The Well-Tempered Ear

Classical music: Trio Celeste proves superb in its Madison debut concert at Farley’s House of Pianos

January 8, 2019
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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

In its Salon Piano Series, Farley’s House of Pianos has been offering splendid piano recitals. But it has augmented that by bringing other musicians to join in chamber music programs, showing them at work with the vintage pianos in the Farley collection, so lovingly restored.

On Sunday afternoon, the series brought the Trio Celeste (below) from California to play just such a program. Consisting of violinist Iryna Krechkovsky, cellist Ross Gasworth and pianist Kevin Kwan Loucks, the group played a demanding program of predominantly Russian origins.

They began by reversing the two parts of the program from the printed order. Thus, the first item was the single-movement Trio élégiaque No. 1 by Sergei Rachmaninoff, composed in 1892, inspired by the Tchaikovsky work that comprised the latter half. This was followed by piano trio arrangements from the flashy “Four Seasons of Buenos Aires” by the Argentinian composer Astor Piazzolla.

The red meat of the program, however, was the magnificent Trio in A minor, Op. 50, composed in 1882 by Tchaikovsky. This is one of the towering works of the chamber music literature, cast in quite unconventional terms: a tightly constructed but beautifully flowing opening movement, then an extended set of variations on a folksy tune.

The group (below) did resort to a frequent trick of cutting, omitting notably the challenging fugal variation. (You can hear the whole Theme and Variations movement in the YouTube video at the bottom.) But the performance was powerful and impassioned — and the more compelling for being given in a modest venue rather than in a large concert hall.  These are truly superb musicians, and it is wonderful to have them come to Madison for us.

The program made use of Farley’s Steinway Model D instrument made in 1950. During the intermission, Tim Farley (below) spoke knowingly about the instrument and its restoration. And, at the outset of things, comments on the music were given by the pianist and the cellist.

A truly memorable event in the Farley series!


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Classical music: Gift guide or gift or both? Critics for The New York Times name their top classical recordings of 2018, and so does National Public Radio (NPR)

December 22, 2018
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By Jacob Stockinger

Today is “Panic Saturday” — another, newer theme day on the commerce-driven Holiday Consumer Calendar that goes along with Black Friday, Small Business Saturday, Cyber-Monday and Giving Tuesday. 

In past years, by this time many media outlets would publish the list of the top classical recordings of the past year. And The Ear has offered them as holiday shopping guides with links to the lists.

They seem to be running late this year, probably too late for many shoppers.

But recently the team of critics for The New York Times named their Top 25 classical recordings of 2018 that run from the 15th century to today (sample album covers are below).

This time, the website didn’t just reproduce something that first appeared in the printed edition. And something more than small snippets or excerpts are offered.

This time, the newspaper took full advantage of the electronic possibility of the web and used streaming to add hours of sound samples — some as long as 40 minutes – so you can see what you think of the recordings before you buy them. (Be sure to look at reader reactions and comments.)

It is a new and innovative way to do a Top 25 list – very appealing or entertaining as well as informative. Even if you don’t use it to buy anything for others or yourself, it can provide many minutes of listening pleasure. You can think of it as a gift guide or a gift or both.

Of course, there are also the usual short and very readable, to-the-point narratives or explanations about why the recording stands out and what makes it great music, a great performance or a great interpretation.

So there is a lot to listen to and help you make up your mind. The Ear has enjoyed it and found it helpful, and hopes you do too, whether you agree or disagree with the choice:

Here is a link:

https://www.nytimes.com/2018/12/13/arts/music/best-classical-music-tracks-2018.html

Since this is the last weekend for holiday shopping before Christmas, here is the previous list – notice the duplications in the two lists — posted here, which was of the nominations for the upcoming 2019 Grammy Awards:

https://welltempered.wordpress.com/2018/12/08/classical-music-here-are-the-just-announced-grammy-nominations-for-2019-they-can-serve-as-a-great-holiday-gift-guide/

And here is the Top 10 list, which was chosen by the always discerning Tom Huizenga (below) — who explains the reasons for his choices — and which also offers generous sound samples, from National Public Radio (NPR) and its Deceptive Cadence blog. Also look for duplications:

https://www.npr.org/2018/12/18/677776208/npr-musics-best-classical-albums-of-2018

What recordings would you suggest? 

