The music, to be played by early music specialist David Schrader of Roosevelt University in Chicago, includes the Partita No. 5 in G Major, BWV 829, by Johann Sebastian Bach; the Sonata in C Major, K. 330, by Wolfgang Amadeus Mozart; the Sonata No. 44 in G minor by Franz Joseph Haydn; and the Sonata in A minor by Carl Philipp Emmanuel Bach.
For more information about the unusual concert, go to:
By Jacob Stockinger
Here is another better-late-than-never posting.
Composer Steve Reich, along with Philip Glass, was one of the pioneering giants of minimalism in classical music, which in turn influenced even pop music icons such as David Bowie and Brian Eno. (You can hear Part 1 of his influential and hypnotic work “Drumming” in the YouTube video at the bottom.)
Last month Steve Reich turned 80.
Here is a story that traces the evolution of Reich’s career and art — including his reliance on rhythm, his use of percussion and words, and his exploration and rediscovery of Judaism — from the Deceptive Cadence blog for National Public Radio (NPR):
And here is another story from The New York Times that covers Reich past, present and future:
By Jacob Stockinger
The third time is the charm.
By then you know a tradition has been born.
For the third year in a row, the University of Wisconsin-Madison is holding a Schubertiade at the end of January, near the birthday of Austrian composer Franz Schubert (1797-1828, below). Can there be a better way to kick off the second semester of concerts and music-making?
The event, which was founded by and now is organized by and performed by the wife-and-husband team of UW-Madison collaborative piano professor Martha Fischer and piano teacher and former music director for Wisconsin Public Radio Bill Lutes, takes place this Saturday night at 8 p.m. in Mills Hall.
Admission is $15 for adults, free for students of all ages. A post-concert reception is included.
ALSO, BE ADVISED THAT THERE IS A UW HOCKEY GAME THAT NIGHT, SO FINDNG PARKING WILL BE MORE CHALLENGING THAN USUAL. ALLOW FOR EXTRA TIME TO GET TO THE CONCERT. THE HALL WILL OPEN AT 7:30 P.M., IF YOU WANT TO COME EARLY AND GET TO YOUR FAVORITE SEATS.
What is it about Schubert that makes him special to the many performers and listeners who will take part?
One answer can be found in a press release from the UW-Madison:
More can be found in a story written by Sandy Tabachnick for Isthmus:
But Bill Lutes also agreed to talk about Schubert (below) and the Schubertiade in an email Q&A with The Ear:
This is the third consecutive year of the UW-Madison Schubertiades that you have presented in honor of his birthday on Jan. 31, this year being the 219th. What is it about Schubert that draws audiences and performers to his music?
Probably the most obvious thing we love about Schubert is the endless stream of glorious, memorable melody – melodies that we can only call “Schubertian.” Who can forget a tune like “The Trout” or “Ave Maria” or the famous “Serenade”? These are part of our cultural DNA.
Then there is Schubert’s rich harmonic vocabulary, and his expansiveness and generosity of form. Although he fashioned innumerable miniatures of exquisite perfection – short songs and piano pieces – he also wrote some of the biggest works of the time, including some of the songs we are performing.
They are big in every way, the “heavenly length” that Robert Schumann wrote about and loved, the sense of adventure and the unexpected and the sheer spaciousness of his musical paragraphs — and the long passages of rhythmic obsession that seem to anticipate today’s Minimalist composers.
Above all, his music is unique in the ways it explores the most joyful and the most tragic aspects of our experience, often interwoven, and ambiguously overlapping.
Those of us who are attracted to Schubert feel that he is our friend, our consoler, our guru and our guide to something that shines beyond the travails of our earthly life. He left us such a rich and varied body of music. The amount he composed in his 31 years is absolutely incredible. But also the level of inspiration is so high throughout so much of it.
Your program has a lot of variety. Is there some overarching “theme” that ties the program together?
This year, the pieces we are doing are all inspired by Schubert’s exploration of the sounds and imagery of nature. We’re calling it Schubertian “Naturescapes: Water, Winds and Woodlands.” Schubert came along at a time when the Romantic poets, painters and musicians began to think of nature in a new way.
Like Frank Lloyd Wright, Schubert and his poets spelled Nature with a capital N. The poetry he set to music often evokes the grandeur and sublimity of Nature, and the ways that we humans experience transcendence by observing mountains, forests, lakes and seas, and rushing winds or gentle breezes. All of the lieder that we have selected for this program reflect this almost religious attitude toward Nature (depicted below in the painting “Summer,” with a couple embracing amorously under a tree, by the Romantic German artist Casper David Friedrich.)
What are some of the challenges that Schubert’s music poses to pianists in particular?
