ALERT: Tonight’s concert of African-American spirituals and songs has been CANCELLED because guest scholar and singer Emery Stephens is ill. The UW-Madison School of Music hopes to reschedule the event later this spring.
By Jacob Stockinger
Guess who turns 332 on March 21?
This coming Saturday will bring a 12-hour, noon to midnight, marathon party for the Birthday Boy – Johann Sebastian Bach (1685-1750, seen below in a humorous poster for a similar event held several years ago).
The local event – now part of the nationwide “Early Music Month” — is being revived, thanks to Madison violist Marika Fischer Hoyt (below), who performs with the Madison Bach Musicians, the Ancora String Quartet and the Madison Symphony Orchestra, and to many sponsors.
The party will take place at St. Andrew’s Episcopal Church (below) on Regent Street. (Several years ago, the event, when it was sponsored by Wisconsin Public Radio, was held at the Pres House.) There will be live audio-visual streaming and free wi-fi, and the event will be recorded.
Here is a link to the updated schedule of performances:
Here is a link to an earlier post about the upcoming event:
If you love the music of Bach (below) – and The Ear doesn’t know anyone who is into classical music who doesn’t revere Bach — there will be a lot to love and to listen to at this FREE and OPEN TO THE PUBLIC celebration.
The event is modeled after a longtime similar event in New Orleans and those who attend it can come and go and come back again.
Local performers include groups and individuals who are professionals (Madison Bach Musicians and Wisconsin Chamber Choir), amateurs and students (Suzuki Strings of Madison).
The impressive program includes lots of variety.
There will be preludes and fugues.
Cantatas and concertos.
Sonatas and suites.
Obscure works will be performed.
But there will also be popular works such as two Brandenburg Concertos (Nos. 3 and 5), The Well-Tempered Clavier (Books I and II), the Magnificat, a Violin Concerto, “Jesu, Joy of Man’s Desiring” and some of The Art of Fugue. (You can hear Fugue No. 1 from “The Art of Fugue,” which will be performed at BATC, in the YouTube video at the bottom.)
There will be music played on period instruments and on modern instruments, including the harpsichord and the piano; the baroque violin and the modern violin; older recorders and newer flutes, the viola da gamba and the cello. And of course there will be lots and lots of singing and organ music.
Given such a marathon undertaking, you should know that there will be refreshments (coffee, tea, bottled water and snacks), comfortable seating and special birthday cakes — served at midnight — provided by Clausen’s Eurpean Bakery in Middleton.
NOTE: You can find out more when several organizers and performers from Bach Around the Clock are Norman Gilliland’s guests on Wisconsin Public Radio’s “The Midday” this coming Thursday from noon to 12:30 p.m.
For more information –including how to support the event with a donation and how to participate in it as a performer – go to the event’s homepage:
Here are some links to previous posts on this blog about attending earlier versions of Bach Around the Clock. Read them and look at the pictures, and you will see how enjoyable they are and how informative they are.
See you there!
ALERT: This week’s FREE Friday Noon Musicale, at the First Unitarian Society of Madison, 900 University Bay Drive, will feature flutist Iva Ugrčić, flute and pianist Kyle Johnson performing an all-French program of music by Francis Poulenc, Olivier Messiaen, Claude Debussy and Jules Bouquet. The concert runs from 12:15 to 1 p.m.
By Jacob Stockinger
The Ear has received the following information to post:
The 14th annual Wisconsin Flute Festival will take place this coming Saturday, March 4.
The Wisconsin Flute Festival brings together flutists and music lovers of all ages from Wisconsin and the greater Midwest.
The day’s events include workshops, performances, youth and collegiate competitions, a master class, and a 2,300-plus square foot exhibition hall with purveyors of fine flutes, music and accessories.
The 14th annual Wisconsin Flute Festival will begin at 8 a.m. in the Pyle Center at UW-Madison and will culminate in a FREE public concert beginning at 5 p.m. in Mills Concert Hall, in the Mosse Humanities Building, at UW-Madison.
This concert, “Landscapes and Love Songs,” will be performed by featured guest artist Lorna McGhee. (Sorry, The Ear has no details on the program.)
This year, an expanded variety of workshops and performances will be offered. Workshop topics will include circular breathing, articulation and vibrato, in addition to sessions on maximizing practice time, musicians’ health and interpreting musical pieces.
Participants will also have the opportunity to experience an interactive session with low flutes including; alto flutes, bass flutes and a contrabass flute (below).
Performances during the day will feature: electro-acoustic music; Telemann (below top) on historical flutes; lesser-known modern masters; Romanian composers; Latin music; Bach (below bottom) transcriptions; contemporary interpretation; and works for flute, clarinet and voice. Student soloists and chamber ensembles from UW-Whitewater and UW-Madison will present concerts.
