By Jacob Stockinger
The Wisconsin Baroque Ensemble — an acclaimed and veteran group specializing in early music performed on period instruments and with historically informed performance practices — will give a concert of baroque chamber music on this coming Sunday afternoon at 3 p.m.
The concert is in Saint Andrew’s Episcopal Church (below are exterior and interior views), 1833 Regent Street, on Madison’s near west side.
Members and performers in the Wisconsin Baroque Ensemble include: UW-Madison professor Mimmi Fulmer – soprano; Nathan Giglierano – baroque violin; Brett Lipshutz – traverse flute; Eric Miller – viola da gamba; Sigrun Paust – recorder; Consuelo Sañudo – mezzo-soprano; Monica Steger – traverse flute and harpsichord; Anton TenWolde – baroque cello; and Max Yount – harpsichord.
Tickets at the door are: $20 for the general public; $10 for students.
A FREE post-concert reception will be held at 2422 Kendall Ave, second floor.
The program features:
Giovanni Legrenzi – “Ave Regina Coelorum” (Hail, O Queen of Heaven)
Jacques Morel – Chaconne en trio, from “Livre de pieces de viola” or Book of Pieces for Viol)
Jean-Baptiste Lully – “Plaite de Vénus sur la mort d’Adonis” (Lament of Venus on the Death of Adonis)
Georg Friedrich Handel (below) – Sonata for violin and basso continuo, Opus 1, No. 3 (You can sample the lovely opening movement, played by Simon Standage on violin and The English Concert’s director Trevor Pinnock on harpsichord, in the YouTube video at the bottom.)
Georg Philipp Telemann (below) – “Hemmet den Eifer, verbannet die Rache” (Restrain Your Zeal, Banish Your Revenge)
Jacob Friedrich Kleinknecht – Sonata for traverso and basso continuo, Opus 1, No. 2
Giacomo Carissimi – “Rimante in pace ormai” (Remain in Peace Henceforth)
Georg Philipp Telemann – Quartetto in G major, TWV 43:G6
For more information about the Wisconsin Baroque Ensemble, go to: http://wisconsinbaroque.org
By Jacob Stockinger
The fourth annual Schubertiade – a concert to mark the birthday of the Austrian early Romantic composer Franz Schubert (below top, 1797-1828) – is now a firmly established tradition at the University of Wisconsin-Madison School of Music (below bottom, in Mills Hall, which is rearranged for more intimate and informal on-stage seating.)
Over the past there years, the Schubertiade has become a popular and well-attended event. And with good reason.
Every time The Ear has gone, he has enjoyed himself immensely and even been moved by the towering and prolific accomplishments, by the heart-breaking beauty of this empathetic and congenial man who pioneered “Lieder,” or the art song, and mastered so many instrumental genres before g his early death at 31.
But there are some important changes this year that you should note.
One is that the time has been shifted from the night to the afternoon – specifically, this Sunday afternoon at 3 p.m. in Mills Hall.
Admission is $15 for adults, $5 for students. (Below is this year’s poster, mistaking this year’s event of the third, with a painting by Gustav Klimt of Schubert playing piano at a salon musicale.)
After the concert, there is another innovation: a FREE reception, with a cash bar, at the nearby University Club. There you can meet the performers as well as other audience members.
The program, organized by pianist-singers wife-and-husband Martha Fischer and Bill Lutes (below), will last a little over two hours.
Usually there is a unifying theme. Last year, it was nature.
This year, it is friends Schubert knew and events that happened to him. It is called “Circle of Friends” and is in keeping with the original Schubertiades, which were informal gatherings (depicted below, with Schubert at the keyboard) at a home where Schubert and his friends premiered his music.
Performers include current students, UW-Madison alumni and faculty members. In addition, soprano Emily Birsan, who is a graduate of the UW-Madison and a rising opera star, will participate.
For more about the event, the performers and how to purchase tickets, go to:
Here is a complete list of performers and the program with the initials of the perfomer who will sing the pieces:
Emily Birsan (EB), Rebecca Buechel (RB), Mimmi Fulmer (MFulmer), Jessica Kasinski (JK), Anna Polum (AP), Wesley Dunnagan (WD,) Daniel O’Dea (DO), Paul Rowe (PF), Benjamin Schultz (BS), singers. Bill Lutes (BL) and Martha Fischer (MF), pianists.
Trost im Liede (Consolation in Song ), D. 546 (MF, BL)
Franz von Schober (1796-1882)
Der Tanz (The Dance), D. 826 (AP, RB, WD, PR, MF)
Kolumban Schnitzer von Meerau (?)