The Ear wants to hear.


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Classical music: The Middleton Community Orchestra impresses in a concert of “non-holiday” music for the holidays. Plus, what music is best to greet the Winter Solstice today?

December 21, 2018
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ALERT: Today we turn a  corner when the Winter Solstice arrives at 4:23 p.m. Days will start getting longer. What music would you celebrate it with? Antonio Vivaldi’s “Winter” section of “The Four Seasons”? Franz Schubert’s “Winterreise” or “Winter Journey”? Let The Ear know in the COMMENT section with a YouTube link if possible. Here comes the sun!

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

On Wednesday night at the Middleton Performing Arts Center, the mostly amateur Middleton Community Orchestra (below) proudly presented an alternative Christmas program of music, none of which had any connection whatsoever with that otherwise inescapable holiday.

It was a program of great variety, full of novelties.

It began soberly with Gustav Mahler’s early song cycle, the Lieder eines fahrenden Gesellen (Songs of a Wayfarer). This venture into German orchestral song (with a folk song background) provided symphonic inspiration for his First Symphony, the so-called “Titan,” so it unites many strains in the composer’s work.

Baritone Paul Rowe (below), of the UW-Madison’s music faculty, sang these songs. Rowe has a strong feeling for German, and he used clear diction to capture the dramatic meanings of the four song texts.

A contrast then, and a particular novelty, was the appearance of Matthew Coley (below), of the percussion ensemble Clocks in Motion, playing the cimbalom, the intensely Hungarian version of the hammered dulcimer. 

He was joined by the orchestra for a fancy arrangement of the Hungarian dance, the popular Czardas by Vittorio Monti. (You can hear Matthew Coley play the same piece on the cimbalom in the YouTube video at the bottom.) He followed this with an encore, a hand-me-down arrangement of a movement from one of Johann Sebastian Bach’s solo cello suites.

More contrast came with the mini-ballet score by Darius Milhaud Le Boeuf sur le toit (The Ox on the Roof) of 1919. This was one of the French composer’s trailblazing introductions of American jazz styles into European music.

It really works best with a small orchestra, so Middleton’s was a bit overblown for the assignment. But the elaborate solo role for violin was taken by Naha Greenholtz — concertmaster of the Madison Symphony Orchestra and wife of the evening’s guest conductor, Kyle Knox, who is the music director of Wisconsin Youth Symphony Orchestras and the Associate Conductor of the Madison Symphony Orchestra. There are some fiendish passages in the solo work, and Greenholtz brought them off with unfailing flair.

The final part of the program was devoted to the orchestral suite that Zoltan Kodaly derived from his Singspiel of 1926, Hary Janos, in which a comic Hungarian soldier upstages even Napoleon.

This is a satiric and highly colorful assemblage that offers wonderful opportunities for all of the instruments and sections to show off. And Coley was back with his cimbalom for Hungarian spice. The players clearly were having a great frolic, and conductor Knox drew the best out of them in a bravura performance.

Ah yes! Christmas without “Christmas” music. A wonderful idea to refresh the ears in December!


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Classical music: The Middleton Community Orchestra and solo flutist Iva Ugrcic turn in polished performances of a fun program to kick off the new season

October 12, 2018
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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 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 photo.

By John W. Barker

The opening concert on Wednesday night by the largely amateur Middleton Community Orchestra (below top), under the baton of Steve Kurr (below bottom), was a relatively brief but pithy one, with only three short works on the program.