Schubert’s piano style is unique, and calls for an ability to sing on the instrument, and to play with an array of orchestral colors.
Playing his songs of course means that you understand something about what it takes to sing them, and you have to completely get into the poetry and the ideas being explored.
He was a very social and sociable composer, and so a lot of playing Schubert involves playing nicely with others. That includes of course playing duets by two pianists at one keyboard.
Schubert was probably the greatest composer for this medium and wrote some of this greatest works for piano duet.
The two pianists must play the same instrument, and sound as one. It is harder than you might think! The issue of playing in such close proximity to your partner invites a level of physical intimacy that can be quite pleasant or quite awkward, depending on the music in question.
The great pianist Artur Schnabel (below) spoke of “music that is better than it can be played.” He included most of Schubert in this category.
The idea for the Schubertiades originated in Schubert’s lifetime — social gatherings devoted to hearing Schubert’s music, but also to having a good time with friends. How do modern performers recreate this informal atmosphere?
Part of it is the variety of the music, and the large number of performers who will be joining us, most of whom will be seated around the piano on stage during the concert (below top). We will also have seating on stage for audience members who want to have a bit of the intimate feeling of those first legendary Schubertiades (below bottom) held in salons in Vienna.
We aim for an atmosphere of spontaneity and informality, as we have in the past two Schubertiades. We are thrilled this year that our concert is underwritten by a generous donor, Ann Boyer, whose gift has allowed us to include opera singer Jamie-Rose Guarrine (below, in a photo by Peter Konerko) as our featured guest artist and alumna.
We both worked a lot with Jamie-Rose when she was a student here and she’s a wonderful singer who will be travelling to us from New England where she is a new voice faculty member at the University of Massachusetts at Amherst.
And of course we are delighted to be making music with so many of our UW-Madison School of Music faculty, other alumni and friends.
Anything else you want to add?
We will be performing all the songs in their original German. However, you’ll find full German texts and translations at the door. We encourage people to come early and read the poetry before the concert begins. It’s a nice way to familiarize yourself with the gist of the poems without having to be glued to your program while the songs are being sung.
Here is the impressive and appealing complete list of works and performers:
Schubertian Naturescapes – Water, Winds and Woodlands
Jamie-Rose Guarrine (JRG), Mimmi Fulmer (MF), Sara Guttenberg (SG), Marie McManama (MM), Daniel O’Dea (DO), David Ronis (DR), Paul Rowe (PF), Benjamin Schultz, (BS), singers
Soh-hyun Park Altino (SP), violin
Sally Chisholm (SC), viola
Parry Karp (PK), cello
Ben Ferris, (BF), double bass
Daniel Grabois (DG), horn
Wesley Warnhoff (WW), clarinet
Bill Lutes (BL) and Martha Fischer (MF), piano
Wanderers Nachtlied (II), D. 768 Wayfarer’s Night Song (MF, BL) Johann Wolfgang von Goethe
Der Fluss D. 693 The River (JRG, BL) Friedrich von Schlegel
Widerspruch, D. 865, Contrariness (DO, DR, BS, PR, MF) Johann Gabriel Seidl
Auf dem Wasser zu Singen, D. 774, To Be Sung on the Water (SG, MF) Friedrich Leopold, Graf zu Stolberg-Stolberg
Fischerweise D. 881, Fisherman’s Ditty, (BS, MF) Franz Xaver von Schlechta
Die Forelle, D. 550, The Trout (MM, BL) Christian Friedrich Schubart
Piano Quintet in A major “Trout,” D. 667 (SP, SC, PK, BF, MF) Movement IV: Theme and Variations (heard in a YouTube video at the bottom)
Suleika I, D. 720 (JRG, BL); Suleika II, D. 717 (JRG,MF) Marianne von Willemer, rev. Goethe
Auf dem Strom, D. 943, On the River (DO, DG, MF) Ludwig Rellstab
Frühlingsglaube, D. 686, Faith in Spring (DR, BL) Ludwig Uhland
Im Walde “Waldesnacht,” D. 707, In the Forest “Forest Night” (PR, BL) Friedrich Schlegel
Dass sie hier gewesen, D. 775, That She has Been Here (MF, BL) Friedrich Rückert
Allegro in a minor ”Lebensstürme,” D. 947, Life’s Storms (MF, BL)
Der 23 Psalm, D. 706, (MM, SG, MF, MF, BL) The Bible, trans. Moses Mendelssohn
Der Hirt auf dem Felsen D. 965, The Shepherd on the Rock (JRG, WW, MF) Wilhelm Müller/Karl August Varnhagen von Ense
An die Musik, D. 547 To Music. Franz von Schober. Everyone is invited to sing along. You can find the words in your texts and translations.
