The Well-Tempered Ear

Chamber music: The Oakwood Chamber Players wraps up its current season on Saturday night and Sunday afternoon with a concert that explores musical scores and the composers’ intentions

May 9, 2017
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By Jacob Stockinger

The Oakwood Chamber Players (below) wraps up its 2016-17 season series “Perspective” with a concert titled “Looking Closely at the Score” on this coming Saturday night,  May 13, at 7 p.m. and Sunday afternoon, May 14, at 2 p.m.

Both concerts will be held at the Oakwood Center for Arts and Education, 6209 Mineral Point Road, on Madison’s far west side near West Towne.

Looking Closely at the Score considers composers and influences on their scoring.

The concert includes an array of guest artists, with the Oakwood Chamber Players partnering with musical colleagues from the woodwind quintet Black Marigold (below) to expand their programmatic possibilities.

Tickets can be purchased with cash or personal checks at the door: $20 for general admission, $15 for seniors and $5 for students.

French composer Vincent D’Indy (below, in 1911) wrote Chanson et Danses (Song and Dances) for woodwind septet in 1898. He was greatly influenced by Cesar Franck who was his composition teacher and by a personal enthusiasm for the music of Richard Wagner.

This piece has a subtle feel of the pastoral quality of Siegfried’s Idyll and takes the listener from a sweetly stated Chanson through increasing animation of the Danses and a serene return to the song theme at its conclusion.

A student of Ralph Vaughan Williams, admired Irish composer, renowned pianist and fourth-generation newspaper editor, Joan Trimble (below) led a life full of creativity. Her Phantasy Trio for violin, cello and piano won a major compositional award from the Royal College of Music in 1940.

This piece highlights warm and expressive lines that she felt important to provide for musicians and ably reflects her personal view that “performers had to be considered and allowed to play with their individual qualities in mind. How else were they to communicate and have a response from listeners?”

Luise Adolpha Le Beau was a German composer, piano soloist and student of Clara Schumann. Performing in chamber music was of particular interest to her and she wrote many of her compositions for this musical genre.

The Oakwood Chamber Players will perform Allegro con Fuoco from her Piano Trio in d minor. The movement alternates rhythmic motifs with sweetly expressive melodic lines. (You can hear the lovely slow movement from the same piano trio in the YouTube video at the bottom.)

Romantic Swiss-German composer Joachim Raff was influential in the European scene and considered an inspired musician by 19th-century luminaries such as Schumann, Mendelssohn and Liszt and interest in his work was revived by notable 20th-century conductor and composer Bernard Hermann, who was noted for his scores to flms by Alfred Hitchcock.

Raff (below) coined the term Sinfonietta for his piece that combines two woodwind quintets to convey a buoyant and transparent approach in contrast to a more prescribed symphonic approach to scoring. This delightful four movement work has abundant soaring melodic lines, a true understanding of the characteristics of the woodwind family of instruments and a dazzling conclusion.

The Oakwood Chamber Players will be joined by guests J. Elizabeth Marshall, flute; Jennifer Morgan, oboe; Bethany Schultz, clarinet; Juliana Mesa-Jaramillo, bassoon; and Dafyyd Bevil and Kia Karlen, horns.

The Oakwood Chamber Players is a group of Madison-area professional musicians who have rehearsed and performed at Oakwood Village for over 30 years. Visit www.oakwoodchamberplayers.com for more information.

The Oakwood Chamber Players is a professional music ensemble proudly supported by Oakwood Lutheran Senior Ministries and the Oakwood Foundation.


Classical music: The Wisconsin Chamber Orchestra takes The Ear over the rainbow and turns in an impressive season-closing concert that leaves him looking forward to the next season

May 3, 2017
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By Jacob Stockinger

To The Ear, the Wisconsin Chamber Orchestra (below) just keeps getting better and better, each concert building on the last one.

Take the final concert of this season last Friday night in the Capitol Theater of the Overture Center.

It proved typical WCO fare in the quality of the soloists and orchestra players and in the variety of the program.

WCO music director Andrew Sewell (below) continues to mold his group into the tightest of ensembles. You know you are hearing precision when the rests and silences become as important to the music as the sound. And when you are listening, you feel how relaxing it is to rule out worrying about raggedness.

Here’s a rundown:

The concert opened with a tried-and-true masterpiece, the “Le Tombeau de Couperin” by Maurice Ravel (below). Each of the five dance movements pays homage to a friend of Ravel who fell in World War I, the centennial of which, the gracious Sewell explained, is being marked this year. The Ear likes such tie-ins. (The Ear also loves the original piano version, which has a sixth movement, a fabulous toccata conclusion.)

The Symphony No. 2 in C Major by Romantic master Robert Schumann is not The Ear’s favorite Schumann symphony – that would be No. 4 – and The Ear thinks that Schumann’s orchestral writing is generally not up to his piano writing, his chamber music or his songs.

Indeed, long-form music was not Schumann’s strength, as his many miniature movements in his longer suites and his fragmentary esthetic attest. Perhaps it had to do with his mental illness; perhaps it was just his preference and temperament, much as was the case with his contemporary Chopin, who also preferred the miniature to the epic.

Still, the work proved enjoyable and moving, especially in the vivacious and energetic Scherzo that was executed so precisely and then in the poignant slow movement, which was beautifully shaped with the romantic yearning that Schumann (seen below, with his wife Clara Wieck Schumann) was peerless at expressing. (You can hear the third movement, conducted by Leonard Bernstein, in the YouTube video at the bottom.)

And once again, the smaller size of the chamber orchestra — versus a full symphony orchestra — created transparency. Listeners got to hear inner voices and the interplay of parts in all sections of the orchestra that they might otherwise miss.

But the piece that everyone came to hear was the finale: The world premiere of a Two-Piano Concerto by American composer Thomas Cabaniss (below top). The WCO commissioned the piece with help from two local patrons (Jun and Sandy Lee) and the soloists, Michael Shinn and Jessica Chow Shinn (below bottom), who have ties to Madison.

The work and its three movements – “Surfaces,” “Disturbances” and “Revelation” — did not disappoint and received a rapturous reception from the large audience, which demanded and received a piano-four hands encore.

The concerto struck The Ear as perfectly fitting its title, “Double Rainbow.” You heard elements of Maurice Ravel and John Adams. But you did NOT hear the typical standout solo playing of, say, a piano concerto by Beethoven or Brahms, Rachmaninoff or Prokofiev.

This was a much more atmospheric ensemble work that shimmered and glittered, much like a rainbow. It almost seemed in many places similar to a Baroque concerto grosso, with the piano incorporated into the orchestral texture rather than standing out against it.

That is not to say the concerto, more mood than melody, wasn’t impressive. The score seemed very difficult, even virtuosic, and it certainly had moments that allowed the two soloists to show off their first-rate, Juilliard-trained chops.

Will this new concerto join other two-piano staples, such as the famous two-piano concertos by Poulenc and Mozart? It would take more hearings to be sure, but The Ear suspects not. It will surely get repeated hearings, especially from the Shinns, without becoming a go-to default piece in the two-piano repertoire. But he could well be wrong.

In any case, one would be hard put to find a better summary of the WCO approach to music-making than this outstanding concert that combined the old and the new, that mixed works from the 19th, 20th and 21st centuries and performed them with technical precision and moving interpretation.

Bravos to all.

And all the more reason to look forward, after the WCO’s six summer outdoor Concerts on the Square from June 28 to Aug. 2, to the next indoors Masterworks season, both of which you can find here:

https://wisconsinchamberorchestra.org/performances


Classical music: UW Choral Union and UW Symphony Orchestra resurrect Paul Hindemith’s long-neglected 20th-century secular Requiem with fine singing and committed playing

May 2, 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 photographs below.

By John W. Barker

It is unusual that, within the space of a few days, we have parallel performances of two very untraditional Requiems, ones setting vernacular texts rather than liturgical Latin ones.

The UW Choral Union and UW Symphony(below) performed Paul Hindemith’s “When Lilacs Last in the Dooryard Bloom’d: A Requiem For those we love” last weekend. And the Madison Symphony Chorus and Orchestra will give us Johannes BrahmsEin deutsches Requiem (A German Requiem) this coming weekend, May 5-7.

(NOTE: Here is a link with more information about the three MSO performances this coming weekend:

https://welltempered.wordpress.com/2017/05/01/classical-music-madison-symphony-orchestra-closes-its-season-with-the-german-requiem-by-brahms-and-the-american-premiere-of-charles-villiers-stanfords-1921-concert-piece-fo/)

It is hard to resist the temptation to compare them.

They were, of course, composed about a century apart, in the contexts of very different stylistic eras. They reflect very different aesthetics: High Romantic warmth for Brahms, conservative modernism for Hindemith.

The different texts chosen also determine crucial differences. Brahms selected Luther’s German translations of passages from Scripture, as a broad collage of human consolation and solace, whereas the German-born Hindemith, a naturalized American citizen who fled from Hitler’s Nazism, in a patriotic commemoration of the death of President Franklin Delano Roosevelt, chose the long poem of grieving that Walt Whitman (below) wrote over the death of President Abraham Lincoln.

The relatively concise Scriptural texts allowed Brahms to develop rich melodic and contrapuntal elaborations. Hindemith’s determination to set Whitman’s complete poem, of 208 verses in altogether irregular free verse, committed him to keep things in constantly moving continuity, with little chance for pausing and elaborating.

To be sure, Hindemith (below) was never a distinguished lyricist, for all his skills, so his writing is endless declamation by the soloists, backed by strongly cast choral statements. (You can hear famed baritone Dietrich Fischer-Dieskau and the chorus sing the opening of the Hindemith requiem in the YouTube video at the bottom.)

There are many lovely and powerful moments, but they pass by quickly and leave little of memorable expressiveness. There is much clever music here, but in sum total it is more dutiful than beautiful.

The performance in Mills Hall — I heard the one Sunday night — showed a stage packed with musicians. There were two soloists, a chorus of exactly 100 singers, and an orchestra (the UW Symphony) of 67 players, 46 of them on strings. UW choral director and conductor Beverly Taylor (below) drew from all of them deeply committed musical results.

Of the two soloists, soprano Jennifer D’Agostino (below left) sang with beauty and expression, but it was baritone James Held (below right) who stole the show, with a ringing voice, superb diction, and a genuine eloquence.

The huge chorus was quite magnificent, well unified, fully serious in its enunciation, and capable of some truly musical sound — and Hindemith, though nowhere near Brahms as a choral composer, gave them some serious challenges. The orchestra sounded a bit rough at the very beginning, but settled into participating strongly in the performance.

Whatever reservations one may have about Hindemith’s score, this Whitman Requiem, one of his last important works and premiered in 1946, is a significant piece. It is far less frequently heard than that by Brahms, and so it is very good that UW choral director Beverly Taylor has brought it to our attention.


Classical music: “I like tunes,” says Academy Award-winning composer Thomas Cabaniss, who talks about his “Double Rainbow” piano concerto. The Wisconsin Chamber Orchestra and guest soloists will give the world premiere of the work this Friday night.

April 24, 2017
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By Jacob Stockinger

Even for the Wisconsin Chamber Orchestra (below), which likes to mix things and up during its winter season, the concert this Friday night is something special to close out the current season.

The WCO will give the world premiere of the “Double Rainbow” Piano Concerto by Thomas Cabaniss, which was commissioned for the WCO.

The performance will also feature husband-and-wife duo-pianists Michael Shinn and Jessica Chow Shinn.