The opener was Autumn, the most frequently played section of the ballet The Seasons, Op. 67 (1899), by Alexander Glazunov (below) and one of the composer’s most frequently heard pieces. It is a rondo-like sequence of varied dance movements, full of lyricism and bright colors. The Middleton players dug into it with gusto.

Second came the Flute Concerto in D Major, Op. 283, by the prolific 19th-century German composer Carl Reinecke (1824-1910, below). He was conservative as a teacher and as a prolific composer.

Among his concertos, this one was his last, written just two years before his death. It is an engaging work, not notable for great ideas, but amiable, with a good virtuosic workout for the soloist.

The soloist was the Serbian-born flutist Iva Ugrcic, an absolute whiz of a player, and, among other things, a product of the UW-Madison’s Mead Witter School of Music doctoral program.  She played with super-precision and confidence, giving her instrument great personality.

Without intermission, the concert ended with the Symphony No. 100, known as the “Military,” by Franz Joseph Haydn (below). It was first played in 1794 among the composer’s “London” Symphonies during his second visit to England. But it may well have been begun while he was in Vienna, for it reflects a particular fad popular there.

This was the use in orchestral writing of an adaptation of the sounds of the Turkish Janissary band. In the second movement, whose tune was taken from an earlier chamber work of his, Haydn introduced recurrently the “Turkish” instruments (two clarinets, triangle, cymbals, bass drums) with startling effect.

At the movement’s end, a trumpet call brings these novelties back for a crashing conclusion. And then, in the fourth movement’s ending, the “Janissary” instruments return for another razzle-dazzle finish. (You can hear the fourth movement in the YouTube video at the bottom.)

It’s all great fun, and the orchestra players seemed to find their own enjoyment in it.

The MCO continues its steady growth as a polished and reliable ensemble — all 98 players!


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Classical music: The talented new director of the Isthmus Vocal Ensemble sets the acclaimed and still impressive group on a new path with mixed results and hopeful expectations

August 9, 2018
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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

The Isthmus Vocal Ensemble (IVE, below) is a well-established part of Madison’s musical summers. It offers dedicated choral singers a chance for intensive rehearsal preparation of highly accomplished choral music, and has delivered some truly memorable events over the years.

Of its concerts this year, I caught the second performance on Sunday afternoon. The choir itself doesn’t need to be shown off by now, but it was the choir’s chance to show off its new conductor in his first appearance here.

Michael McGaghie (below) is that new conductor. He is very plainly a brilliant choral technician who knows how to make a choir sound wonderful. (For more about McGaghie, who is the Director of Choral Activities at Macalester Collge in St. Paul and who leads the Harvard Glee Club Alumni Chorus in Cambridge, Mass., go to: https://www.isthmusvocalensemble.org/artisticdirector/)

That he did throughout the program. The IVE — 69 singers strong — certainly responded with an infectious enthusiasm that was also communicated to the large audience that filled the Christ Presbyterian Church.  The concert was certainly a feast of great choral singing.

But what about the music?

To begin with, the actual music amounted to no more than about an hour’s worth. McGaghie planned the program as a progress of emotional moods, and he introduced each piece himself.

But what were the contents? McGaghie largely turned his back on the centuries of great choral music, the kind that his predecessor Scott MacPherson explored so ambitiously.

There were, at the beginning, two examples of that, motets by Thomas Tallis of the 16th century and Heinrich Schütz of the 17th century.

There was also an interesting nugget from the Russian composer and conductor Nikolai Golovanov (below), an early work of his (1917), setting the Lord’s Prayer (Otche naš) In a style departing from the previous two centuries of great Russian Orthodox choral writing.

Beyond those, however, the remaining nine items in the program — and the encore — were entirely by recent composers, mostly living and mostly American. These were his introductory calling cards, and so they invite scrutiny.

Ours is not an age of great, idiomatic choral writing, and composers go their own ways variously. Many of them rely upon a kind of chordal declamation with little sense of line or full-bodied texture.

Some pieces I don’t think I would want to hear again, and a couple I would not have wanted to hear even the first time.