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 for 12 years hosted an early music show every other Sunday morning on WORT FM 89.9 FM. He serves on the Board of Advisors for the Madison Early Music Festival and frequently gives pre-concert lectures in Madison. Barker also took the performance photo.
By John W. Barker
The Willy Street Chamber Players have already awakened us to Madison’s East Side as a promising new locale of our musical life. And in presenting their program in A Place to Be, the old store converted into a conversation haven at 911 Williamson Street, they have given us further reminder of that area’s lively community life and activities.
On last Saturday and Sunday afternoons, the Willys offered an hour-long program, admission-free but by reservation. (I attended the Saturday performance.)
The small space was certainly the kind of intimate venue ideal for music by string quartet: indeed, it made for virtually an in-your-face confrontation.
Four members (below) of the Willys’ core ensemble were on hand. Violinists Eleanor Bartsch and Paran Amirinazari (alternating in second and first chairs), violist Beth Larson and cellist Mark Bridges made up a well-balanced string quartet.
Their program of four works displayed anew the level of enthusiastic music-making these players have set for themselves, but also of their wide-ranging mix of repertoire.
The opening piece was Wolfgang Amadeus Mozart’s beloved Serenade, Eine kleine Nachtmusik (A Little Night Music). As first violinist, Bartsch – who won honors at the University of Wisconsin-Madison School of Music — set an exuberant tone for what became a newly fresh masterpiece.
The second work, Anton Webern’s early Langsamer Satz (Slow Movement), can sometimes seem too extended for its 9-minute length. But these players imparted a forward-moving pulse to its heavily Late Romantic character that made it a lovely experience. And I must say that Larson made me aware for the first time of just how significant a role the viola part has in holding together the dense texture.
The contemporary American composer Philip Glass (below) is inevitably typecast as the arch-exponent of minimalist repetition. His 9-minute String Quartet No. 2 “Company” certainly reflects such techniques, but its four short movements allow a dispersion of their effects without making them unwelcome.
I found myself impressed, too, at least by Glass’s awareness of the characters of the four instruments—their different ranges and potentials for interaction. (You can hear Philip Glass’ String Quartet No. 2 performed by Brooklyn Rider in a YouTube video at the bottom.)
Finally, Dmitri Shostakovich’s 15-minute, four-movement String Quartet No. 1, dating from 1938, revealed a composer enjoying energy and affirmation, with only traces of the deeper, darker, more introverted writing that would come about in his subsequent 13 quartets. Particularly striking was the nostalgic second movement, largely dominated by the viola, the role of which Larson brought off to eloquent perfection.
These two concerts served as mid-season reminders of the projected second summer season by the ensemble (below), to come in July. Full announcement of its program details and other news will come in a week or so. But the teasing hints about the repertoire ahead sounded fascinating. I, for one, found my mouth watering at many of them.
So you are all on notice, then, that this exciting ensemble, bursting with youthful talent, will once again bring special novelty and artistry to another summer’s musical life.
By Jacob Stockinger
Not a lot of musicians write well. It’s probably because they prefer to let their music-making do their communicating.
But one notable exception is the “minimalist” composer Philip Glass (below), whose new volume of memoirs is being praised for its insights and for its engaging, articulate style. (A good sample of his speaking, composing and playing is in the YouTube video at the bottom.)
Recently, Glass did a 46-minute interview for Terry Gross and her “Fresh Air” program on NPR (National Public Radio.) He discussed his early days composing and performing as well his training with famed French teacher Nadia Boulanger.
The NPR story has the interview plus some highlights from the interview and also some excerpts from the book “Words Without Music.
The Ear thinks that Glass, now 78, emerges as a very thoughtful and perceptive man who is also droll and self-deprecating.
See what you think.
Here is a link to the NPR story:
And here is a highly positive review of the book that appeared in The New York Times:
What do you think of Philip Glass and his music? His memoirs?
The Ear wants to hear.
ALERT: This just in: This afternoon’s performance at 2:30 p.m. in Overture Hall of the Madison Symphony Orchestra‘s Christmas concert, with guest soloist and local groups under the baton of John DeMain (below, in a photo by Bob Rashid) is virtually SOLD OUT. But you can call the Overture Center Box Office (608-258-4141) to determine any availability.
By Jacob Stockinger
Sure, you look at the entirety of classical music history and you can name your favorite composers and favorite works: Johann Sebastian Bach and Ludwig van Beethoven’s Fifth Symphony and Ninth Symphony, right?
But there are surprises awaiting you, if you restrict the choices to the past century.