The concert is Friday night at 7:30 p.m. in the Capitol Theater of the Overture Center.

Also on the program is Maurice Ravel’s Neo-classical homage to World War I, “Le Tombeau de Couperin,” and the Symphony No. 2 by Robert Schumann.

Tickets are $10 to $80.

For more information about the program, the soloists and tickets, go to:

https://wisconsinchamberorchestra.org/performances/masterworks-v-2/

Composer Thomas Cabaniss recently did an email Q&A for The Ear:

Can you briefly introduce yourself and your career to the reader?

I’m Thomas Cabaniss (below). I am a composer and teaching artist from Charleston, South Carolina. I have lived in New York for the last 30 years, and so I greedily claim both places as home. I teach at the Juilliard School — where I met Michael and Jessica Shinn — and I also lead arts education projects at Carnegie Hall.

After graduating from Yale in 1984, I was an assistant conductor on a variety of projects including Leonard Bernstein’s opera A Quiet Place at La Scala and the Kennedy Center. Setting out to forge a career as a composer, I moved to New yolk City, which had the added benefit of being the same city where my girlfriend was attending medical school. A few years later we married and settled in Manhattan.

To start, I worked primarily as a theater composer, but I was also writing piano and chamber music on the side, and doing arts education work in between shows. In 1990 I scored and arranged a short film called The Lunch Date, which won the Palme D’Or and the Academy Award. In 1995 I joined the New York Philharmonic education programs, eventually becoming the orchestra’s Education Director.

I kept composing, and wrote a chamber opera called The Sandman, which was premiered in New York in 2002 and revived again the following season. In 2004 I was appointed to special education position with the Philadelphia Orchestra, and at the same time I wrote a series of evening length dance scores that were premiered in New York.

In 2009, I began working as composer-in-residence for the LinkUp program at Carnegie Hall, which has grown in that time to serve over 95 orchestras around the world and across the U.S. – including the Madison Symphony Orchestra.

I also helped to create the Lullaby Project at Carnegie Hall, which serves young parents in shelters, hospitals and prisons, and we are working hard to extend that work across the country through a series of partnerships.

How would you describe your musical style in general and the style of the new two-piano concerto specifically? Accessible? Tonal or atonal? Modernist or Neo-Classical? Melodic or percussive? Are there composers or works that have influenced your style?

I like tunes. I like to write songs, and I like to sing, so my music tends to value melody. My works are generally tonal, often spiked with cluster chords and other atonal devices, but I am always interested in the musical gravity of tonal centers. (You can hear a sample of Thomas Cabaniss’ music in the YouTube video at the bottom.)

This piece is inspired by its soloists, Michael and Jessica Shinn (below), and by the image of a Double Rainbow (also the work’s title). I have written Michael and Jessica pieces for piano-four hands, and there is one piece they have championed called Tiny Bits of Outrageous Love. Something about the chemistry of their relationship as musicians (and as husband and wife) has inspired me to create music that is particularly exciting and intimate.

And yes, I suppose most composers embed hints of the music they love in the music they write, and I am no different. Tiny Bits was a kind of homage to the Brahms Waltzes for piano-four hands, and Double Rainbow nods to Leonard Bernstein, Olivier Messiaen, Leos Janacek and John Adams. I’m sure listeners will hear other influences, too.

What would you like listeners to know about and listen for in the piano concerto? What were the special challenges of writing for duo-pianists?

This is from the program note I wrote for the Wisconsin Chamber Orchestra:

DOUBLE RAINBOW is based on an experience I had with my family on the Isle of Palms, South Carolina, about 20 years ago. On this particular August day, there was a huge rain in the early afternoon, many dark clouds, thunder (but no lightning). After the storm, from the porch of our beach rental house, we saw not one, but two rainbows (below). My sister-in-law is an avid photographer, and so she coaxed us all down onto the beach so she could get a pristine angle. That alone might have been enough inspiration for a piece of music, but when we got to the water’s edge, as Julia was snapping her photos, a dolphin jumped out of the water in a vertical launch, the tail clearing the water’s surface. It was one of those moments that seemed so unbelievable that none of us said a word. 

I have always been fascinated by the search for the elusive “perfect moment,” and DOUBLE RAINBOW is a sort of study of that kind of exploration. It is all bound up in the idea of “doubleness,” represented by the two pianos. It is divided into three movements: “Surfaces” (exploring the accumulation of drops of water from tiny, atomized particles), “Disturbances” (exploring imbalances and the storms that result from them), and “Revelation” (of the Double Rainbow). Not surprising in a double concerto, there is a great deal of dialogue between the pianos, and the orchestra has more of an accompanying role in the first two movements. The final movement is different, though. Everybody is in, and the music pulses with magic. The movement seems to be headed for a big climax, but at the last moment, it suddenly slows down and there are stars.

The main challenge for me in writing a double piano concerto is all those fingers! Twenty of them, and they are capable of so much. The music I write does not usually focus on virtuosity, and yet I also wanted it to be a vehicle for them to be expressive and dynamic. I worked hard to achieve a balance between the lyricism and the fireworks – we’ll see how audiences experience it.

What else would you like to say?

I am especially excited to be able to visit Madison for the premiere. I’ll get to meet members of the family of Jessica Chow Shinn (below, she is a Madison native), and I have a former student in the orchestra (Midori Samson, Second Bassoon). My Carnegie Lullaby Project collaborators include another Madison native (Ann Gregg) and Elizabeth Snodgrass, who is originally from Appleton (I think) but recently moved to Madison. I will get to meet WCO music director Andrew Sewell (below) in person. We have been doing some Skype rehearsals and phone consultations. It will be great to watch Andrew in action.

While we are here, my wife Deborah will be giving Grand Rounds at the Department of Psychiatry at the University of Wisconsin, and my son Will leads an a cappella group at University of Chicago (Voices In Your Head), and this year they have been singing frequently with a wonderful University of Wisconsin group (Fundamentally Sound).

The last few seasons the Madison Symphony Orchestra has been offering Carnegie Hall LinkUp concerts to kids in grades 3-5, and this year is no exception. They will perform The Orchestra Moves in May, for which I wrote two of the works (Come To Play and Away I Fly) and arranged another (Cidade Maravilhosa).

This project has been a few years in the making, and so for Michael and Jessica and me, this is a kind of celebration. We can’t wait to share DOUBLE RAINBOW with you.


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Classical music: The Mosaic Chamber Players excel in piano trios by Rachmaninoff, Ives and Mendelssohn

April 3, 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.

By John W. Barker

The Mosaic Chamber Players closed their season on Saturday night at the First Unitarian Society of Madison with a program of three trios for piano and strings.

Rather than bypassing the fact that the date was April 1, the three players—violinist Wes Luke (below top), cellist Kyle Price (below middle), and pianist-director Jess Salek (below bottom) — embraced it as a chance for an “April Fool’s” offering, in the form of the trio composed by Charles Ives.

This is a prime example of the patriotic nose thumbing and iconoclasm in which Ives (below) delighted.

As Luke pointed out in his enthusiastic introduction, the second of its three movements is a Presto bearing the title of “TSIAJ,” an anagram for “This Scherzo Is a Joke.” (You can hear the Scherzo movement, played by the Beaux Arts Trio, in the YouTube video at the bottom.)

The three players dug into it with gusto and almost made its complexities and deliberate off-putting sound plausible—but, fortunately, not quite.

The first half of the program was devoted to the “Elegaic” Trio in D Minor, Op. 9, by Sergei Rachmaninoff. This work was modeled self-consciously on Tchaikovsky’s Piano Trio, Op. 50. Each was written in memory of an admired elder colleague.

Rachmaninoff (below) was well aware of the footsteps in which he was walking—and which he could not quite fill. Cast in three movements with a lot of variations on themes, Rachmaninoff’s Trio runs to almost an hour, and sometimes suggests that the composer’s ambition outran his ideas.

As a pianist himself, Rachmaninoff made the keyboard part very much the dominant one, especially in its latter parts, with the two string players often just along for the ride. Nevertheless, it is an impressive work, and the three Mosaic musicians were quite heroic in allowing us a chance to hear it.

The program concluded with the better known of Felix Mendelssohn’s two trios, the first one in D minor, Op. 49. This is intensely serious yet beautifully melodious music, and proved just the thing to restore a sense of stability and balance.

In all of these works, the three players gave performances that would be rated as first-class anywhere. In that, they upheld the tradition that Jess Salek has created with his colleagues of making Mosaic concerts outstanding events in Madison’s chamber music life.


Classical music: Pianist Adam Neiman defines what makes for great Chopin playing. He performs an all-Chopin recital this Sunday afternoon at Farley’s House of Pianos.

February 21, 2017
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By Jacob Stockinger

What makes for great Chopin playing?

It is an especially germane question since the critically acclaimed pianist Adam Neiman (below) will perform an all-Chopin recital this coming Sunday at 4 p.m. at Farley’s House of Pianos, 6522 Seybold Road, on Madison’s far west side near West Towne Mall.

Tickets are $45. For more information, go to:

http://salonpianoseries.org/concerts.html

Neiman –pronounced KNEE-man — has appeared here as a soloist with the Wisconsin Chamber Orchestra and recorded piano concertos by Mozart with the WCO. He is a critically acclaimed prize-winning pianist with a major concertizing and recording career. He also teaches at Roosevelt University in Chicago and is a member of the Trio Solisti, a piano trio that has been hailed as the successor to the famous Beaux Arts Trio.

Here is a link to Neiman’s website with information about him and his recordings, including upcoming releases of Beethoven, Liszt and Rachmaninoff:

http://www.adamneiman.com

Adam Neiman also recently did an email Q&A interview with The Ear:

adam-neiman-2017

There are some exceptional players of Beethoven and other German composers who sound completely out of their element in Chopin. What qualities do you think make for great Chopin playing and what makes Chopin difficult to interpret?

Chopin’s music incorporates a narrative language and an emphasis on very “first person” points-of-view; in other words, it is highly personalized, expressing emotion from the perspective of the individual, including nationalistic sentiments. Often, Germanic music aims for “objective” viewpoints, with extremely stringent instructions by the composer.

For players who struggle with the open-ended idiomatic flavor in Chopin’s music, the lack of objective instruction by the composer can make it difficult for them to know what to do. (You can hear Adam Neiman discussing much more about Chopin’s personality and artistic achievement in the YouTube video at the bottom)

To play Chopin (below) at a very high level requires imagination and freedom, as well as a poetic and introspective musical tendency. The fluidity of rubato, the contrapuntal interaction between the hands and the frequent use of widely spread textures requires a nimble master of the instrument, one with the ability to emphasize the piano’s specific virtuosic abilities.

In addition, Chopin’s music is centered around a bel canto operatic style of melody, whereas Germanic melody tends to be more motivic in nature, and therefore developmental.

A composer like Beethoven will emphasize motivic metamorphosis as a means of augmenting a form to create large structures, whereas Chopin will glide from one melodic area to another, using harmonic exploration as the central means of formal expansion.

This compositional difference outlines different strengths in the pianists, as the skill set to play reams of melody lines in succession can often be very different from those skills required to highlight motivic development in a work.

Chopinphoto

Can you place the 24 Preludes that you will be playing within the context of Chopin’s entire body of works. What would you like the public to know about the preludes and how you see them individually and as a group?

The 24 Preludes were composed while Chopin was on holiday in Mallorca, Spain, which proved to be Chopin’s first palpable bout with tuberculosis, the disease that eventually killed him. (Below is an 1849 photo of Chopin on his deathbed.)

Many of these works were written in a fever-state, in haste, and during a stressful time period in which Chopin was not only facing his own mortality, but also dealing with the myriad challenges of integrating with the children of his lover, the French writer Aurora Dudevant who is better known as George Sand.

These Preludes are like snapshots into the mind of the composer at a moment in time, often without regard for cohesion or development. They exist in a timeless place, where the music expresses the extremely personal sentiments roiling through Chopin’s consciousness.

In many ways, these works capture his spirit in the most distilled possible way, giving the player and listener an opportunity to view the mind and heart of Chopin without filter or refinement, hallmarks of his larger works.

Despite the widely varied emotional content of these Preludes, as a set they hold together as a marvelous and surprisingly cogent musical journey. They exemplify the 19th-century “Romantic” ideals of fantasy, freedom, individuality and raw emotion.

Chopin on deathbed photo

You will also perform all four Ballades. How they do they rank within Chopin’s output? What would you like listeners to know about each of the four ballades, about what they share in common and what distinguishes each one? Do you have favorites and why?

If the Preludes represent the pinnacle of Chopin’s ability to express poetic ideals within miniature forms, the Ballades represent the apex of his more grandiose musical philosophy.

The Ballade, as a form, emanates from epic poetry, often portraying a heroic protagonist overcoming seemingly inescapable challenges. Ballades can also be tied to nationalistic notions, and for Chopin, all four Ballades are truly Polish in their expression.

As Chopin’s native Poland was invaded and he was cut off permanently from re-entry, Chopin became an orphan of the world, whose adopted home of France revered and celebrated him without equal.

His musical mission — exemplified by the Ballades, Mazurkas and Polonaises in particular — was to heighten awareness of Poland’s cultural contributions to a European audience totally unaware of the goings-on in the east.

As a result of the immense conflicts suffered by Chopin’s homeland, and in keeping with the deep pride and identification Chopin felt as a Pole, these Ballades express the emotional rollercoaster of a lone Polish hero — perhaps Chopin himself, autobiographically — battling the world.

All four of these works make an enormous impression on the listener. From the despair and anger of the first Ballade, the bi-polar conflicts of the second (below is the opening of the second Ballade in Chopin’s manuscript), the pastoral hopefulness of the third, and the desolate introspection of the fourth, these Ballades speak to the soul and require the most intensely personal voice of the performer.

Adam Neiman 2 2016

They require the possession of immense physical power and emotional maturity, which renders these works as being among Chopin’s most challenging.

I love all four of them equally. They are true masterworks of the highest order.

chopin-ballade-2-autograph

In there anything else you would like to say?

I am deeply honored and extremely delighted to return to Madison to perform this recital. I look forward to seeing many familiar faces, as well as new friends. Thank you!


Classical music: Pianist Gabriela Montero plays music by Schubert and Schumann and then does her own spontaneous improvisations this Saturday night at the Wisconsin Union Theater

February 8, 2017
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By Jacob Stockinger

Pianist Gabriela Montero (below, in a photo by Shelley Mosman) will perform in Shannon Hall at the Wisconsin Union Theater on this Saturday night, Feb. 11, at 8 p.m. Montero last performed in Madison with the Madison Symphony Orchestra and wowed the house at the Overture Center.

On this Friday, from 4:30 to 6 p.m. in Mills Hall, Montero will also hold a master class, FREE and OPEN TO THE PUBLIC, at the University of Wisconsin-Madison School of Music.

gabriela-montero-2017-shelley-mosman

Here are ticket prices for her recital: UW-Madison students are $10; Union members and non-UW students are $42, $38 and $25; UW-Madison faculty and staff are $44, $40 and $25; the general public is $46, $42 and $25; and young people 18 and under are $20.

Tickets can be bought online; by phone at 608-265-ARTS (2787); or in person — see locations and hours here.

The first half of Montero’s program features the first set of Four Impromptus, Op. 99, D. 899, by Franz Schubert and the playfully Romantic “Carnival” by Robert Schumann.

After intermission, the former prodigy will perform the spontaneous improvisations – usually on themes suggested by the audience – that she is acclaimed for.

According to The New York Times, “[Gabriela] Montero’s playing has everything: crackling rhythmic brio, subtle shadings, steely power in climactic moments, soulful lyricism in the ruminative passages and, best of all, unsentimental expressivity.”

Here she is performing the third Schubert impromptu, in G-flat major, in the set of four that she will play here:

Montero was born in Venezuela and gave her first performance to a public audience at the age of five. When she was eight, she made her concerto debut in Caracas, which led to a scholarship for private study in the United States.

Montero played with cellist Yo-Yo Ma, violinist Itzhak Perlman and clarinetist Anthony McGill at Barack Obama’s 2008 Presidential Inauguration.

She has been invited to perform with the world’s most respected orchestras, including the New York Philharmonic, Los Angeles Philharmonic, Liverpool Philharmonic, Vienna Symphony and more, performing in the Kennedy Center, Avery Fisher Hall and Wigmore Hall, among others.

Celebrated for her ability to brilliantly improvise, compose and play new works, Montero is an award-winning and best-selling recording artist.

She has received the Bronze Medal at the Chopin Competition, two Echo Klassik Awards in 2006 and 2007, and a Grammy nomination for her Bach and Beyond follow-up Baroque work in 2008.

She participated in the 2013 Women of the World Festival in London and spoke at the World Economic Forum in Switzerland. She has also been recognized as a composer for her Piano Concerto No. 1.

In the YouTube video at the bottom you can hear Montero improvise on a famous melody by Sergei Rachmaninoff in the style of Johann Sebastian Bach.

This performance is presented by the Wisconsin Union Directorate’s Performing Arts Committee and was supported in part by a grant from the Wisconsin Arts Board with funds from the State of Wisconsin and the National Endowment for the Arts. Media sponsors are WORT 89.9 FM and the UW-Madison student station WSUM 91.7 FM. 


Classical music: Jazz and classical music are closely related and work well together, says composer Daniel Schnyder. He discusses “Charlie Parker’s Yardbird,” which the Madison Opera stages in its Midwest premiere this FRIDAY night — NOT Saturday — and Sunday afternoon

February 6, 2017
7 Comments

By Jacob Stockinger

Jazz and classical music are not so different, says Swiss-born composer Daniel Schnyder.

For Schnyder, it is more than an academic matter. He puts his point of view into action in his acclaimed chamber opera “Charlie Parker’s Yardbird,” which deals with the life of the bebop saxophone player and jazz giant. (You can see the YouTube trailer for the productions by Opera Philadelphia and the Apollo Theater in Harlem at the bottom.)

charlie-parkers-yardbird-logo-for-maidson-opera

The Madison Opera will offer the work’s Midwest premiere when it stages the chamber opera this Friday night (NOT Saturday night, as first mistakenly posted here) at 8 p.m. and Sunday afternoon at 2:30 p.m. Both performances are in the Capitol Theater of the Overture Center. (Performances photos below are from the world premiere at Opera Philadelphia.)

Here is a link to more general information about the opera, tickets, the cast and the production:

https://welltempered.wordpress.com/2017/01/17/classical-music-madison-opera-will-present-the-midwest-premiere-of-charlie-parkers-yardbird-here-are-the-many-preparatory-events-for-the-public/

Daniel Schnyder (below) — who will perform a FREE concert of the music of Charlie Parker and do a question-and-answer session on this Thursday night at 7:30 p.m. (NOT 7 p.m. as mistakenly first stated here) in Morphy Hall on the UW-Madison campus — also agreed to an email interview with The Ear:

daniel-schnyder-2017

What was the work’s genesis and what gave you the idea for “Charlie Parker’s Yardbird”? Are you a big jazz fan and did you see the work as a way to meld the jazz and classical styles of music?

I am a jazz fan. I am also a jazz musician and I love to compose, play and improvise in the jazz idiom. I have recorded more than 30 jazz CDs.

I love to combine jazz and classical music. I just finished a symphony for orchestra and big band, a commission by the Temple University in Philadelphia.

I do not see classical music and jazz as two completely different things. Jazz is by nature a synthesis of European music influences and African music.

The idea from the very beginning was to write an opera for Lawrence Brownlee, the great African-American tenor. Opera Philadelphia asked me to write a work for him and we tried several libretto options. After hearing a recital by Larry singing gospel songs, I came up with the idea to write an opera about Charlie Parker’s life.

lawrence-brownlee-as-charlie-parker-opera-philadelphia

How would you describe the musical style of the opera in terms of tonality and melody, and its accessibility to the general public? What were the audience reactions in Philadelphia and New York City?

In both places, the audiences were very moved by the story and the music. The topic hit a nerve, something our society has to reflect upon, a general issue that concerns us all as a nation.

The music itself is not hard to listen to and moves swiftly. For the orchestra and singers, the opera is rather challenging, since Charlie Parker (below) was a virtuoso. The music moves fast and often in off-beat rhythms that are unusual for classical musicians. There are also a lot of odd meters and tricky patterns that sometimes connect to Parker’s music and sometimes relate to the music that came after him.

The audience will have a ball. There are 12-tone music passages reflecting on new music and opera — mostly in Nica’s parts —  but there are a lot of R&B influences and jazz and Latin music grooves.

It would be false to see the opera as a patchwork of different musical sequences and styles. It is my music that is based on all these influences. The opera can be described as a modern music carpet with lots of colors of today’s music, rather than a quilt.

charlie-parker-1

In what ways do you see the characters and the story as offering lessons and being relevant to today?

I guess this is obvious: Our society has to understand that different cultures and different ethnic backgrounds enrich America and are fundamental to its culture and success.

If we go down the path of segregation, divisiveness and disrespect, we all will lose. Jazz is the great coming together of different heritages, the roots of America, and it conquered the world.

We still erect barriers in society and music that are detrimental to growth and innovation. Other contemporary issues are also important in the opera, such as being a single parent, drug addiction and faith.

The opera also highlights that jazz musicians at the time could not earn money from recorded music, something that is true again today. The stealing of royalties from Parker and Dizzie Gillespie were different from today’s issues of streaming, but the problem of jazz musicians not receiving money for their creative works stays the same.

In the opera, Parker discusses the very nature of music, its volatility and the fact that you cannot physically possess it. This is one of the reasons why he wants to write the music down on paper. He wants to make it abstract, but realizes that he loses some of the essence of what he wants to say. That is the dilemma of the composer.

He also reflects on the notation system, which was not designed for jazz. He sings: “How can I put down these black dots on white paper, how can I capture these sheets of sound?”

The opera reflects on American history, but it simultaneously relates to today’s world. This is not just some nice story about the past; it is about us.

charlie-parkers-yardbird-women-opera-philadelphia

Quite a few other productions have been planned. What do you think explains the work’s popularity? Do you think it attracts new audiences to opera?

There might be many different reasons for that:

1) There are very few operas using the modern jazz idiom.

2) There are very few operas in which the leading roles are African-American.

3) The opera is flexible; it can be produced with a moderate budget in a lot of different venues. It is mobile, which is similar to L’Histoire du Soldat (The Soldier’s Tale) by Igor Stravinsky. It also has a length of just over 100 minutes.

4) As mentioned above, the opera hits a nerve; it is about our time and about us.

5) Charlie Parker is a legend, but very few people really know about him and his music. People are intrigued.

6) The music is very accessible; it can be played on the radio without getting boring or incomprehensible. Some modern operas rely a lot on light, staging and special visual effects. This opera works more like Carmen or a Verdi opera, told through the music.