An example of the latter is a piece about sirens and sailors by Chinese-American Chen Yi (below top), a collage of weird choral sounds but no musical content recognizable to any but Chinese ears.

Another was a loudly trashy adaptation of a Civil Rights “freedom song” by Jeffrey Douma (below bottom), plus the gesture to multicultural triviality in a Philippine folksong arrangement.

Three of the items came with piano accompaniment. In The Whole Sea in Motion by Dale Trumbore (below top) — which uses a text from Anne Brontë — the piano gave an underlying ripple to support declamatory, non-linear writing.

In Eternity by Donald Martino (below), the pleasantly lyrical choral writing really didn’t need the piano at all.  And that part was much too prominent against Morten Lauridsen’s nicely polyphonic, and quite self-sufficient, choral texture in “Sure on This Shining Night” that treated James Agee’s famous poem. (You can hear the Lauridsen work in the YouTube video at the bottom.)

There were certainly some among these contemporary items that I found quite enjoyable.

In Ophelia, a setting the account of that woman’s death in Hamlet, Jocelyn Hagen (below top) was overly concerned with story-telling, but the work certainly contained some lovely writing. O Radiant Dawn by Scottish master James MacMillan (below bottom) was a beautifully sonorous tribute to Catholic liturgical tradition.

What does this conducting debut point to for the future?

McGaghie can create the most splendid choral beauty — though often at the sacrifice of clear diction. On the basis of this program, it looks like he could now focus the IVE on lots of short contemporary pieces, rather than on the vast traditional literature.

We will have to see.


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Classical music education: The all-student Madison Youth Symphony Orchestra scores another big success with music by Mozart, Copland and Grieg

August 6, 2018
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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

The Madison Area Youth Chamber Orchestra (below, in a photo by Steve Rankin), founded and led by Mikko Rankin Utevsky is celebrating its fourth season of summer training sessions and public concerts.

I had to miss the first one of this summer, back in June, but I caught up with their second one, on last Saturday night, given at the First United Methodist Church on Wisconsin Avenue.

The church is now pursuing an active program of concerts, and this was the first one I have attended there. The hall (below) is a beautiful and spacious one, with fine acoustics. The fifty-odd people who attended were all but dwarfed by its amplitude.

The first half of the program was devoted to Mozart’s Piano Concerto No. 9 in E-flat, K. 271, often known by the name “Jeunehomme” for the student who inspired it.  It is a boldly innovative work, even as it is the composer’s first truly mature essay in this form.

The soloist was Trevor Stephenson (below top and left in bottom photo), artistic director of the Madison Bach Musicians, playing his own fortepiano.

That instrument lacks the big and forceful sound of the modern grand piano, and Stephenson rightly shunned heroics for greater delicacy. Even with an orchestra of only 16 players, the instrument defined a balance that was fascinatingly different from what we usually hear. (In the YouTube video at the bottom, you can hear the Mozart concerto played on a fortepiano by Malcolm Bilson, who was Trevor Stephenson’s teacher.)

After the intermission, Utevsky identified a policy now established by the organization, one that allows certain players in the orchestra to become podium “interns”, for training and for one performance opportunity.

This time cellist Elizabeth Strauss (below) was given a chance to conduct the familiar string arrangement that Edvard Grieg made of his song Våren (usually translated as “The Last Spring”).

Strauss seemed very confident. I did find her tempo a little faster than seems good to me, and a string group of only a dozen players could hardly achieve the polish and richness that most performances bring off. Still, the point is the wonderful experience given to such a trainee-conductor in these circumstances.

The concert concluded as Utevsky conducted the recast orchestra (below) in the suite for 13 instruments that Aaron Copland derived from his ballet Appalachian Spring.

This is a beautiful piece of Americana in music, and both conductor and players gave it their full devotion. The result was a handsomely well-balanced and nicely blended performance that obviously moved the audience greatly.

