The Well-Tempered Ear

Classical music: The Wisconsin Chamber Choir will sing a varied holiday program about peace on Earth this coming Saturday night

December 13, 2017
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By Jacob Stockinger

This coming Saturday night, the Wisconsin Chamber Choir (below) will sing its holiday concert featuring works about peace on Earth.

The concert is at 7:30 p.m. in the Atrium Auditorium, (below, in a photo by Zane Williams) of the First Unitarian Society of Madison, 900 University Bay Drive.

The holiday message of peace and good will to all people resonates across the centuries. Tragically, the proclamation, “Peace on earth” is every bit as relevant today as it was 2,000 years ago.

WCC director and conductor Robert Gehrenbeck (below), who directs the choral program at the UW-Whitewater and who is celebrating his 10th season with the group, writes in his program notes to the concert:

“According to New York Times foreign correspondent Chris Hedges, “Of the past 3,400 years, humans have been entirely at peace for 268 of them, or just 8 percent of recorded history.” “This evening’s program by the Wisconsin Chamber Choir explores humanity’s yearning for peace through the centuries. 

The centerpiece of the WCC’s 2017 holiday concert is British composer Gerald Finzi’s exquisite retelling of the Christmas story, In terra pax, for choir, soloists and chamber orchestra. Baritone Brian Leeper (below top) and soprano Ann Baltes (below bottom) are among the featured soloists, performing with members of Sinfonia Sacra, the WCC’s professional orchestra.

In his own program notes, Finzi explained that the Nativity “becomes a vision seen by a wanderer on a dark and frosty Chrismas Eve, in our own familiar landscape.”

Finzi scholar Andrew Burn elaborates: “On New Year’s Eve, 1926, the 25-year old Gerald Finzi (below) joined the bell-ringers of the tiny church of St. Bartholomew perched on the crest of Chosen Hill, near Gloucester, as they rang in the New Year. For Finzi, the experience was unforgettable—the frosty starlit night with bells ringing out from churches far and near across the Severn valley—and from it sprang the orchestral New Year Music and [25 years later] In terra pax, his last major composition.

In terra pax is a masterpiece in miniature. Finzi’s pacifism is at its heart, and his belief that men and women of goodwill should live harmoniously together. Weaving through the music are three ideas: the pealing of the bells with their joyous message, a phrase from the carol The First Nowell, and the alleluia refrain from the hymn Lasst uns erfreuen (‘Ye Watchers and Ye Holy Ones”).”  (You can hear the opening of the work in the YouTube video at the bottom.)

Complementing Finzi’s music are two other works with instrumental accompaniment: Felix Mendelssohn’s moving prayer for peace, Verleih uns Frieden, and an energetic Gloria from Johann Sebastian Bach’s Mass in A major.

Several more recent works bring the concert’s message up to date, including Cry Peace by Libby Larsen (below top) and the haunting Winter Solstice Carol by Giles Swayne (below bottom).

A varied selection of carol arrangements rounds out the program, including a resplendent setting of Silent Night by one of the WCC’s favorite composers, Peter Bloesch (below).

Founded in 1998, the Wisconsin Chamber Choir has established a reputation for excellence in the performance of oratorios by Bach, Mozart and Brahms; a cappella works from various centuries; and world premieres.

Advance tickets for the Dec. 16 performance are available for $20 ($10 for students) from www.wisconsinchamberchoir.org, via Brown Paper Tickets, or at Orange Tree Imports and Willy Street Coop (all three locations).

Tickets will also be available at the door for $25 ($10 for students).

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Classical music: The UW Choral Union and UW Symphony Orchestra deliver outstanding performances of great music by Mozart and Brahms

December 12, 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. For years, he served on the Board of Advisors for the Madison Early Music Festival and frequently gives pre-concert lectures in Madison. Barker also took the performance photos.

By John W. Barker

The program for the first concert this season by the UW Choral Union (below), mercifully, had nothing whatsoever to do with Christmas, and just offered great music.

There were only two works, one by Brahms and the other by Mozart. Surefire!

Johannes Brahms composed three relatively short works for chorus, without soloists, and orchestra. Of these, I wish conductors would get busy with two of them in particular. The Gesang der Parzen (Song of the Fates) and Nänie are simply superb works by one of the greatest of all choral composers.

The third, the Schicksalslied (Song of Destiny), Op. 54, I would rate just a bit lower for musical content, but that is the one of the three that is more frequently performed, and that was the one we heard.

That said, there is much quite beautiful music in the piece, which sets a poem of Friedrich Hölderlin that moves from anxiety to desperation. Brahms (below) preceded the choral setting with a serene introduction that—to satisfy his aesthetics if not the poet’s—he repeats at the end to restore order.

Conductor Beverley Taylor (below) employed rather broad tempos, but this enabled her to bring out some of the melodic material with great beauty.

And, with a chorus of some 124 singers, she was able to give the music tremendous sonority, if a bit at the price of German diction. With the very good UW Symphony Orchestra in fine fettle, too, this was an excellent performance that should alert listeners to neglected treasures.

The main work was the unfinished “Great” Mass in C minor, K. 427, by Mozart (below). This is music inspired by the composer’s marriage and by the new (for him) artistic climate of Vienna. Even incomplete – it has a fragmentary “Credo” and is missing an “Agnus Dei”) — it still stands, with his also uncompleted Requiem, as a towering masterpiece of his sacred choral output.

Taylor displayed a fine feeling for both the overall and individual qualities of the work, projecting them with vigor and discipline.

There were four student soloists (below), with promising young voices.

But eventually the standout proved to be soprano Sarah Richardson (below). The operatic-style aria, “Et incarnatus est” from the “Credo” was apparently sung by Mozart’s wife in its preliminary performance, and is often heard as a separate solo number today. This was sung by Richardson (below) with skill and eloquence. (You can hear the aria in the YouTube video at the bottom.)

This chorus was really a bit oversized for a work like this, but Taylor made it the real star of the performance, in singing with both power and precision.

A truly rewarding concert!


Classical music: Grammy winners Takacs Quartet and pianist Garrick Ohlsson perform a MUST-HEAR concert of Mozart, Brahms and Shostakovich this Sunday night at the Wisconsin Union Theater. Plus, you can hear a FREE performance of string music by Johan Halvorsen and Philip Glass this Friday at noon

November 30, 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 Passcaglia Duo of Norwegian composer Johan Halvorsen and String Quartet No. 5 by American contemporary composer Philip Glass.

Performers are violinists Kaleigh Acord, Elspeth Stalter and Ela Mowinski; violist Shannon Farley; and cellist Morgan Walsh. The concert, which runs from 12:15 to 1 p.m., will be streamed live on the Facebook page of Noon Musicales.

By Jacob Stockinger

Separately and together, The Ear loves piano and strings.

So you can imagine the appeal of a concert that will take place this Sunday night at 7:30 p.m. in Shannon Hall at the Wisconsin Union Theater.

That’s when the veteran and venerable Takacs Quartet (below) and acclaimed pianist Garrick Ohlsson will join forces in a terrific all-masterpiece program.

The concert has all the makings of a MUST-HEAR event for chamber music fans.

The award-winning Takacs Quartet, founded 42 years ago in Hungary and widely recorded and honored, will play two string quartets.

The late String Quartet No. 21 in D Major, K. 575, by Wolfgang Amadeus Mozart (below), is the first of the composer’s three so-called “Prussian” quartets.

Known for a more relaxed style than the earlier “Haydn” quartets by Mozart, the Prussian quartets were composed for the King of Prussia, Friedrich Wilhelm II (below), who was a talented amateur cellist.

The Takacs will also perform the seven-movement String Quartet No. 11 in F minor by Dmitri Shostakovich (below). It is one of The Ear’s very favorite of the 16 quartets written by the Russian composer who endured the torments and treacheries of the Stalinist terror in the Soviet Union.

Then Garrick Ohlsson (below) will join in for the Piano Quintet in F Minor by Johannes Brahms. It is one of the four or five crowning quintets for piano and string quartet.

The Ear loves the playing of both artists and the program should be deeply interesting and moving. The Takacs possesses a mastery of many styles and has recorded numerous quartets by Haydn, Schubert, Schumann, Brahms, Smetana, Janacek and, more recently, by Dvorak as well as a terrific complete cycle of the 16 Beethoven quartets.

But the Takacs has recorded little Mozart (two string quintets) and little Shostakovich (one quartet and a piano quintet), so The Ear looks forward to hearing the quartet’s take on those composers.

The Takacs has recorded the Brahms Piano Quintet, but with British pianist Stephen Hough and Hungarian pianist Andras Schiff, but that work too should be a memorable performance with Ohlsson, the only American ever to win the International Chopin Piano Competition. (You can hear the energetic and lyrical opening movement from the Takacs-Hough recording in the YouTube video at the bottom, which has an intriguing and colorful bar graph to emphasize the structure.)

Tickets are $10-$47. For more information about purchasing tickets plus a video and more background about the artists, go to:

https://union.wisc.edu/events-and-activities/event-calendar/event/takacs-quartet-with-garrick-ohlsson/


Classical music: Organist Greg Zelek, of the Madison Symphony Orchestra, will give a FREE celebratory recital at First United Methodist Church this coming Tuesday night

November 10, 2017
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By Jacob Stockinger

The Ear has received the following announcement to post:

“Greg Zelek (below), the new principal organist of the Madison Symphony Orchestra and Curator of the Overture Concert Organ and Series, will present a FREE public organ recital on this coming Tuesday night, Nov. 14, at 7 p.m. at First United Methodist Church, 203 Wisconsin Avenue, in downtown Madison.

“The evening’s program of masterpieces includes: the Toccata and Fugue in D minor, BWV 565, by Johann Sebastian Bach; the Organ Sonata in F minor, Op. 65, No. 1, by Felix Mendelssohn; the Prelude and Fugue in A minor, BWV 543, by J.S. Bach (heard performed by Zelek in the YouTube video at the bottom); and the Organ Sonata in D minor, Op. 42, No. 1, by Alexandre Guilmant.

“A public reception follows the recital where people can share their thoughts about the program and meet the artist.

“Zelek says he relishes the creative aspect of playing the organ. Because no two instruments are alike, every time he sits down at a new console he reinvents the repertoire that he has played thousands of times for that specific instrument and that specific space.

“Zelek adds: “It gives me the opportunity to be as creative as possible when it comes to the selecting of different sounds and colors for each individual instrument and composition.”

“The First Church organ console (below top), as well as the one (below bottom) at the Overture Center, is in front of the audience, offering the organist opportunities to interact and engage with them.

“I speak to the audience in between pieces,” Zelek explains. “Having a greater understanding of the music sheds light onto its immense beauty and enhances the listener’s appreciation of the performance.

“The organ is also such a physical instrument. When the audience can see what the organist is doing, it draws everybody in. There is so much going on. It’s not just the hands and the feet, but also the different buttons we’re pushing and sounds we’re generating from the instrument. It is a full body workout when I play! The audience should never be bored.”

“Zelek’s recital is part of the 180th anniversary celebration of First United Methodist Church as well as the 25th anniversary of its Austin organ.

“Admission for the recital is FREE with donation envelopes available to support The Arts program at First Church. The church has a deep tradition in featuring varied musical offerings and provides much needed rehearsal and performing space for local music and performing arts groups.”


Classical music: The UW’s Pro Arte Quartet and Wingra Wind Quintet join forces this Saturday night in a FREE performance of the famous Octet by Franz Schubert. You can also hear a free concert of music by Brouwer, Nazareth and Rodrigo this Friday at noon.

October 25, 2017
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ALERT: This Friday’s FREE Noon Musicale at the First Unitarian Society of Madison, 900 University Bay Drive, will feature guitarist Christopher Allen, violist Shannon Farley and flutist Iva Ugrcic. The program includes music by Leo Brouwer, Ernesto Nazareth and Joaquin Rodrigo. The concert runs from 12:15 to 1 p.m.

By Jacob Stockinger

It is one of the towering masterpieces of chamber music composed in the 19th century.

And the lyrical, dance-like and upbeat Octet for strings and winds by Franz Schubert (below top) will be performed in a FREE concert this Saturday night at 8 p.m. in Mills Hall. (The opening page of the autograph manuscript is below bottom.) 

The program also features the “Introduction and Variations for flute and piano,” D. 802, by Schubert, with flutist Timothy Hagen (below top) and pianist Daniel Fung (below bottom).

Then comes the one-hour Octet in F Major, D. 803. (You can hear some of it in the YouTube video at the bottom.) For more about the Octet, which is Schubert’s largest chamber work and uses themes from a song and other vocal music by him, go to the Wikipedia entry:

https://en.wikipedia.org/wiki/Octet_(Schubert)

Performers for the entire concert come from the combined UW faculty forces of the Pro Arte String Quartet (below, in a photo by Rick Langer) and the Wingra Wind Quintet.

In the Octet, the performers are: David Perry and Suzanne Beia, violin; Sally Chisholm, viola; Parry Karp, cello; Alicia Lee, clarinet (below top); Joanna Schulz, horn (below middle); Marc Vallon, bassoon (below bottom, in a photo by James Gill); and David Scholl, double bass.

For information about the Pro Arte Quartet, go to:

http://www.music.wisc.edu/pro-arte-quartet/

For information about the Wingra Wind Quintet, go to:

http://www.music.wisc.edu/wingra-woodwind-quintet/


Classical music: UW oboist Aaron Hill performs world premieres and little known composers in a FREE recital Sunday afternoon

October 20, 2017
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By Jacob Stockinger

This is Homecoming weekend at the University of Wisconsin-Madison, and it is busy on many counts, including several classical music concerts in the city on Sunday afternoon.

But one of the more intriguing is a FREE recital at 3 p.m. in Mills Hall by UW-Madison Professor Aaron Hill (below), who teaches oboe and also performs in the Wingra Woodwind Quintet.

Hill will be joined by collaborative pianist Daniel Fung (below), who is also a vocal coach at the Mead Witter School of Music at the UW-Madison.

Particularly noteworthy is the number of world premieres and relatively unknown contemporary composers on the program.

Here is the program:

“Poem,” for oboe and piano (1953) by Marina Dranishnikova (1929-1994, below). (You can hear it in the YouTube video at the bottom.)

Oboe Sonata (1947) by Jean Coulthard (1908-2000)

  1. Gently Flowing
  2. Sicilienne
  3. Allegro

Intermission

* Soliloquies (2013) by Andre Myers (b. 1973)

  1. To be or not to be
  2. There’s Rosemary, that’s for remembrance
  3. In the Month of May
  4. Spring Discourse

   * world premiere performance

* After Manchester (2017) Aaron Hill and Michael Slon (b. 1982 and 1970, respectively) * world premiere performance

Four Personalities (2007) Alyssa Morris (b. 1984)

  1. Yellow
  2. White
  3. Blue
  4. Red

Here are some program notes by Aaron Hill:

“This program highlights five different ways to program previously unfamiliar music, as explained below.

“Poem” by Marina Dranishnikova came to me through our local community. Oliver Cardona, currently a junior music major at UW-Madison, initially brought it to my attention. The work was discovered and edited by my predecessor, Professor Marc Fink (below), during his travels in Russia.

I first heard the Oboe Sonata by Jean Coulthard (below) at the 2017 International Double Reed Society conference at Lawrence University  in Appleton, Wis.

Charles Hamann, the principal oboist of the National Arts Centre Orchestra in Ottawa, edited and recorded it as part of a large project to bring international attention to masterpieces by Canadian composers.

Andre Myers (below) attended the University of Michigan with me and we first became acquainted when I performed one of his orchestral works. His beautiful writing for English horn started our friendship and 15 years later, he wrote his Soliloquies for me.

The first two are based on famous scenes from Shakespeare’s “Hamlet.” The third is based on a poem by Minnesota’s first poet laureate, Robert Bly, which will be read aloud from the stage. The final movement is inspired by a dream vision he had of centaurs playing in a meadow.

“After Manchester” was originally a free improvisation I recorded and posted to social media in the wake of the terror attack at Ariana Grande’s concert on June 4, 2017.

Later in the summer, Professor Michael Slon (below), the Director of Choral Activities at the University of Virginia, transcribed my improvisation and wrote a piano part to transform it into a piece of chamber music. The work was completed just days before the violent events in Charlottesville.

Professor Alyssa Morris (below) currently teaches oboe at Kansas State University and her compositions have become widely performed as standard literature for oboists in recent years.

She wrote “Four Personalities” to perform in her own undergraduate recital at Brigham Young University and I first heard it while searching for oboe music on YouTube. The piece is based on the Hartmann Personality Test.

In her words, the colors correspond to the following types:

Yellow: Yellow is fun-loving. The joy that comes from doing something just for the sake of doing it is what motivates and drives yellow.

White: White is a peacekeeper. White is kind, adaptable, and a good listener. Though motivated by peace, white struggles with indecisiveness. 

Blue: Blue brings great gifts of service, loyalty, sincerity, and thoughtfulness. Intimacy, creating relationships, and having purpose is what motivates and drives blue.

Red: Motivated by power. Red is aggressive and assertive. Red is visionary, confident, and proactive. 


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Classical music: The Middleton Community Orchestra excels in deeply satisfying performances of works by Copland and Dvorak. On Sunday, you can hear FREE band and choral music at the UW

October 14, 2017
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ALERT: On tomorrow, Sunday, Oct. 15, there is FREE band music and choral music at the UW-Madison. The University Bands perform at 1 p.m. and the Choral Collage performs at 7:30 p.m., both in Mills Hall. Sorry, but The Ear has received no word on programs — no composers, no pieces, no conductors, no performers — and you won’t find that information even on the School of Music’s website. 

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.

By John W. Barker

The opening concert of the mostly amateur Middleton Community Orchestra (below, in a photo by William Ballhorn) on Wednesday night was a deeply satisfying one.

The opener was Aaron Copland’s Quiet City, based on his incidental music for a 1939 play. The piece is less a work of music than of atmosphere, and deeply related to Copland’s own experiences growing up in New York City. To convey contrasting outlooks, Copland features a trumpet and an English horn as solo instruments.

These parts were played with confidence and feeling by MCO players Jessica Jensen and Valree Casey (below top and bottom, respectively, in photo by Brian Ruppert). The reduced string orchestra provided a smooth carpeting.

The main work was the Symphony No. 6 in D Major by Antonin Dvorak (below). Cruelly overshadowed in podium and audience tastes, this score has been badly neglected, but justly belongs with the composer’s last three symphonies as a worthy peer. (The Madison Symphony Orchestra did perform it a few seasons back.)

As I listened to the work, I recalled the comment that the early Dvorak supporter, Johannes Brahms, commented to colleagues as he got to know the Czech composer’s music, to the effect that “This kid has more ideas than all the rest of us put together.”

Dvorak’s outpouring of ideas, and his capacity for putting them to good use, is simply astounding. I particularly marveled at such qualities as I listened to the slow movement (which you can hear in the YouTube video at the bottom), with its beautiful manipulation of the simplest of basic material. I emerged from the performance feeling joy at being a member of the same species as the creator of this wonderful work.

One could certainly overlook some moments of rough ensemble here and there. Clearly, the players had come to love this music and give it their all. Indeed, the distinguished conductor Edo de Waart, who just retired as music director of the Milwaukee Symphony Orchestra to become the music director of the New Zealand Symphony Orchestra) joined the orchestra in one rehearsal (below, in a photo by Brian Ruppert), leaving the players not only delighted with him but that much more enchanted by the music.

The large audience caught the orchestra’s commitment and responded with an enthusiastic standing ovation.

One thought did occur to me. The acoustics of Middleton’s Performing Arts Center (below) have usually seemed to me quite admirable. This time, however, they struck me as rather dry, without some resonance and reverberation that would have added greater warmth of tone to the playing.

No matter, though. This was a performance I will long remember; and I have the greatest admiration for maestro Steve Kurr (below), both for his courage in taking on this challenging and under-appreciated masterpiece and for his clearly profound understanding of it.


Classical music: A busy week at the UW-Madison brings the debut of a new conducting professor with the UW Symphony Orchestra plus a major voice recital, a string quintet and two master classes.

October 2, 2017
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By Jacob Stockinger

It will be a busy week for classical music in Madison, especially at the University of Wisconsin-Madison Mead Witter School of Music.

Certainly the standout event is the debut of Chad Hutchinson (below). He is the new conducting teacher and succeeds James Smith.

The FREE concert by the UW Symphony Orchestra will take place on Saturday night at 8 p.m. in Mills Hall.

The intriguing program features the Prelude to the opera “Die Meistersinger” by Richard Wagner (you can hear George Solti perform it with the Vienna Philharmonic the YouTube video at the bottom); the orchestral arrangement by Leopold Stokowski of the piano prelude “The Sunken Cathedral” by Claude Debussy; the “Mothership,” with electronics, by the American composer Mason Bates; and the Symphony No. 3 “Eroica” by Ludwig van Beethoven, a work that was recently voted the best symphony ever written by more than a hundred conductors.

Here is a link to more about Hutchinson’s impressive background:

http://www.music.wisc.edu/chad-hutchinson/

And here is a schedule of other events at the UW:

WEDNESDAY

At 7:30 p.m. in Mills Hall conductor Scott Teeple leads the UW Wind Ensemble (below top) in its FREE season opener featuring music by Percy Grainger, Aaron Copland, Roger Zare and Jennifer Higdon. Also featured is guest oboist, faculty member Aaron Hill (below bottom).

Here is a link to program notes:

http://www.music.wisc.edu/event/wind-ensemble/

Also at 7:30 p.m. in nearby Morphy Recital Hall, the internationally renowned guest violist Nobuko Imai (below), from Japan, will give a free public master class in strings and chamber music.

THURSDAY

At noon in Mills Hall, guest violist Nobuko Imai (see above) will perform a FREE one-hour lunchtime concert with the Pro Arte Quartet, which has San Francisco cellist guest Jean-Michel Fonteneau substituting for the quartet’s usual cellist, Parry Karp, who is sidelined temporarily with a finger injury.

The ensemble will perform just one work: a driving and glorious masterpiece, the String Quintet No. 2 in G Major, Op. 111, by Johannes Brahms.

At 1 p.m. in Old Music Hall, Demondrae Thurman (below), a UW alumnus who is distinguished for playing the euphonium, will give a free public master class in brass.

For more information, go to:

http://www.music.wisc.edu/event/master-class-demondrae-thurman-euphonium/

NOTE: The 3:30 master class for singers by Melanie Helton has been CANCELLED. The UW hopes to reschedule it for late fall or spring.

FRIDAY

At 8 p.m. in Mills Hall, UW baritone Paul Rowe (below top, in a  photo by Michael R. Anderson) and UW collaborative pianist Martha Fischer (below middle) will give a FREE concert of three songs cycles by Robert Schumann (the famed “Liederkreis); Maurice Ravel; and UW alumnus composer Scott Gendel (below bottom).

For the complete program, go to:

http://www.music.wisc.edu/event/faculty-recital-paul-rowe-voice-martha-fischer-piano-2/

SATURDAY

At 8 p.m. in Mills Hall, the UW Symphony Orchestra (below) will perform under its new conductor Chad Hutchinson. See above.

SUNDAY

At 3 p.m. the afternoon concerts by Lyle Anderson at the UW Carillon (below) on Observatory Drive will resume.

Here is a link with a schedule and more information:

http://www.music.wisc.edu/event/carillon-concert/2017-10-08/


Classical music: Farley’s underappreciated Salon Piano Series shines again with duo-pianists Robert Plano and Paola Del Negro

September 29, 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. He also took the performance photos.

By John W. Barker

Roberto Plano appeared last season in a four-piano concert in the Salon Piano Series at Farley’s House of Pianos. This year, to open the 2017-18 season in the same series on last Sunday afternoon, the Boston-based pianist brought along his pianist wife, Paola Del Negro, for a duo program of utter fascination. (They are below.)

The first half of the program was devoted to music for piano-four hands, the duo alternating between primo and secondo parts. Robert Schumann’s six “Pictures From the East,” Op. 66, are examples of the composer’s important duo output.

Burgmein was the pen name of the covert composer better known as the influential music promoter and publisher Giulio Ricordi (below). His set of six duet pieces evoking characters from the Italian Renaissance Commedia dell’Arte tradition followed.

Then came two of the Hungarian Dances (No. 2 and 5) by Johannes Brahms in their original piano-duo form. (You can hear them play Hungarian Dances by Brahms in the YouTube video at the bottom.)

Ending the program’s first half was one of its biggest hits. After composing the great orchestral cycle of six patriotic scenes called “My Country,” Bedrich Smetana (below) made four-hand piano arrangements of each. Plano and Del Negro played that for the popular “Moldau.” This arrangement managed to capture a good deal of the orchestral original’s coloristic and dramatic effects, and was played with particular power.

The entire second half was devoted exclusively to a major work by Brahms, his Sonata for Two Pianos, Op. 34b. This work was created first as a string quintet, then later discarded. But the two-piano version (below) was superseded by Brahms’ transformation of its material into a Quintet for Piano and Strings (reckoned as plain Op. 34).

The Quintet — which, by the way will be performed by the UW’s Pro Arte Quartet in the Salon Series next March — is, of course, one of the composer’s masterpieces. But the Two-Piano Sonata survives on its own merits. The parallel material is presented cogently, all of it redistributed in consistently keyboard terms, as against the mixed media of the Quintet.

The duo played it with the necessary Brahmsian burliness and power, and on Farley’s wonderful vintage pianos it sounded simply magnificent.

As an encore, the duo played a two-piano arrangement of an energetic tango piece by Astor Piazzolla, but then followed with another, in this case, an eight-hand piano trifle in which the Plano-Del Negro duo were joined as parents by their two young daughters (below). The audience could hardly resist that!

Plano and Del Negro are great discoveries. And once again, the Salon Piano Series has shown itself as one of the exciting, if too-little-known of Madison’s musical treasures.

For more information about the Salon Piano Series and its upcoming concerts, go to: http://salonpianoseries.org


Classical music: The Ancora String Quartet will open its new season this Saturday night with music by Haydn, Dvorak and Ravel. 

September 28, 2017
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By Jacob Stockinger

The Ancora String Quartet (below in a photo by Barry Lewis) will open its 17th season this Saturday night with a varied program. Members, from left, are: Wes Luke and Robin Ryan, violins; Marika Fischer Hoyt, viola; and Benjamin Whitcomb, cello.

The ASQ members play with many other professional groups, including the Madison Symphony Orchestra, the Wisconsin Chamber Orchestra and the Madison Bach Musicians. Cellist Whitcomb teaches at the UW-Whitewater.

The concert will take place at 7:30 p.m. in St. Andrew’s Episcopal Church (below) on Madison’s near west side at 1833 Regent Street.

The stylistically varied program includes: The “Sunrise” Quartet, Op. 76, No. 4, by Franz Joseph Haydn; “Cypresses Nos. 2, 5 and 10 by Antonin Dvorak, and the String Quartet in F Major by Maurice Ravel.

Tickets at the door are $15 for the general public; $12 for seniors and students; and $6 for children under 12.

A post-concert reception to meet the members of the quartet is included in the ticket.

Another performance will take place on Tuesday, Oct. 3, at 7:30 p.m. in the Kirk Denmark Theatre, UW-Rock County. The performance is FREE and OPEN TO THE PUBLIC.

Here are some program notes from the Ancora String Quartet:

“The opening recital features something for every musical taste.

“First on the program is a superb example of mature Haydn, from its exquisite opening theme depicting the rising sun — a favorite image among composers — to the fleet Finale which gets faster and ever faster, racing towards its triumphant conclusion.

“Dvorak first set the poetic cycle Cypresses for voice and piano, but his own transcription for string quartet retains the lyrical vocal style of these miniature character pieces.” (You can hear Cypress No. 2 at the bottom in a YouTube video. The Ear considers Dvorak’s “Cypresses” to be little gems that are literally small masterpieces that are not as well-known as they should be. They make great encores.)

“The Ravel quartet brings French Impressionism at its finest, with iridescent colors, jazzy rhythms and propulsive energy.”


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