Der Jüngling und der Tod (The Youth and Death), D. 545 (PR, BL)
Josef von Spaun (1788-1865)
4 Canzonen, D. 688 (EB, BL)
No. 3, Da quel sembiante appresi (From that face I learnt to sigh)
No. 4, Mio ben ricordati (Remember, beloved)
Pietro Metastasio (1698-1782)
From the Theresa Grob Album (November, 1816)
Edone, D. 445 (WD, MF)
Friedrich Gottlieb Klopstock (1724-1803)
Pflügerlied (Ploughman’s Song), D. 392 (BS, MF)
Johann Gaudenz von Salis-Seewis (1762-1834)
Am Grabe Anselmos (At Anselmo’s Grave), D. 504A (JK, MF)
Matthias Claudius (1740-1815)
Mailied (May Song), D. 503 (DO, BL)
Ludwig Hölty (1748-1776)
Marche Militaire No. 1, D. 733 (MF, BL)
Viola (Violet), D. 786 (EB, BL)
Ständchen (Serenade), D. 920A (RB, DO, WD, PR, PR, MF)
Franz Grillparzer (1791-1872)
Epistel ‘An Herrn Josef von Spaun (Letter to Mr. Joseph von Spahn), Assessor in Linz, D. 749 (EB, MF) Matthäus von Collin (1779-1824)
Geheimnis (A Secret), D. 491 (EB, MF)
Johann Mayrhofer (1787-1836)
Des Sängers Habe (The Minstrel’s Treasure), D. 832 (PR, MF)
Franz Xavier von Schlechta (1796-1875)
An Sylvia, D. 891 (MF, BL)
Shakespeare, trans. Eduard von Bauernfeld (1802-1890)
Nachtstück (Nocturne), D. 672 (DO, BL)
Das Lied in Grünen (The Song in the Greenwood), D. 917 (MFulmer, BL)
Johann Anton Friedrich Reil (1773-1843)
8 Variations sur un Thème Original, D. 813 (MF, BL)
Cantate zum Geburtstag des Sängers Johann Michael Vogl, D. 666 (AP, DO, PR, BL) Albert Stadler (1794-1888)
Ellens Gesang No. 3, Ave Maria, D. 839 (EB, MF)
Sir Walter Scott (1771-1832), from The Lady of the Lake, trans. Adam Storck (1780-1822)
An die Musik, D. 547 (You can hear it performed by the legendary soprano Elisabeth Schwarzkopf and pianist Gerald Moore in the YouTube video at bottom)
Everyone is invited to sing along. You can find the words in your texts and translations.
Here is a link to a story in The Wisconsin State Journal with more background:
And if you want to get the flavor of the past Schubertiades, here are two reviews from past years:
By Jacob Stockinger
Baseball season is done.
Football season is almost over.
Basketball season is here.
It is also a good story about good luck to run today, on Friday the 13th, a date that is traditionally synonymous with bad luck.
The story concerns J’Nai Bridges (below) who started out wanting to be a professional basketball player.
That dream fell apart dramatically and suddenly — though she doesn’t reveal if it was an injury or some other cause.
But then good luck unexpectedly stepped in.
During her senior year in high school, she signed up for choir as an elective and her teacher immediately recognized her gift.
She started late, but she had the right attitude to stay open to new discoveries and new possibilities.
And now she has gone on to a career in opera and is a rising star singing major roles in major opera houses around the world.
The Ear thinks that Bridges’ words reflect wisdom that others should share in.
For one, her moving story also highlights the importance of a liberal arts education, where you can try out many different subjects you have no idea about and see what you like and how you do. That gives students a chance to explore their untapped interests and potential.
It also runs contrary to some of the current politicians who want to reform secondary and higher education into a kind of trade school or vocational training ground for work and careers.
It also is a fine summary of the role that music plays both for the performer and for the audience.
Here is a link to the moving and informative story:
By Jacob Stockinger
Here is a special posting, a review written by frequent guest critic and writer for this blog, John W. Barker. Barker (below) is an emeritus professor of Medieval history at the University of Wisconsin-Madison. He also is a well-known classical music critic who writes for Isthmus and the American Record Guide, and who hosts an early music show once a month on Sunday morning on WORT-FM 89.9. For years, he served on the Board of Advisors for the Madison Early Music Festival and frequently gives pre-concert lectures in Madison.
By John W. Barker
The Wisconsin Baroque Ensemble offered its latest specimen of intimate Baroque chamber music at St. Andrew’s Episcopal Church on Regent Street last Sunday afternoon.