The MAYCO organization has made a real place for itself in Madison’s summer music, giving valuable experience to both the conductor and his student players, as they grow into mature orchestral musicians.

Long may it succeed!


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Classical music: The Willy Street Chamber Players conclude this summer season on such a high note that one already hungers for next summer

July 30, 2018
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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.

By John W. Barker

At Immanuel Lutheran Church last Friday night, the Willy Street Chamber Players ended the 2018 summer season – their fourth — with a concert full of fascinating variety.

Four works were performed, each introduced by one of the players. Personnel shifted according to the scorings.

To begin, a core group of the organization (below, from left) — violinists Eleanor Bartsch and Paran Amirinazari, cellists Lindsay Crabb and Mark Bridges, and violist Beth Larson — played Luigi Boccherini’s Cello Quintet in C major (G. 324), which has the Italian title translatable as “Night Music of the Streets of Madrid.” (The piece, which has military or martial aspects to it, was featured in the soundtrack to the popular film “Master and Commander,” which you can hear in the YouTube video at the bottom.)

Typical of the composer’s prolific writing for string quintets, it is unique in offering in its seven movements a dusk-to-dawn evocation of Madrid’s street life in Boccherini’s day. This delightful work was performed with relish.

Next came a contemporary work by American composer Andrew Norman (below top). Written in his 20s, Night Screens (2002),for flute and string quartet, is a playful work inspired by the asymmetrical stained glass windows designed by architect Frank Lloyd Wright.

The music is quite tonal, but very episodic in its succession of tempos and rhythms. For this work, Amirinazari, Larson and Crabb were joined by a friend of the composer, flutist Timothy Hagen (below), now a faculty member of the UW-Madison’s Mead Witter School of Music.

Rarely heard in concert, but a really fascinating novelty is Sergei Prokofiev’s Overture on Hebrew Themes, Op. 34. This was composed in 1919, during the composer’s stay in the U.S. It is based on two melodies whose actual Jewish origins are in doubt, but their juxtaposition and elaboration are fascinating to follow.

The colorful scoring is for clarinet, piano, and string quartet, so this drew other guest artists, Alicia Lee (below top) also of the UW faculty, and pianist Thomas Kasdorf (below bottom) to join Bartsch, Amirinazari, Larson and Bridges.

Finally came a rare opportunity to encounter Johann Strauss II collaborating with Arnold Schoenberg, or rather vice-versa. For a fund-raising concert on behalf of his radical atonal ensemble in Vienna in 1925, Schoenberg made a chamber arrangement of the great waltz master’s Kaiser-Walzer or “Emperor Waltz.”

He scored it for flute, clarinet, piano and string quartet — perfectly allowing seven of the eight performers (less Crabb) to offer a triumphant grand finale. Even in such a lean and reduced format, Schoenberg faithfully conveyed Strauss’s melodic genius, and brought the large audience enthusiastically to its feet.

The Willys continue to match great enterprise in programming with superb artistry in playing, all in a summer season that leaves us hungering for the next one.


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Classical music: The Mendota Consort’s outstanding concert of music by the early Baroque master Johann Schein left one wanting more of both the music and the singers

July 25, 2018
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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 photographs.

By John W. Barker

The Mendota Consort is to some extent a spin-off of the Madison Early Music Festival, first in 2017 and now this year.

Its membership has been shifting, though the versatile Jerry Hui has been a cornerstone, and the drive for its continuity has been the work of Maya Webne-Behrman.

The group’s concert at Luther Memorial Church on last Saturday night was the last of three performances given around the state. There are plans for several concerts in the season ahead, around the country, despite the members’ diverse and far-flung individual residences.

The group performing this latest program are five singers. As shown in the photograph below, they are (from left): sopranos Webne-Behrman and Chelsie Propst; bass Matt Chastain, alto Hui, and tenor Drew Ivarson.