For flutists shopping for an instrument, music or accessories, over a dozen companies and organizations from across the US will be on-site in the Festival’s exhibit hall. Technicians will be also available to evaluate instruments and conduct minor repairs.
Exhibitors include Altus Flutes, Atlantic Crossing Records, Brannen Brothers Flutemakers, Inc., Burkart Flutes & Piccolos, Di Zhao Flutes, Flute Center of New York, Flute Specialists, Flute World, Heid Music, The National Flute Association, Ward-Brodt, White House of Music and Wisconsin Youth Symphony Orchestras.
Tickets are $20 to $35 for Festival participants. Tickets for non-flutist family members of participants (parents, siblings) are available for at a special rate of $5. Registration information is available online at wisconsinflutefestival.org. Tickets can be purchased at the Festival.
The evening concert beginning at 5 p.m. in Mills Hall, is FREE and OPEN TO THE PUBLIC.
The Wisconsin Flute Festival is a program of the Madison Flute Club.
About the Madison Flute Club
The Madison Flute Club was founded in 2002 and currently presents over 20 concerts each year to an audience of more than 1,500 community members. The club involves, on average, 35 active adult members and over 30 youth from the surrounding area.
To advance and achieve its mission, the Madison Flute Club has undertaken several large projects and partnered with numerous organizations and events in Dane County.
These projects include the commissioning and world premiere of a work for flute choir for Design MMoCA, successfully fundraising for a contrabass flute (the first such instrument in Wisconsin) and performing at the National Flute Association Convention.
Madison Flute Club ensembles and members have been featured on Wisconsin Public Radio’s The Midday with Norman Gilliland, WORT 89.9FM Madison and in the publication The Flutist Quarterly.
The 2017 Wisconsin Flute Festival is co-hosted by Madison Flute Club and UW-Madison Flute Studio.
Major funding is provided by: Heid Music, American Printing Company, Eric and Tobi Breisach, Distillery Marketing and Design, Karl Sandelin in honor of Joyce Sandelin and Wisconsin Youth Symphony Orchestras.
Additional funding is provided by Altus Handmade Flutes, Breisach Cordell PLLC, and Dane Arts with additional funds from the Endres Mfg. Company Foundation, The Evjue Foundation, Inc., charitable arm of The Capital Times, the W. Jerome Frautschi Foundation and the Pleasant T. Rowland Foundation.
By Jacob Stockinger
The Oakwood Chamber Players (below) will perform a concert titled Looking Back and Forward on Sunday, Nov. 27, 2016 at 1 p.m. and 3:30 p.m.
The performances will both be held at the Oakwood Village University Woods Center for Arts and Education, 6209 Mineral Point Road, on the far west side of Madison near West Towne Mall.
An innovative recipe for A Christmas Carol is a perfect addition to the Thanksgiving holiday weekend.
Outstanding musical theater actor/singer baritone Bobby Goderich (below, seen on the right in Madison Opera‘s production of Stephen Sondheim‘s “Sweeney Todd”) will give a tour-de-force characterization of the entire cast of personalities for a rendition of Dickens’s tale in The Passion of Scrooge. A dozen musicians will give Goderich’s flair an abundant platform to show off his singing, humor, and dramatic effects.
The Passion of Scrooge by New York composer Jon Deak (below) is performed annually for holiday concerts at the Smithsonian, and the Oakwood Chamber Players are delighted to present the Wisconsin premiere of this memorable work.
Deak is known for weaving a variety of tales into “concert dramas,” turning words into music and giving instrumentalists the power to evoke speech through their sounds.
The Passion of Scrooge is laid out in two acts as the character struggles to come to grips with the past, present and future, to transform a life of avarice to one of human warmth.
Additionally, the Oakwood Chamber Players will perform music mentioned in the text of Charles Dickens’s A Christmas Carol.
When the Ghost of Christmas Past shows Scrooge a celebration hosted by his employer, Mr. Fezziwig, the fiddler plays the tune Sir Roger de Coverley. (You can hear a chamber orchestra version of the work, played by the Academy of St. Martin in the Fields under Sir Neville Marriner, in the YouTube video at the bottom.)
This traditional English country dance, set for string quartet by British composer Frank Bridge (below) in 1922, will provide an energetic introduction to The Passion of Scrooge. The musical pairing illustrates how creative expression can transform historic works to give fresh perspectives.
The Oakwood Chamber Players welcome guests Wes Luke, violin; Katrin Talbot, viola; Brad Townsend, bass; Mike Koszewski, percussion; Mary Ann Harr, harp; Bobby Goderich, baritone; and Kyle Knox, conductor (below).
This is the second of five concerts in the Oakwood Chamber Players 2016-2017 season series entitled Perspective. Remaining concerts will take place on Jan. 21 and 22, March 18 and 19, and May 13 and 14.