As always, each of the performers—six in this case—had one or two opportunities as soloist.
Mezzo-soprano Consuelo Sañudo (below), for instance, was featured in two solo cantatas.
One, by Giovanni Bononcini was on conventional emotional themes.
But the other was a real curiosity. By the French composer Louis-Nicolas Clérambault, it was written for the Nativity season, and has been given a French title as “Hymn of the Angels.” But its text was no more or less than the Latin words of the Gloria section of the Mass Ordinary.
A new member in the group, recorder player Sigrun Paust (below), delivered the Sonata No. 1 from a 1716 collection of works written by Francesco Veracini alternatively for violin or flute.
For flutist Monica Steger (below) the vehicle was a Sonata Op. 91, No. 2, for Flute and Harpsichord duo, by Joseph Bodin de Boismortier.
The spotlight was on viola da gambist Eric Miller (below) in another duo with harpsichord, no less than the Sonata in D Major, BWV 1028, by Johann Sebastian Bach, but Miller also participated in continuo functions elsewhere. (You can hear the Bach sonata in the YouTube video at the bottom.)
Likewise active in continuo work was viola da gambist Anton TenWolde (below), but he had one solo, a Capriccio for cello, by Joseph Ferdinand Dall’Abaco.
And the harpsichordist Max Yount (below), also involved in continuo roles, presented two contrasting keyboard pieces, a Toccata by Jan Pieterszoon Sweelinck and a Fantasie by Johann Jakob Froberger.
For a colorful finale, Paust and Miller joined TenWolde and Steger (on harpsichord) in a Trio Sonata in F by Georg Philipp Telemann.
The artistry of these performers (below) was fully up to their own high standards, and their delight in trading off assignments to play together is palpable.
St. Andrew’s Church (below) on Regent Street may have been a bit bigger than a Baroque salon or parlor, but still served well as a setting for this kind of amiable gentility in musical substance.
The group’s next Madison concert is at St. Andrew’s on Sunday, Feb. 12, 2017. No program has been announced.
ALERT: This week’s FREE Friday Noon Musicale at the First Unitarian Society of Madison, 900 University Bay Drive, features Shannon Farley, viola, with Chris Allen, guitar; Leah King and Jason Kutz, piano; Elspeth Stalter Clouse and Ela Mowinski, violin; Leslie Damaso, mezzo-soprano; and Morgan Walsh, cello. They will perform the Piano Quintet in A Major, Op. 81, by Antonin Dvorak; Three Songs for Mezzo-soprano, viola and piano by Frank Bridge; “Beau Soir” (Beautiful Evening) for guitar and viola by Claude Debussy; and a Romance for violin by Amy Beach as arranged for viola and piano. The concert runs from 12:15 to 1 p.m.
By Jacob Stockinger
Can the past help us understand and weather the present time with its conflicts and chaos?
In fact her latest album, for the Erato-Warner label, of arias from Baroque operas from the 17th and 18th centuries is dedicated to that proposition. The album’s title is “In War and Peace: Harmony Through Music” (below).
It includes arias from opera by George Frideric Handel (one of which you can hear in the YouTube video at the bottom), Henry Purcell, Niccolo Jommelli, Leonardo Leo and Claudio Monteverdi, and it features two world premiere recordings as well as familiar works.
She boils much of her viewpoint down to one question: In the widest of chaos, how can you find peace?
Sure seems timely, given foreign wars and domestic political strife.
Here is a link with the interview and some fetching music:
Listen to it.
See what you think.
Then let the rest of us know what you think, and whether you agree or disagree, and whether you have other works that come to mind.
The Ear wants to hear.
ALERT: There will NOT be a Noon Musicale this Friday at the First Unitarian Society of Madison. The weekly series resumes next week.
By Jacob Stockinger
The Wisconsin Baroque Ensemble will perform a very varied concert of baroque chamber music on this coming Sunday, Nov. 27, at 3 p.m. at Saint Andrew’s Episcopal Church (below), 1833 Regent Street, on the near west side of Madison.
Members of the ensemble include Eric Miller, viola da gamba; Sigrun Paust, recorder; Consuelo Sañudo, mezzo-soprano; Monica Steger, traverso flute, harpsichord; Anton TenWolde, baroque cello; and Max Yount, harpsichord.
Tickets at the door only are $20 for the public, $10 for students.
For more information, visit www.wisconsinbaroque.org
A reception will be held at 2422 Kendall Ave, second floor after the concert.
The program includes:
Francesco Maria Veracini (below) – Sonata No. 1 for recorder and basso continuo in F major
Jan Peterszoon Sweelinck, Toccata in C
Johann Jakob Froberger, Fantasie
Giovanni Bononcini, “Vorrei pure pianger”
Joseph de Bodin de Boismortier – Sonata for flute and harpsichord, Opus 91, No. 2
Francois Couperin – “Le Dodo ou l’Amour au Berceau”
Evaristo Felice Dall’Abaco – Capriccio for solo violoncello No.
Louis-Nicholas Clerembault – Hymne des Anges
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 for WORT-FM 89.9. For years, he served on the Board of Advisors for the Madison Early Music Festival and frequently gives pre-concert lectures in Madison. Barker also took the performance photos in the review.
By John W. Barker
An unusual feature of the program this time was a kind of running backbone: the music of the little-known 18th-century French composer Benoît Guilemant.
From a collection of duo miniatures for flute and violin, six short pieces were sprinkled through the program. There was also a larger work of his, a Quartet Sonata, Op. 1, No. 3, for two flutes and violin with basso continuo. All these were spirited, clever and imaginative pieces that greatly delighted the audience.
The French Baroque was further represented by a cantata by François Bouvard (1684-1760), sung by mezzo-soprano Consuelo Sañudo, with flutist Brett Lipshutz and violinist Nathan Giglierano taking obligato parts.
The other veteran singer involved, soprano Mimmi Fulmer, delivered a pungent Italian mini-cantata by Barbara Strozzi (1619-1677).
And, from the German Baroque scene, there was a fine Trio Sonata, Op. 1, No. 2, by the great Dieterich Buxtehude (1637-1707). You can hear it in the YouTube video at the bottom.
The earliest music in the program was provided by Claudio Monteverdi: first, the delicious concertato madrigal, “Chiome doro” from the Seventh Book (1619); then three delightful pieces from the earlier Scherzi Musicali of 1607.
The ensemble this time consisted of eight performers. Besides the two singers and the two instrumentalists named, there were regulars like Eric Miller (viola da gamba), Monica Steger (flute, recorder, harpsichord), Anton TenWolde (cello), and Max Yount (harpsichord). Violinist Giglierano is a new presence in the group, and it seems as if he will be returning to the fold later this season.
One hates to think that the audience was somewhat smallish due to football. But it was a lively and—as always and justly—an appreciative one.
By Jacob Stockinger
Fans of Baroque music can take their experience beyond such standard fare as Johann Sebastian Bach, Antonio Vivaldi and George Frideric Handel if they attend a concert this weekend by the veteran Wisconsin Baroque Ensemble, which has long used period instruments and historically informed performance practices.
PLEASE NOTE: There is a Badger Football game on Saturday, so it may take a little longer than usual to get to the Gates of Heaven.
Members of the Wisconsin Baroque Ensemble (below) include: Mimmi Fulmer, soprano; Nathan Giglierano, baroque violin; Brett Lipshutz, traverse and recorder; Eric Miller, viola da gamba; Consuelo Sañudo, mezzo-soprano; Monica Steger, traverso, recorder and harpsichord; Anton TenWolde, baroque cello; and Max Yount, harpsichord.
Tickets at the door only: $20 for adults, $10 for students.
Here is the program:
A reception will be held at 2422 Kendall Ave., second floor, after the concert.
By Jacob Stockinger
The Ear has received the following announcement from the mostly amateur Middleton Community Orchestra:
The Middleton Community Orchestra (below top) is excited to open its sixth season and present its Fall Concert on Thursday, Oct. 13, at 7:30 p.m. at the Middleton Performing Arts Center (below bottom), which is located at 2100 Bristol Street and is attached to Middleton High School.
The program includes: Overture to “Candide” by Leonard Bernstein, who conducts his own work in the YouTube video at the bottom; and songs by Stephen Sondheim and George Gershwin, with mezzo-soprano Jessica Kasinski (below top) and baritone Gavin Waid (below middle). Both singers study at the UW-Madison.
Also featured is the Concerto in F by George Gershwin with piano soloist Thomas Kasdorf (below bottom). Kasdorf, a native of Middleton who graduated from the University of Wisconsin-Madison School of Music, frequently performs with the MCO .
Tickets are $10. All students are admitted free of charge.
Tickets are available at the door on the night of the concert, and in advance at the Willy St. Coop West. The box office opens at 7 p.m.
There will be an informal meet-and-greet reception after the concert.
For more information about how to support or join the MCO, go to www.middletoncommunityorchestra.org or call (608) 212-8690.
We hope to see you there!
Co-founders Mindy Taranto and Larry Bevic