Their program for these current concerts was devoted to selections from the collection Fontana d’Israel, or Israel’s Brünnlein, published in 1623 by Johann Hermann Schein (below, 1586-1630), one of the important composers of the early German Baroque, and a distant predecessor of Johann Sebastian Bach in his position in Leipzig.

The collection’s title is conventionally translated as the “Fountain of Israel” but might also be rendered as “Israel’s Wellspring.” It consists of 26 relatively short pieces setting texts that the composer selected from various books of the Old Testament, texts with messages both personal and communal between Jehovah and His Chosen People.

These five-voice pieces — with optional basso seguentefor organ — might readily be construed as choral works in the post-Renaissance polyphonic style. But that would be a mistake, for the publication’s long subtitle stipulates that these are “in a special, graceful Italian manner.”  In other words, they are madrigals, not motets. (You can hear a sample in the YouTube video at the bottom.)

They show a German composer learning particularly from Claudio Monteverdi, constantly using his early trick of turning the five-voice writing into exchanges between two “trios,” consisting of Soprano-Soprano-Alto against Alto-Tenor-Bass, with the alto voice singing in both.  (So Jerry Hui never got any rest!)

The clever part-writing deserves to be heard with absolute clarity. And that is what these five singers gave us, with admirably precise German diction as well. They performed only nine selections from the full 26, effectively only one hour’s worth of music, but demanding the most disciplined part-singing, which can be very tiring for the vocalists.

This seemingly short program left one craving more, but it was a beautiful treasure in itself. It makes one hope earnestly for the Mendota Consort to continue to flourish and mature — and to return to Madison as soon as possible.


Classical music: The Madison Summer Choir celebrates its 10th anniversary with one of the best concerts of the year

July 20, 2018
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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

The Madison Summer Choir (below) celebrated its 10th anniversary on Wednesday night at the First Congregational United Church of Christ.

Each year’s program has had a theme, and for this one it was “Old Wine in New Bottles”— though it might as well have been the other way ‘round.

The idea, though, was that the selections showed their composers looking back to the techniques and tastes of earlier generations while writing new music. Conductor Ben Luedcke (below) introduced each work to explain how such approaches worked out.

The first half of the program was devoted to four works, dating from three different centuries.

Two were by contemporary composers. A setting in English of the Psalm text “By the Waters of Babylon” by Sarah Riskind (below top) was followed by Amor de mi Ami, a tribute to his wife, in Spanish, by Randall Stroope (below bottom).

Each work had instrumental additions — in the first, piano with cello, in the second, just piano) which personally I found unnecessary. Riskind’s choral writing is attractively full and quite idiomatic, while Stroope achieves a natural lyricism. I would be interested to hear just the choral parts alone for each work. (Editor’s Note: You can hear the work by Randall Stroope in the YouTube video at the bottom.)

These two items were framed by music of earlier epochs. The Geistliches Lied (Spiritual Song) by Johannes Brahms showed his ability to create his own version of both pre- and post-Baroque polyphony. And Mozart’s Psalm setting Laudate pueri, from one of his Vespers collections (K. 339), showed his assimilation of Baroque counterpoint.

Bruce Bengtson played the part Brahms included for organ (or piano), and he also played the organ reduction of the orchestral part for the Mozart.

It was partly the acoustics, but also a weakness in diction that made the words in those four pieces all but indistinguishable, in whatever language was being sung—my one serious criticism of the performances.

The second part of the program was devoted to the first of the numbered Mass settings by Anton Bruckner. In some ways, such large-scale sacred works were studies for his majestic symphonies yet to come.

In this Mass No. 1 in D minor, Bruckner saw himself in the line of earlier Austrian church music, but anyone expecting bald imitations of Haydn, Mozart or Beethoven would be disappointed.

In his dense and highly chromatic writing — something like a step beyond Schubert — Bruckner created some very fascinating music. It reached really exciting power in the Credo, and the words “dona nobis pacem” at the conclusion had a deeply moving sense of serenity.