The Oakwood Chamber Players are a group of Madison-area professional musicians who have rehearsed and performed at Oakwood Village for over 30 years.
The program lasts about 1 hour and 15 minutes.
Tickets can be purchased with cash or personal checks at the door: $20 for general admission, $15 for seniors and $5 for students.
Also, conductor Kyle Knox will discuss the music on Norman Gilliland’s show, The Midday, on Wisconsin Public Radio, 88.7 FM WERN, on this Friday, Nov. 25, from noon to 1 p.m.
Visit www.oakwoodchamberplayers.com for more information.
The Oakwood Chamber Players are a professional music ensemble proudly supported by Oakwood Lutheran Senior Ministries and the Oakwood Foundation.
ALERT: The Ear likes to see cooperation and collegiality, especially as the classical music scene in Madison gets busier and more competitive. And cooperation is exactly what he heard this week on Wisconsin Public Radio‘s noon-time show “The Midday” with Norman Gilliland.
Members of the Willy Street Chamber Players and the Handel Aria Competition, which both take place tonight, appeared back-to-back on the show and behaved as true colleagues.
The Willy Street Chamber Players said their program of Tchaikovsky s “Souvenir of Florence” and “Entr’acte” by Caroline Shaw should run about an hour — from 6 to 7 p.m. — and that they would do everything possible (less talking perhaps?) to make sure audience members could also attend the fourth annual Handel Aria Competition, which starts at 7:30 p.m. in Mills Hall, and is held in conjunction with the Madison Early Music Festival, which takes place this week.
Here is a link with more details about the Willy Street Chamber Players:
And here is a link to the Handel Aria Competition.
By Jacob Stockinger
Get out your datebooks.
Most of the major classical music organizations and presenters in town – the Madison Symphony Orchestra, the Wisconsin Chamber Orchestra, the Madison Opera, the Wisconsin Union Theater to name a few — have already announced their new seasons for 2016-27.
And now the University of Wisconsin-Madison School of Music has posted its calendar of concerts for the new season, most of which take place in Mills Hall (below) on its website.
To be clear, there are few specific programs listed with composers and works. Sometimes that happens because the programs just aren’t decided yet. And sometimes they aren’t decided because the makeup of some groups – like the UW Symphony Orchestra and the UW Chamber Orchestra – aren’t known until school begins in September.
Nonetheless, it is an impressive list that runs into the hundreds when you include student recitals.
Some of the higher profile concerts are ticketed, but most remain FREE to the public.
And you can find out a lot from the calendar, even if it is incomplete and subject to change.
You can see the operas that will be staged by the University Opera – namely Giuseppe Verdi’s “Falstaff” and Benjamin Britten’s “The Turn of the Screw.”
You can find out about the UW Choral Union (below), which will perform works by Johannes Brahms, Ludwig van Beethoven and Leonard Bernstein as well as a rarely performed worked based on Walt Whitman by Paul Hindemith.
You can see the groups that will participate in the third annual Brass Fest, including the Stockholm Chamber Brass on its first tour of the U.S.
You can see when virtuoso pianist Christopher Taylor (below) will perform as well as when his fellow faculty members will play recitals.
And same goes for the 38th annual Karp Family Labor Day concert on Sept. 5, which officially opens the news season.
There is just so much to choose from!
Here is a link:
Here are two preview posts that appeared here:
Here is a review written by Greg Hettmansberger for his blog WhatGregSays and Madison Magazine:
And here is a review by Lindsay Christians for The Capital Times:
By Jacob Stockinger
No new classical music group generated more great buzz last year than The Willy Street Chamber Players. And that enthusiasm was shared by The Ear, who can’t recall hearing anyone or anything being negative about the group’s inaugural season.
Here is a link to one rave review, written by John W. Barker for this blog, that focused on astounding performance of the famous Octet by Felix Mendelssohn and a Brandenburg Concerto No. 3 by Johann Sebastian Bach:
A friend of The Ear who plays with the Willy Street Chamber Players (below) sends the following word:
Newcomers to the Madison classical music scene, the critically acclaimed group The Willy Street Chamber Players, will be returning to the stage for a second season this July.
The group will perform four concerts at Immanuel Lutheran Church (below), 1021 Spaight St., and season tickets are available now.
Here is a link to the updated events page:
This summer’s concerts will include fresh performances of time-honored classics. They include the Clarinet Quintet by Wolfgang Amadeus Mozart and the fiery “Souvenir de Florence” by Peter Ilyich Tchaikovsky.
The season will also include works that will be new to many Madison audience members.
Guest artists include violinist Suzanne Beia (below top) of the UW-Madison’s Pro Arte Quartet, the Madison Symphony Orchestra and the Wisconsin Chamber Orchestra; clarinetist Joe Morris (below middle), who is leaving the Madison Symphony Orchestra; and UW-Madison graduate student pianist Thomas Kasdorf (below bottom).
