The Well-Tempered Ear
Classical music: Songs and chamber music about water and nature by Franz Schubert flow with drama and assertiveness to conclude this year’s Token Creek Festival. The concert will be repeated today at 4 p.m.
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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 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. He also provided the performance photos for this review.
By John W. Barker
The context of this year’s Token Creek Chamber Music Festival has been the reconstitution of a neglected trout stream on the property of John and Rose Mary Harbison, the festival directors.
With an overall festival title of “Water Music,” its final program is called “Water Colors,” and is devoted exclusively to music by this year’s featured composer, Franz Schubert (below).
This program, first performed on Friday evening, contained just two major works.
The first was Schubert’s song cycle, “Die schöne Müllerian (The Lovely Miller Maid).
Setting a cycle of 20 poems by Wilhelm Müller (almost a pun!), Schubert has us follow episodically the story of a mill worker who falls in love with his boss’s daughter. She first encourages him and then betrays him, abandoning him to a hopeless death. Through all this, his guide, sustainer and, finally, consoler, is the mill brook, itself effectively a character in the saga.
Occupying the first half of the concert, this cycle was sung from memory by the highly acclaimed tenor William Hite (below). His voice is somewhat more of a dramatic than a lyric tenor, and some of his delivery had a vehemence that was almost too big for the intimate setting of “the barn” on the Harbison estate.
But, in truth, Hite (below) could muster up delicacy and nuance as well as earthy strength. Above all, he became a story teller—at once narrator and protagonist—a singing actor who drew us into the tragic story.
He was also powerfully supported by pianist Kayo Iwama (below). Her playing was not subtle, but it struck just the right tone of assertiveness and caught the bucolic evocations.
As their performance proceeded, I found I was no longer in “the barn” but transported into the world of nature and hopeless love. The poignance and humanity of Schubert’s cycle was thus truly realized.
In the second half, another of Schubert’s “nature” evocations was fittingly offered: the beloved Quintet in A for piano and an adjusted string quartet (D.667). This bears the nickname of “the Trout,” because the fourth of its five movements is a set of variations on his own song, Die Forelle (The Trout). (You can hear that fourth movement in the YouTube video at the bottom.)
Performers (below) were Rose Mary Harbison, violin; Jennifer Paulson, viola; Karl Lavine; cello, and Ross Gilliland, bass; with pianist Molly Morkoski.
It was given a lively performance, and made me pay particular attention to the role of the piano in the scoring. Aside from the two piano trios, this is Schubert’s only full-scale chamber work in which he matches the piano with a string ensemble. It’s not a quasi-concerto, but there is a clear understanding of the sonic distinctions between the piano and the strings as they contrast and collaborate.
The piano’s role was indeed the backbone of this performance, thanks to the work of Morkoski (below), who again—as in the opening concert program last weekend—showed herself a born Schubert pianist of great flair.
NOTE: This program is to be repeated this afternoon at 4 p.m., and will conclude this year’s festival.
For more information, here is a link:
Tags: Actor, American Record Guide, Baroque music, bass, bucolic, Cello, Chamber music, Classical music, composer, critic, Die Schoene Muellerin, Early music, emeritus, Franz Schubert, History, Isthmus, John Harbison, John W. Barker, Kayo Iwama, Madison, Madison Early Music Festival, Medieval, Molly Morkoski, Music, narrator, Piano, Piano Quintet, Piano Trio, professor, quintet, Rose Mary Harbison, Singing, song, song cycle, String quartet, strings, tenor, The Trout, Token Creek Chamber Music Festival, Trout Quintet, United States, University of Wisconsin-Madison School of Music, University of Wisconsin–Madison, video, Viola, Violin, vocal music, William Hite, Wisconsin, WORT-FM 89.9, YouTube
Classical music: This year’s Token Creek Chamber Music Festival celebrates local ecological restoration with “water music”
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By Jacob Stockinger
Here is an overview of the upcoming 27th Token Creek Chamber Music Festival, which starts this Saturday, Aug. 27, and runs through Sunday, Sept. 4.