Looking over the past 100 years — starting Jan, 1, 1914 — who would have guessed, for example, that: Music for 18 Musicians (at bottom, in a complete performance in a YouTube video by the acclaimed and Grammy Award-winning new music group eighth blackbird) by contemporary minimalist composer Steve Reich (below, in a photo by Wonge Bergmann) would pull out ahead of George Gershwin, Dmitri Shostakovich, Bela Bartok, Charles Ives, Alban Berg and all others in last year’s Q2 Music poll?
Anyway, the terrific classical music blog “Deceptive Cadence” recently posted a story about the Q2 Music poll.
It included an entry form that will allow readers to pick up to FIVE works and composers as they participate in this year’s poll that dates back to Jan. 1, 1915.
Voting closes on Dec. 20, 2014.
Then, starting on Saturday, Dec. 27, as a way to close out the old year and ring in the new, a marathon countdown will begin and all the works will be played in reverse order of the survey results.
No word if it will be webcast, but The Ear suspects you can easily tune into Q2 Music by going to the website for WQXR.
Here is a link to the NPR story by Anastasia Tsioulcas and to the poll entry form.
And here is a link to WQXR where you can find a way to listen (at the top of the page), to sign up for the Q2 Music Newsletter and also see the results of the Q2 polls for 2011, 2012 and 2013 as well as the upcoming 2014. It makes for some interesting reading and listening.
And here is a link to a Dec. 2 concert, now archived at NPR, in which some of the best new recordings and music from 2014 was performed:
As for the Q2 Music poll, The Ear hopes someone chooses – make that that many people choose – the gorgeous Violin Concerto by the American composer Samuel Barber, who was less hot and controversial but much more gifted as a composer.
But whatever happens, have fun choosing and voting.
Don’t forget to use the COMMENTS section to tell The Ear and his readers what works you entered.
And don’t forget to fill in your date book for some happy listening to new music.
By Jacob Stockinger
The Ear likes that comparison, although the older Baroque composers will doubtlessly remain a lot more influential than either of the newer contemporary ones.
The two “new guys” are the celebrated living American composers Steve Reich (below top) and Philip Glass (below bottom), both of them now 77 years old and considered pioneers of New Music and Minimalism.
The have apparently been estranged for quite a few years. But then they appeared last week at the Brooklyn Academy of Music to help mark the 50th anniversary of the founding of Nonesuch Records, a pioneering label that has been home to both of them. (Below is a photo of Philip Glass, left) and Steve Reich, by Betana Sikoria for The New York Times.)
By all accounts it was a momentous event, with sold-out houses, that stirred audiences to loud cheers when they played, including Steve Reich’s “Four Organs,” which is featured at the bottom in a YouTube video of the original 1970 recording that also featured Philip Glass. (Below, the two are performing the same work in a photo at BAM by Chad Batka for The New York Times.)
And here are two stories — one is a preview for background and the other is a review — that compared their friendship to a piece of music by Reich -– from The New York Times:
The Ear tends to like the music of Philip Glass more than Steve Reich, but not always.
Still, there is no getting round the influence of both men.
Which composer do you generally prefer and why?
And what is your favorite piece by each?
The Ear wants to hear.
By Jacob Stockinger
Ukrainean-born pianist Valentina Lisitsa is no stranger to Madison.
But Valentina Lisitsa, who possesses a seemingly flawless technique and endless strength and stamina, is also a great keyboard virtuoso in her own right. That side of her talent is what you heard on impressive display when she appeared twice in solo recitals at Farley’s House of Pianos.
As a reminder, here are some links to older posts:
Recently, NPR did an interview with Valentina Lisitsa on the occasion of new Decca recording, a CD of piano music by the British Minimalist composer Michael Nyman, best known probably for his score to the film “The Piano.”
In the interview she discusses how she almost gave up on her piano career; how she turned to YouTube and the Internet the chance they could rescue her career; and how that led her to tens of millions — something like 75 million — followers, who, in turn, got her a recital at Royal Albert Hall that was recorded live and a recording contract with the major label Decca. With Decca, she has also recorded piano concertos by Sergei Rachmaninoff and solo piano music by Ludwig van Beethoven, Frederic Chopin, Alexander Scriabin and especially Franz Liszt among others in a program that her YouTube followers got to choose by voting on the web. (Her YouTube video of Beethoven’s “Moonlight” Sonata has over 7 million hits. Check out her YouTube repertoire. It is vast and varied.)
In short, Valentina Lisitsa may well be the model of the new kind of successful career in classical music in The Digital Age of high technology
And show will perform on the Wisconsin Union Theater series, when it reopens in the renovated concert hall I call the “Carnegie Hall of Madison” on Thursday, Nov. 20, 2014.
Here is the NPR link. The Ear suggests listening to it, not just reading it: