The Well-Tempered Ear
Classical music: New York Polyphony opens the 17th annual Madison Early Music Festival with a perfectly rendered composite portrait of Elizabethan sacred music. Plus, the winners of the fourth annual Handel Aria Competition are announced
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ALERT: In case you haven’t yet heard, the winners (below) of the fourth annual Handel Aria Competition, held on Friday night in Mills Hall and accompanied by the Madison Bach Musicians, have been announced.
Eric Jurenas (center), countertenor, won First Prize; Christina Kay (right), soprano, won Second Prize; and Nola Richardson (left), soprano, won Third Prize and Audience Favorite.
By Jacob Stockinger
The Ear left the concert hall thinking: Well, this will be an easy review to write.
Just give it an A-plus.
An easy A-plus.
On Saturday night, the acclaimed a cappella quartet New York Polyphony (below) opened the 17th annual Madison Early Music Festival (MEMF) with a flawless performance.
This year, the MEMF is celebrating the 400th anniversary of the death of poet and playwright William Shakespeare (below top) and the 45-year reign of Queen Elizabeth I (below bottom), who oversaw the English Renaissance.
And the program – performed before a large house of perhaps 450 or 500 enthusiastic listeners — was perfectly in keeping with the festival’s theme. It used sacred music rather than stage music or secular music, which will be featured later in this week of concerts, workshops and pre-concert lectures.
In fact, the program of New York Polyphony was based on two of the group’s best-selling CDs for BIS Records and AVIE Records: “Tudor City” and “Times Goes by Turns.” It was roughly divided into two masses, one on each half. (You can hear a sample in the YouTube video at the bottom.)
Adding to the variety was that each Anglican or Roman Catholic-based mass was a composite, with various sections made up like movements written by different composers. Thrown in for good measure were two separate short pieces, the “Ave Maria Mater Dei” by William Cornysh and the “Ave verum corpus” of William Byrd.
The Mass on the first half featured music by Byrd, John Dunstable, Walter Lambe and Thomas Tallis. The second half featured works music by Tallis, John Pyamour, John Plummer and excerpts from the Worcester Fragments. The section were typical: the Kyrie, Gloria in Excelsis, Credo, Sanctus, Benedictus and Agnus Dei.
There was nothing fancy about this concert, which marked the Wisconsin debut of New York Polyphony and which spotlighted superbly quiet virtuosity. The four dark-suited men, who occasionally split up, just stood on stage and opened their mouths and sang flawlessly with unerring pitch and superb diction.
A cappella or unaccompanied singing is hard work, but the four men made it seem easy. The countertenor, tenor, baritone and bass each showed confidence and talent plus the ability to project clarity while not overshadowing each other. This was first-class singing.
The beautiful polyphony of the lines was wondrous to behold even, if like The Ear, sacred music from this era – with its chant-like rather than melodic qualities – is not your favorite fare.
New York Polyphony provided a good harbinger of the treats that will come this week at the MEMF from groups like the Newberry Consort of Chicago with soprano Ellen Hargis (below top) and the Baltimore Consort (below bottom) as well as from the faculty and workshop participants. On Friday night is an appealing program that focuses on Shakespeare’s sonnets and music.
And on Saturday night at 7:30 p.m., with a pre-concert lecture at 6:30 p.m., will be the All-Festival concert. That is always a must-hear great sampler of what you perhaps couldn’t get to earlier in the week. This year, it will feature the music as used in a typical Elizabethan day.
Here is a link to the MEMF website:
https://artsinstitute.wisc.edu/memf/
And here is a link the website of New York Polyphony if you want to hear more:
http://www.newyorkpolyphony.com
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Classical music: Spend a week in the Age of Shakespeare and Queen Elizabeth I when the 17th annual Madison Early Music Festival is held, starting this Saturday. Part 1 of 2.
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By Jacob Stockinger
Starting this Saturday, the 17th annual Madison Early Music Festival will take place on the University of Wisconsin-Madison campus.
The theme this year focuses on music in the work of William Shakespeare and the Age of Queen Elizabeth I.
You can check out all the details of the festival at: http://www.madisonearlymusic.org
The co-directors of the festival – the wife-and-husband team of singers Cheryl Bensman Rowe and Paul Rowe (below, in a photo by Katrin Talbot and signaled in the answers by the initials CBR and PR) took time out from the hectic preparations to answer an email Q&A with The Ear:
How successful is this year’s 17th annual weeklong festival (July 9-16) compared to others in terms of enrollment, budgets, performers, etc.? How well established is MEMF now nationally or even internationally?
CBR: Enrollment is up this year, with over 100 people enrolled in the workshop. Shakespeare (below) and the Elizabethan era is a great draw.
Other exciting news it that MEMF is one of five organizations that was chosen to be part of the “Shakespeare in Wisconsin” celebration, which includes the touring copy of the first Folio of Shakespeare’s plays from the Folger Shakespeare Library in Washington, D.C. It is The Book that Gave Us Shakespeare, and it will be at the Chazen Museum of Art this fall. https://shakespeare.library.wisc.edu/
MEMF is definitely on the map in the early music world due to our great faculty and our concert series that features musicians from all over the country, Canada and Europe.
We are also excited to be a part of the Arts Institute on the University of Wisconsin-Madison campus. The institute is bringing us into the modern world of Facebook, e-letters, Twitter and so much more. We also have a new program director, Sarah Marty, who is full of fresh ideas and has many new contacts in the UW and the Madison community.
What is new and what is the same in terms of format, students, faculty members and performers?
CBR: Our format has stayed the same because, after 17 seasons, it seems to be working. We are excited about everything that will be happening during the week. https://artsinstitute.wisc.edu/memf/concerts.htm
New to MEMF this year is the ensemble New York Polyphony (below). They will be performing their program “Tudor City,” featuring the music of the Church, including the sacred music of Thomas Tallis and William Byrd, Christopher Tye and Walter Lambe. Their recording of this program, Tudor City, spent three weeks in the Top 10 of the Billboard classical album chart. You can read more about them on their website: http://www.newyorkpolyphony.com/
To get a preview of what you will hear please visit: http://www.newyorkpolyphony.com/media2/
MEMF goes to the Movies! The Newberry Violin Band (below top) will be performing as a live accompaniment to the silent film, Elizabeth I, made in 1912. Sarah Bernhardt is the star, even though she was 68 years old when the movie was made. The music is a great sampler of many of the most famous Elizabethan composers. Ellen Hargis (below bottom) will also be singing some classic John Dowland songs. An early movie with early music! http://newberryconsort.org/watch-listen-2/
Also, we have several unique programs that have been created just for this 400th “deathaversary” year.
The Baltimore Consort (below) is returning to MEMF with a program created especially for this anniversary year, The Food of Love: Songs, Dances and Fancies for Shakespeare, which has musical selections chosen from the hundreds of references to music in the works of Shakespeare. Shakespeare had directions in his plays for incidental music used for dancing, interludes and ceremony.
Specific songs are included in the text of the plays, and these texts were set to the popular songs of the day. Very few of these were published, but there are some early survivors which were published and from manuscripts.
Watch the YouTube video “From Treasures from the Age of Shakespeare” by the Baltimore Consort.” https://www.youtube.com/watch?v=soqw5oSdkVs
On Friday night we have a very unique program, Sonnets 400, a program that actor Peter Hamilton Dyer, from the Globe Theatre, conceived to celebrate the 400th anniversary of the publication of Shakespeare’s sonnets.
The program is a pairing of Shakespeare’s words with Anthony Holborne’s music. Holborne was one of the most respected lutenists of his and Shakespeare’s time. Madison actor Michael Herold (below) will be reciting the narrative arc of the selected sonnets, and the music of Holborne will be played as interludes, or softly under the narration.
Recorder player and MEMF favorite, Priscilla Herreid, brought this program to our attention. Several years ago she performed with Peter in the Broadway production of “Twelfth Night,” and he told her about this pairing of music and sonnets from the Elizabethan era. Lutenists Grant Herreid and Charles Weaver will be joining Priscilla on Friday, July 15, at 7:30 p.m. The pre-concert lecture –“Repackaging Shakespeare’s Sonnets” — will be given by UW-Madison Professor of English Joshua Calhoun.
Tomorrow: Part 2 of 2 — What makes Elizabethan English music special and what will the All-Festival wrap-up concert include?
Tags: 400, Actor, anniversary, Anthony Holborne, Arts, Baltimore, Baltimore Consort, Billboard, Broadway, budget, Canada, Cello, ceremony, Chamber music, Chazen Museum of Art, Cheryl Bensman Rowe, choral music, Christopher Tye, church, Classical music, community, Compact Disc, consort, dance, dances, death, drama, Early music, Elizabethan England, Elizabethan music, Ellen Hargis, email, enrollment, Europe, Facebook, festival, fiom, First Folio, Folger Shakespeare Library, Globe Theatre, Grant Herreid, interludes, international, Jacob Stockinger, John Dowland, Joshua Calhoun, lecture, lute, Madison, Madison Early Music Festival, manuscript, Michael Herold, movie, Music, narration, national, New York Polyphony, Newberry Consort, Newberry Violin Band, opera, Paul Rowe, performer, plays, Poetry, Queen Elizabeth I, recorder, regional, sacred, sacred music, Sarah Bernhardt, secular, secular music, Shakespeare, Singing, Sonata, song, sonnets, text, Thomas Tallis, Top 10, Tudor, Twelfth Night, Twitter, University of Wisconsin-Madison School of Music, University of Wisconsin–Madison, UW-Madison Arts Institute, video, Viola, Violin, vocal music, Walter Lambe, William Byrd, William Shakespeare, Wisconsin, YouTube
Classical music education: Practicing is the key to performing. NPR’s “Delayed Cadence” blog and British pianist Stephen Hough offer you inside looks and tips.
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By Jacob Stockinger
For those of us who go to concerts, the performance seems the important thing, the ultimate thing.
But that performance is really just the end-product of a long process that centers on practicing, practicing and more practicing.
Two of my favorite websites offer some glimpses into and tips about practicing.
British pianist Stephen Hough long ago started a series of tips about how to practice the piano. It is filled with a lot of insightful “master classes” from a master pianist. They include where to sit on the bench and well as tips about fingering and warning about playing overly expressively, no matter what the score’s instruction is.
Here is a link to the page,, on which you can use the search engine and typo in “Hough Practice Tips” to look at all 19 “lessons”:
Here is a specific example from the 19 practicing tips that Hough — a wonderful pianist and, as I saw in a master class he gave at the University of Wisconsin-Madison, an outstanding teacher — has offered so far:
http://blogs.telegraph.co.uk/culture/stephenhough/100060396/left-or-right-practice-tip-no-18/
http://blogs.telegraph.co.uk/culture/stephenhough/100008061/be-boring-practice-tip-no-5/
And NPR’s “Delayed Cadence” blog recently started a series of videos called “In Practice” that takes you inside the studios of important young artists.
The subjects include pianist Jeremy Denk (below) rehearing etudes of Ligeti (Denk also gave a great master class, below bottom, for young student at the Wisconsin Union Theater); the four-man singing group New York Polyphony; and pianist Jonathan Biss rehearsing an early Beethoven sonata for the first CD in his complete cycle of Beethoven’s 32 sonatas:
The NPR glimpses don’t really offer specific advice or tips, except to the degree they reinforce the importance of practicing for even the most talented and seasoned performers.
Check them out at:
http://www.npr.org/event/music/155236091/in-practice-jeremy-denk
http://www.npr.org/event/music/155236812/in-practice-new-york-polyphony?autoplay=true
http://www.npr.org/event/music/155236772/in-practice-jonathan-biss?autoplay=true
The Ear bets there are many other websites with good tips about practicing all kinds of instruments and singing.
Maybe readers and listeners will post them with links in the COMMENTS section.
We amateurs could sure use all the help we can get from professionals!
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