TOKEN CREEK, WIS. – Years in the planning, summer 2016 marks the completion of a major ecological restoration project on the Token Creek Festival property in the northeast corner of Dane County, part of the watersheds vital to the hydrology of Madison and southeastern Wisconsin.
During the 1930s, one of the most important feeder streams in the area, and its only cold-water trout stream, was ruined when it was widened to support short-lived commercial interests and development. Now, decades later, in a monumental effort, that stream has at long last been relocated, restored and rescued.
Festival-goers will be able to experience the project firsthand on the opening weekend, when each concert is preceded by an optional stroll along the new stream, with conversation guided by restoration ecologists and project managers.
Celebrating this monumental ecological project, the season theme of this year’s Token Creek Chamber Music Festival is: Water Music. Virtually all of the works programmed evoke brooks and streams and rivers and water in its many forms, with its ritual meanings, associations, allusions, and as metaphor.
In keeping with the theme, the Festival has adopted Franz Schubert (below) as the summer’s featured composer. His poetic, melancholic, ultimately organic and inevitable relationship to the natural world was expressed in composition after composition, wedded to his intense involvement with the poetry of his era, itself so infatuated with birds, fields, clouds and streams.
The second program emphasis continues the festival’s most persistent theme: the music of Johann Sebastian Bach.
Three strands of Bach’s music previously explored at Token Creek will be taken up again. We will present our third complete cantata performance, O heiliges Geist und Wasserbad, a mysterious and poetic piece from early in the composer’s career, with soloists from the Madison Choral Project (below).
We will conclude our survey of the three Bach violin concertos, this year the E major, co-artistic director Rose Mary Harbison (below top) again as soloist. And we take up our sequence of fugues from The Art of Fugue, co-artistic director and composer John Harbison (below bottom), who has won the Pulitzer Prize and a MacArthur “genius grant,” adding three more to his personal odyssey with this work, due to conclude in 2030.
NEW ARTISTS
Token Creek is pleased to introduce several new artists this season, including Grammy Award-nominated mezzo-soprano Margaret Lattimore, who has been praised for her “glorious instrument” and dubbed an “undisputed star…who has it all – looks, intelligence, musicianship, personality, technique, and a voice of bewitching amber color.”
Ms. Lattimore will offer works of Franz Schubert and John Harbison on the Festival’s opening concerts, By the Brook (August 27 and 28), where she will be joined by pianist Molly Morkoski.
Ms. Morkoski (below), who last appeared at Token Creek in 2013, consistently garners praise for her refined virtuosity and “the bold confidence and interactive grace one wants in a devoted chamber music maker.” In addition to the opening program, Morkoski will also be heard on the season finale in Schubert’s “Trout” Quintet (Sept. 2 and 4).
On that same concert, tenor William Hite and pianist Kayo Iwama join forces in Schubert’s devastating and tragic song cycle, Die Schöne Müllerin (The Beautiful Miller’s Daughter), in which a brook functions prominently as the protagonist’s confidante. (You can hear the legendary baritone Dietrich Fischer-Dieskau sing “The Miller and the Brook” from the flowing song cycle in the YouTube video at the bottom.)
New York Times critic Anthony Tommasini has called Hite (below) a “breathtaking communicator of spoken nuance” for his ability to reveal the meaning and emotion embodied in the text and the music, solidifying his reputation as an engaging and expressive artist.
http://www.williamhitetenor.com/
Kayo Iwama (below) is associate director of the Bard College Conservatory of Music graduate vocal arts program, the master’s degree program for classical singers, and she also coordinates the vocal studies program at the Tanglewood Music Center. Her frequent concert partners include Dawn Upshaw and Lucy Shelton.
http://www.bard.edu/academics/faculty/details/?action=details&id=1838
VIOLS AND WILLIAM WARTMANN
Finally, the “technically faultless and consistently sensitive and expressive,” consort of viols, Second City Musick (below), based in Chicago, will offer a guest recital on Tuesday, Aug. 30, anchored by John Harbison’s The Cross of Snow.
Craig Trompeter, Russell Wagner, Anna Steinhoff at the Planetarium, Chicago, May 30, 2013
Commissioned by local businessman and philanthropist William John Wartmann (below) in memory of his wife, mezzo-soprano Joyce Wartmann, this evocative new piece, on texts of Henry Wadsworth Longfellow, blends the ethereal lushness of violas da gamba with the haunting clarity of the countertenor voice, here Nathan Medley (below bottom), to explore the emotions of grief, loss and love.
At its first performance in Chicago last May, a local critic praised both the work and the musicians: “The Chicago-based ensemble was ideally suited to premiere this profoundly affecting work, and the shared sensibility between composer and performers was noticeable.”
Tuesday’s program will also include works of Henry Purcell, William Byrd, John Jenkins and Johann Sebastian Bach.
Other festival artists this season include vocalists Rachel Warricke, Sarah Leuwerke, Daniel O’Dea, and Nathan Krueger; violinists Rose Mary Harbison, Laura Burns, and Isabella Lippi; Jen Paulson, viola; Karl Lavine, cello; Ross Gilliland, bass; Linda Kimball, horn; and John Harbison, piano.
HERE ARE FESTIVAL PROGRAMS AT A GLANCE:
Program 1: By the Brook – Schubert, Bach and Harbison
Saturday, Aug. 27: 6:45 p.m. – optional guided stream stroll*; 8 p.m. – concert
Sunday, Aug. 28: 2:45 p.m. – optional guided stream stroll*; 4 p.m. – concert
*(The stream stroll is free, but reservations are recommended)
Program 2: Music for Viols, Then & Now
Tuesday, Aug. 30, at 7:30 p.m.
Program 3: Water Colors = Two Schubert Masterworks
Friday, Sept. 2 at 7:30 p.m.
Sunday, Sept. 4 at 4 p.m.
Concert tickets are $32 (students $12). The preview stream stroll on opening weekend is free to concertgoers, but advance reservations are recommended.
Reservations can be made in several ways:
- Online: https://www.eventbrite.com/e/token-creek-chamber-music-festival-2016-tickets-26070692142
- Website (printable order form): www.tokencreekfestival.org
- Phone: 608-241-2525 (voicemail only, please leave a message)
- Email: info@tokencreekfestival.org
- U.S. mail: P.O. Box 5201, Madison WI, 53705
Performances take place at the Festival Barn, on Highway 19 near the hamlet of Token Creek (10 minutes north of Madison) with ample parking available. The venue, indoors and air-conditioned, is invitingly small—early reservations are recommended.
More information about the Token Creek Festival and all events and artists can be found at the website, www.tokencreekfestival.org or by calling 608 241-2525.
Tags: accompaniment, accompany, allusion, Art of Fugue, Arts, association, Bach, Bard College, baritone, Baroque, bass, birds, Byrd, Cantata, Cello, Chamber music, Chicago, choral music, Classical music, clouds, commission, composer, concerto, countertenor, Dane County, Dawn Upshaw, development, Dietrich Fischer-Dieskau, Early music, ecology, fields, Franz Schubert, fugue, genius grant, Grammy, grief, Henry Wadsworth Longfellow, Horn, Jacob Stockinger, Jenkins, Johann Sebastian Bach, John Harbison, John Jenkins, Kayo Iwama, lieder, loss, Love, Lucy Shelton, MacArthur Fellow, Madison, Madison Choral Project, Margaret Lattimore, metaphor, Mezzo-soprano, Molly Morkoski, Music, natural world, nature, New York Times, organic, Piano, poetic, Poetry, premiere, Pulitzer Prize, Purcell, restoration, Rose Mary Harbison, Second City Musick, sing, singer, solo, Sonata, song, song cycle, stream, streams, Tanglewood Festival, tenor, Token Creek Chamber Music Festival, Trout, Trout Quintet, United States, University of Wisconsin-Madison School of Music, University of Wisconsin–Madison, Viol, Viola, Violin, vocal music, vocalist, water, Water Music, watershed, William Hite, William Wattmann, Wisconsin, YouTube
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