly and even surprisingly humble and self-effacing master maestro.

http://www.npr.org/blogs/deceptivecadence/2014/01/21/264506409/tracing-the-career-of-claudio-abbado-a-consummate-conductor

And here – to mark his passing — is Claudio Abbado’s memorial video on YouTube. He is conducting the Lucerne Festival Orchestra is the lovely, bittersweet and pensive Adagietto movement from Mahler’s Symphony no. 5, the same piece of music that was memorably used as the soundtrack to the film of Thomas Mann’s famous novella “Death in Venice.”

If you have a favorite Abbado performance – operatic or symphonic – leave a comment to direct the rest of us:

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Classical music: The Wisconsin Chamber Orchestra shows its impressive mastery of many musical styles in a concert of Mozart, Castelnuovo-Tedesco and Bruckner that marks again just how superb its music-making has become. Plus, read John W. Barker’s review for Isthmus.

January 19, 2014
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By Jacob Stockinger

There are many ways to take the measure of a performing arts group. And by all the important measures you can think of, the concert Friday night in the Overture Center’s Capitol Theater by the Wisconsin Chamber Orchestra (below) succeeded superbly.

WCO lobby

Not that we should be surprised. For many seasons now, the WCO, under the programming and baton of its longtime director Andrew Sewell (below) has been turning in higher and higher caliber performances in the Masterworks winter series.

andrewsewell

But this concert may well mark a new highpoint.

Do you like light and easy-listening fare? Then the opening work, Mozart‘s overture to “The Impresario,” proved a perfect curtain-raiser. It possessed the right energy and articulation to make it seem, at least for a few minutes more than the things that the young Mozart (below) could toss off pretty much without thinking.

mozart big

Do you like to hear the orchestra accompany a soloist? Then the Croatian guitarist Ana Vidovic (pronounced VIDO-vich, not vik) proved terrific in an ideal vehicle.

Ana Vidivic

It was the Guitar Concerto No. 1 by the early 20th-century Italian composer Mario Castelnuovo-Tedesco, whose gift for accessibility, transparent structure and melody may be linked to his composing of movie scores. Take the bittersweet, heartbreaking song, Mozartean in its single-note simplicity, that opens the slow movement (at bottom, in a YouTube video).

Mario Castelnuovo-Tedesco

True, Vidovic amplified her guitar And while purists might object to that, from where The Ear sat, the amplification helped maintain balance and kept the orchestra from holding back and the guitarist from forcing her sound. Plus, I am not sure the acoustics of the old refurbished Capitol Theater (below) allow for unamplified playing of the classical guitar. (Check out the microphone in the YouTube video at the bottom that comes from a live recording at a prestigious international guitar competition.)

Capitol Theater

Cutting an attractive figure with her long brunette hair, bright yellow dress and gracious stage presence, Vidovich also offered approving fans a beautiful solo encore, Francisco Tarrega‘s haunting “Remembrances of Alhambra.” The Ear expects, and hopes, we will be hearing her again in a couple of seasons, maybe in a concerto by Antonio Vivaldi or Joaquin Rodrigo.

Ana Vidivic

Do you like music that is “red meat,” as a close friend of The Ear described the Symphony No. 2 in C minor by the late 19th century Romantic Anton Bruckner (below)? Then you wouldn’t have been disappointed either. In fact, this work that lasted over an hour was the only one that brought the audience to its feet -– and in a town renowned for easy standing ovations.

This particular standing ovation, I suspect, was more for the performance than for the demanding music. The audience recognized effort, force and precision when they heard them. The WCO poured itself, heart, soul and body into this work, which was clearly rehearsed long and in careful detail under Sewell’s guidance.

Anton Bruckner 2

The work itself is early and somewhat disjointed, lurching from the dramatic to the lyrical and back again. Clearly Bruckner relies more on rhythm and pulse than on melody. I do not find that he sings all that naturally or all that much. But he certainly does engage you by the way works over the music, and especially by the way he uses the brass and percussion as well as nthe strings and winds. Bruckner sure was sone kind of orchestrator!

Bruckner’s sound is his own, whatever its historical roots or influences. I am reminded of the scratched out scrawls one sees in Beethoven’s notebooks. I suspect Bruckner, an endless reviser, worked the same way.

The deeply religious Bruckner (below) does not seduce you; sensuality is not his strong suit. Instead he forcefully grabs you and compels you to listen. We should hear more of him, and conductor Sewell, pretty much by himself, seems to be making sure that we do. And his efforts are appreciated.

bruckner2

Not for nothing did that the WCO, on a cold and snowy winter night, play to a full house of about 1,200. At this rate, and with this kind of mastery, one hopes that perhaps the WCO can one day justify doing double performances, maybe a matinee. The quality of the WCO’s music-making certainly deserves it. And so do we listeners.

If you want to compare and see what another critic thought, here is a link to the review the John W. Barker did for Isthmus:

http://www.thedailypage.com/daily/article.php?article=41864

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Classical music: The Wisconsin Chamber Orchestra kicks off the second half of this concert season with a performance this Friday night of orchestral music by Mozart and Bruckner and a guitar concerto by Castelnuovo-Tedesco.

January 13, 2014
3 Comments

By Jacob Stockinger

Event by event, The Ear sees that the winter intermission of the concert season is coming to an end.

To be specific: This Friday night, Jan. 17, the Wisconsin Chamber Orchestra (below) will kick off the major performances of the season. Then next week comes the Madison Symphony Orchestra, and after that the University of Wisconsin-Madison School of Music and the Madison Opera. And that doesn’t even begin to touch many other smaller chamber music ensembles and Edgewood College.

WCO lobby

At 8 p.m. in the Capitol Theater of the Overture Center, WCO music director and conductor Andrew Sewell will lead the orchestra with guest Croatian guitar soloist Ana Vidovic (below), who is making her Madison debut.

Ana Vidivic

The program includes the energetic “Impresario” Overture by Mozart from the 18th century; the accessible and Romantic guitar Concerto by Mario Castelnuovo-Tedesco form the 20th century; and the dramatically introspective Symphony No. 2 in C Minor by Anton Bruckner from the 19th century.

Anton Bruckner 2

Tickets are $15 to $67 and can be obtained by calling the Overture Center box office at (608) 258-4141 or by visiting:

http://ev12.evenue.net/cgi-bin/ncommerce3/SEGetEventInfo?ticketCode=GS%3AOVERTURE%3A13WCO%3ACT0117%3A&linkID=overture&shopperContext=&pc=&caller=&appCode=&groupCode=WCO_D&cgc=

The well-planned and eclectic program is a terrific combination of the light and the heavy, the lyrical and the dramatic. It is distinguished not only by the colorful guitar concerto by also by the second straight second season in which longtime WCO music director and conductor Andrew Sewell (below) has programmed a Bruckner symphony – while Bruckner has yet to find its way on a program of the Madison Symphony Orchestra for a couple of decades.

For a fine profile and interview with and on overview of Sewell’s achievements, you should read Sandy Tabachnick’s excellent story “The Malleable Maestro” in the Jan. 10 issue of Isthmus. Here is a link:

http://www.thedailypage.com/daily/article.php?article=41783

andrewsewell

Here is a link to an impressive biography of the guitar soloist Ana Vidovic. And you can hear her in a performance in a YouTube video at the bottom. She is playing Isaac Albeniz‘ popular “Asturias” and the video has over 6 million hits!

http://wcoconcerts.org/anavidovicbiography/?utm_source=FY14+MW2+Ana+Vidovic&utm_campaign=FY14+MW2+1.8.14&utm_medium=email

An addendum: I am not sure if the reservation deadline has already passed, but if you want to eat on the premises right before the concert, it can’t hurt to call right away if you are interested.

There is an appealing pre-concert dinner from 6 to 7:30 p.m. in the Wisconsin Studio of the Overture Center. And the menu of roast chicken with peach and walnut chutney or roast salmon with tomato chutney plus rice pilaf, green beans and chocolate mousse for dessert looks to The Ear to be pretty tasty and satisfying for a mid-winter meal. The cost is $33 per person. For reservations, call 257-0638.

http://wcoconcerts.org/performances/masterworks/2013-2014_pre-concert_dinners/

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