7) It is an opera, not a musical. It only uses a song format in a few instances. The opera is composed in an open and evolving format, connected by leitmotifs similar to Wagner’s operas.

The music definitely has a lot of jazz influences, but the format is mostly one not used in jazz music. That creates a new experience. It does not fit into one of the known “drawers” of music, so it can be tempting to try to compare it to their pieces but it sticks out as musically different.

8) The opera is composed very close to the sound and rhythms of the words. Hence you can understand a lot. The language is very direct and clear, close to spoken language. That helps. You can actually understand a lot of the lyrics without reading the supertitles.

I tried to avoid the Strauss or Wagner effect of creating something where the mix of complex language and complex music creates something beautiful but often incomprehensible. French and Italian operas are better in this regard. “Yardbird” has a message that needs to be understood.

9) There are many riddles in the opera – musical riddles, but also hidden messages and references in the text – that can be explored. The opera plays in a twilight zone between death and life. This is also intriguing.

charlie-parkers-yardbird-female-singer-opera-philadelphia

Is there something else you would like to say about yourself and the opera?

I enjoyed writing the opera very much. It was a great pleasure and an honor to reflect on one of the great music geniuses in American history.


Classical music: Have a beer with that chamber music

February 3, 2017
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By Jacob Stockinger

A friend of The Ear and a fan of this blog writes:

Hi Jake,

I want to alert you and your readers that in February we have two performances scheduled at The Malt House (below), 2609 East Washington Avenue, on the corner of Milwaukee Street.

Malt House exterior

Malt House party drinking

The Yahara String Quartet (below) plays on this coming Saturday, Feb. 4, from 4 to 6 p.m.  YSQ says they will play “among others … music by Tchaikovsky, Borodin, Mendelssohn, Mozart, Holst, Haydn, Vivaldi … and more.” For information, go to:

https://www.facebook.com/events/1843806762501124/

yahara-string-quartet

The Cello and Bass Duo of Karl von Huene (cello, below) and John Dowling (contrabass) will play on Saturday, Feb. 11, from 3 to 5 p.m.

Adds Karl von Haene: “We play short pieces by Sebastian Lee (1805-1887) that are obscure enough that I will buy a beer for anyone who knows them. You see, there’s no opus number, they’re just “melodic studies/etudes.”

You can hear the first of Sebastian Lee’s “40 Melodic and Progressive Studies” in the YouTube video at the bottom. For information about Sebastian Lee, who performed and taught in France and Germany, go to:

https://en.wikipedia.org/wiki/Sebastian_Lee

For information, go to:

https://www.facebook.com/events/1834517800147308/

Karl von Huene cello

Performances are FREE, and the full bar is open for business. We open at 2 p.m. on Saturdays.

For more information about the highly rated tavern that specializes in artisan beers and ales, and also presents other forms of music, go to:

http://malthousetavern.com

Cheers,

Bill Rogers, The Malt House

malt house interior


Classical music: Madison Opera will present the Midwest premiere of ‘Charlie Parker’s Yardbird.’ Here are the many impressive preparatory events for the public that start this Friday

January 17, 2017
2 Comments

By Jacob Stockinger

The Ear has received the following information to post about a local opera production that is both exciting and an inspired choice to mark February as Black History Month:

Madison Opera will present the Midwest premiere of “Charlie Parker’s Yardbird” on 8 p.m. on Friday, Feb. 10, and 2:30 p.m. on Sunday, Feb. 12, in the Capitol Theater at Overture Center for the Arts.

charlie-parkers-yardbird-logo-for-maidson-opera

For more information about the cast and the production as well as about purchasing tickets ($25-$114), go to:

http://www.madisonopera.org/performances-2016-2017/charlie-parkers-yardbird/

With music by Swiss composer Daniel Schnyder (below top) and a libretto by writer and poet Bridgette A. Wimberly (below bottom), the acclaimed opera “Charlie Parker’s Yardbird” tells of the legendary jazz musician and the people closest to him.

daniel-schnyder-2017

bridgette-wimberly

The opera, which melds jazz and opera, is set on the day that saxophone great Charlie Parker died in 1955. As his body lies unclaimed in a New York City morgue, Parker returns in spirit to the jazz club Birdland, determined to compose a final masterpiece. Family and friends blend in and out of his memories, including his three wives, his mother, his friend Dizzy Gillespie and even his drug dealer.

Charlie Parker’s Yardbird premiered in June 2015 at Opera Philadelphia (below is tenor Lawrence Brownlee, in a photo by Dominic Mercier, in the title role of Charlie Parker in the Philadelphia production) and was subsequently presented by the company at the Apollo Theater in New York City in April 2016. (You can hear an excerpt in the YouTube video at the bottom.)

The New York Times praised it for its “pulsing, jazz-infused score,” while the Wall Street Journal said, “its rhythms snap and swing, its melodies – including real arias – seize the ear, its ensembles crackle with energy.”

Tenor Lawrence Brownlee in Charlie Parker's Yardbird CR Dominic Mercier for Opera Philadelphia

Madison Opera will be only the second company to present this work, which is sung in English with projected text and runs 90 minutes without an intermission.

“I saw Charlie Parker’s Yardbird when it premiered in Philadelphia and instantly knew it would be a perfect opera for Madison,” says Kathryn Smith (below, in a photo by James Gill), Madison Opera’s general director. “The very American story and the exciting jazz-inflected music fit perfectly into our ever-expanding range of repertoire.”

She adds, “It’s not a straightforward narrative of Parker’s life, but rather elements of his life as refracted through his memories and imagination, and particularly his relationships with the women in his life.”

Kathryn Smith Fly Rail Vertical Madison Opera

Madison Opera’s cast includes both debuts and returning favorites, as well as a number of singers who created their roles in the world premiere.

Joshua Stewart (below), a young American tenor who has sung at La Scala, Bayerische Staatsoper, and Opera de Lausanne, debuts in the tour de force role of Charlie Parker.

joshua-stewart-2017

Angela Brown (below) returns following her performance at Opera in the Park 2016 as Addie Parker, Charlie’s mother, a role she created in Philadelphia.

Angela Brown 2016

Will Liverman, who sang Figaro in Rossini’s The Barber of Seville here in 2015, sings jazz legend Dizzy Gillespie, a role he created in Philadelphia.

will-liverman-2017

Krysty Swann debuts as Rebecca Parker, Charlie’s first wife. Angela Mortellaro, who sang Galatea in Handel’s Acis and Galatea in 2013, returns as Doris Parker, Charlie’s third wife, a role she created in Philadelphia.

Rachel Sterrenberg debuts as Chan Parker, his final wife, a role she created in Philadelphia. Baroness Pannonica de Koenigswarter, in whose hotel suite Parker died, is sung by Julie Miller in her Madison Opera debut.

Directing this production is Ron Daniels (below), who staged the world premiere and was the opera’s dramaturge, involved in the creation and workshop process. 

ron-daniels-opera-director-2017

John DeMain (below, in a photo by Prasad) conducts, with members of the Madison Symphony Orchestra in the pit.

DeMain says:  “I am so happy to be a part of Madison Opera’s Midwest premiere of Charlie Parker’s Yardbird. Parker was consumed with music, breathing it day and night. All of us who are passionate about performing and listening to music can identify with this phenomenal musician and will not want to miss this jazz-infused opera, the perfect expression of Parker’s range and depth as a musician.”

John DeMain full face by Prasad

Composer Daniel Schnyder will attend the opening night performance and join Smith for the Pre-Opera Talk that evening at 7 p.m. in the Wisconsin Studio.

In addition to the performances, Madison Opera and its community partners are hosting a series of related events, collectively known as “Extending the Stage,” which culminate in a concert of Charlie Parker’s music with composer Daniel Schnyder and the UW-Madison’s Blue Note Ensemble.

These events include Opera Novice; community previews; Opera Up Close; discussions of the life and music of Charlie Parker (below); and presentations of rare jazz films.

All events are open to the public and the majority are free of charge.

charlie-parker-1

RELATED EVENTS: EXTENDING THE STAGE

Opera Novice: Jazz Opera?
 Friday, Jan. 20 | 6-7 p.m. The Margaret C. Winston Madison Opera Center, 335 W. Mifflin Street. FREE and open to the public

New to opera? Passionate about Puccini, but not sure about a jazz opera? Join General Director Kathryn Smith for a short, fun, and informative evening exploring the history of jazz and opera, including a live performance of an aria from Charlie Parker’s Yardbird.  With plenty of time to ask questions, it’s the perfect jump-start for the opera-curious.

Community Preview of Charlie Parker’s Yardbird,
 Tuesday, Jan. 24 | 7-8 p.m. Capitol Lakes Retirement Community, 333 W. Main St. FREE and open to the public

Join a Madison Opera staff member for a multimedia look at Charlie Parker’s life, the history of the opera Charlie Parker’s Yardbird, and some insights into Madison Opera’s production.

Opera Up Close, Sunday, Feb. 5 | 1-3 p.m. The Margaret C. Winston Madison Opera Center, 335 West Mifflin Street. Admission: $20; free for full-season subscribers and full-time students with ID; $10 for two-show subscribers.  Tickets available at the door.

Come even closer with a behind-the-scenes preview of Charlie Parker’s Yardbird.  A multimedia presentation on Charlie Parker and the history of this opera will be followed by a roundtable discussion with the leading artists of Madison Opera’s production.  There is no better way to get “up close” to this acclaimed new opera.

A Charlie Parker Concert and Discussion with Daniel Schnyder and the Blue Note Ensemble Thursday, Feb. 9 | 7:30 p.m. Morphy Recital Hall, UW-Madison. FREE and open to the public

Composer Daniel Schnyder joins UW-Madison’s Blue Note Ensemble for an evening featuring music by Charlie Parker, with solos performed by both Schnyder and UW-Madison saxophone students. The evening includes an aria from Charlie Parker’s Yardbird and a discussion about Parker and the opera with Schnyder, UW-Madison Professor of Saxophone Les Thimmig, and General Director Kathryn Smith.

Pre-Opera Talks: Friday, Feb. 10 |7 p.m. and Sunday, Feb. 12 | 1:30 p.m. Wisconsin Studio at Overture Center. FREE to ticket holders

Attend an entertaining introduction to Charlie Parker’s Yardbird one hour prior to curtain. On Friday night, composer Daniel Schnyder will join General Director Kathryn Smith to talk about the piece. Be sure to arrive early, as space is limited.

An Evening of Rare Jazz Films: Alicia Ashman Library. Friday, Feb. 3 | 7 p.m.; Goodman South Madison Library. Tuesday, April 11 | 6 p.m. FREE and open to the public (Below is footage of Charlie Parker playing and of people discussing the man and his artistic achievement.)

Jazz archivist Gary Alderman will present and explain films of the historically significant innovators of modern jazz, including the only two known existing videos with sound of Charlie Parker.

Among the other musicians shown will be those relevant to Parker’s music and career, including Lester Young, Coleman Hawkins, John Coltrane, Dizzy Gillespie and Miles Davis.

The Life and Music of Charlie Parker: DeForest Area Public Library: Monday, Feb. 13, 6:30 p.m.; Alicia Ashman Library: Friday, Feb. 24, 7 p.m.; Fitchburg Public Library: Sunday, Feb. 26, 2 p.m.; Oregon Public Library:  Friday, March 10, 6:30 p.m. FREE and open to the public

UW-Madison Professor of Saxophone Les Thimmig (below) will talk about Charlie Parker’s life and music, as well as the history of bebop.

More information is available at www.madisonopera.org/education.

Les Thimming


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