The choir, of 68 mixed voices, was joined for the Bruckner by four soloists — Chelsie Propst, Jessica Lee Timman, Peter Gruett, Christian Bester (below on the left) — who sang their parts handsomely, and by an orchestra of 30 players, who provided strong and sturdy support.

Luedcke deserves particular praise for giving a chance to hear the Bruckner Mass, which was thought to be its Madison premiere. It climaxed a really enterprising event, one that I think will stand as among the Best Concerts of the Year.


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Classical music: The new period-instrument group Sonata à Quattro makes its debut and excels in early Baroque music

July 13, 2018
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ALERT: The All-Festival Concert that closes this summer’s 19th annual Madison Early Musical Festival will take place in Mills Hall on Saturday night at 7:30 p.m. Admission is $20 for the general public, $10 for seniors and students. Here are two links where you can find more specific information, including composers and works on the program:

https://memf.wisc.edu/event/all-fest-2018/

https://welltempered.wordpress.com/2018/07/03/classical-music-this-saturday-the-19th-annual-madison-early-music-festival-memf-starts-a-week-long-exploration-how-the-500thanniversary-of-the-lutheran-reformation-in-changed-western-music-part-2/

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

Marika Fischer Hoyt (below) is becoming another powerhouse in our musical scene. Already a spark plug of the Ancora String Quartet, and now the director of the annual “Bach Around the Clock” bashes, she has organized a new ensemble, Sonata à Quattro, which made its debut on Wednesday night at Pres House.

This was done under the aegis of the current Madison Early Music Festival (MEMF) as a “fringe concert” — in the manner long-established by the Boston Early Music Festival. Plus, the concert’s theme was “The Lübeck Connection,” clearly tying it to the MEMF.

The music was early Baroque, almost entirely from the 17th century.

The first half presented pieces by seven composers, including, among the better-known ones, Michael Praetorius, Giovanni Gabrieli, Heinrich Schütz, Heinrich Ignaz Biber and Antonio Vivaldi.

In the earlier pieces, the instruments were not originally specified at all — and one of them was in fact purely vocal. But the later ones clearly displayed the definition of the early string ensemble.

Indeed, the basic players — besides the backup harpsichord — were seated (below) in what is now familiar in the configuration of the latter-day string quartet, with the subtle suggestion that the earlier sonata à quattro genre was its natural predecessor.

The presence here of Vivaldi—besides Gabrieli, the only Italian among these Germans, and of later date—seemed a bit incongruous, but his familiar Sinfonia ‘al Santo Sepolcro’ actually illustrated well the mature à quattro texture. (You can hear the Vivaldi in the YouTube video at the bottom.)

And a most impressive conclusion for this first half of the program was the fascinating eight-part Sonata in A minor by the sadly neglected Samuel Capricornus (1628-1665)—its eight-voice scoring not serving as a double choir but as a richly textured study in contrasting high with low parts.

For this first half, the core performers were Nathan Giglierano and Christine Hauptly Annin, violins; Fischer-Hoyt, viola; and Charlie Rasmussen, cello, with harpsichordist Daniel Sullivan.

They were joined along the way by gambist Phillip Serna (below top) who performed later on violone; and, for the Capricornus also violinist Thalia Coombs (below second), violist Micah Behr (below third) and viola da gambist Eric Miller (below bottom, in a photo by Katrin Talbot).

The program’s second half was devoted entirely to the music of Dietrich Buxtehude (below, ca. 1637-1707), the big star of the MEMF constellation.

First we had a Trio in B-flat from his Op. 2 collection, then a slightly French-style solo harpsichord Suite in D minor from Daniel Sullivan (below top).

Finally, we had two solo cantatas, sung by Kristin Knutson (below bottom), whose lovely soprano voice blended beautifully with the instruments.

This new ensemble will continue with concerts scheduled ahead for the coming season. But certainly this appearance represents a beautiful, and perfectly timed, introduction in a concert of true delight.


Posted in Classical music
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