New this season will be a performance given in partnership with the Madison Museum of Contemporary Art on the evening of Friday, July 22, 2016.
That’s when the Willy Street Chamber Players will present the monumental work, “Black Angels,” composed by George Crumb (below) for electric string quartet, in what promises to be an unforgettable performance.
Written in response to the Vietnam War, this avant-garde work requires players to amplify their instruments, speak with their mouths, perform with extended techniques, play on crystal glasses and more. (You can hear Part 1 in the YouTube video at the bottom.)
In the meantime, you can hear the group live on Wisconsin Public Radio‘s Midday Show with Norman Gilliland (below) on this Thursday, April 21, at noon. This special broadcast will be performed in front of a live studio audience in celebration of the Midday Show’s 25th anniversary.
Visit www.willystreetchamberplayers.org for 2016 season details, tickets and more.
ALERT: On this Wednesday, Feb. 18, at noon, British composer Cecilia McDowall will be featured live on Wisconsin Public Radio’s “Midday” show with host Norman Gilliland (88.7 FM). On this Thursday morning on WORT Radio (89.9 FM), host Rich Samuels plans a half-hour special on McDowall that he pre-recorded with organizer UW-Madison professor of trumpet John Aley. It will be broadcast at 7:15 a.m.
By Jacob Stockinger
A major event involving new music and contemporary music is taking place this week at the University of Wisconsin-Madison School of Music:
Here is a round-up provided by the UW-Madison School of Music and concert manager Kathy Esposito:
British composer Cecilia McDowall (below), who in December was awarded the 2014 British Composer Award (BCA) for Choral Composition, will visit UW-Madison’s School of Music this week for a three-day series of concerts and discussions.
The visit, to take place Thursday through Saturday, marks McDowall’s first United States residency and will include one colloquium and two concerts, all open to the public.
McDowall won the BCA prize for “Night Flight,” a work for a cappella choir and solo cello that honors Harriet Quimby (below), an aviatrix who was the first woman to fly over the English Channel. Download a BCA news release here.
Cecilia McDowall’s music has been commissioned and performed by leading choirs and instrumental groups, including the BBC Singers, the Westminster Abbey Choir, the City of Canterbury Chamber Choir, and the Royal Scottish National Orchestra. She came to composition later in life, after raising two children, teaching and singing in choirs for many years. She holds a master’s degree in composition from Trinity College in London and is now a composer-in-residence at the Dulwich College, a pre-college school in London.
You can also listen to a sample in a YouTube video at the bottom.
Writes Guy Rickards of Gramophone magazine: “Cecilia McDowall is another of the new generation of highly communicative musicians who, though often inspired by extra-musical influences, favors writing which, without being in any way facile, is brightly cogent, freshly witty and expressive in its own right.
“She often uses minimalist ostinatos – the spirit of Steve Reich hovers – but constantly tweaks the ear with her range of spicy rhythms and colors, then suddenly produces a highly atmospheric and grippingly expressive interlude which is just as compelling. Each of the individual movements within her works is titled, sometimes descriptively, sometimes perhaps with tongue in cheek.”
On Friday, Feb. 20, in Mills Hall at UW-Madison, a student and faculty chamber orchestra (conducted by James Smith, below top), coupled with the university’s Madrigal Singers, conducted by Bruce Gladstone (below bottom), will perform the U.S. premiere of her work “Seventy Degrees Below Zero.” (Read a review here.)
“Seventy Degrees” is a cantata for solo voice (to be sung by faculty tenor James Doing, below), which McDowall composed in 2012 to commemorate the voyage of British explorer Robert Falcon Scott to the Antarctic. Scott and crew members died while on that expedition; one hundred years later, the City of London Sinfonia and the Scott Polar Research Institute commissioned the music to honor Scott and his men.
As a twist, the concert will extend the polar theme with a slideshow and lobby presentation linking Antarctic research of yesterday with today’s, presented by Michael Duvernois (below) of UW-Madison’s IceCube Particle Astrophysics Center.
McDowall’s residency will also feature the piano playing of UW-Madison’s Christopher Taylor (below) performing McDowall’s “Tapsalteerie,” described by Gramophone as “ingenious play with a cradle song by the turn-of-the-century Aberdeenshire fiddler James Scott Skinner.”
Many other UW-Madison faculty musicians will also perform. Here is a link with details about other performers:
At noon in Mills Hall.
Meet the composer at a free public colloquium.
The topic will be “The Effects of Extra-Musical Influences”: McDowall will discuss how she interweaves composition with events, past or present; with real, imagined or visual images; or as a response to the physical environment or written text.
At 8 p,m. in Mills Hall.
Concert and Presentation: UW Madrigal Singers and Concert Choir, with a faculty/student chamber orchestra, featuring the U.S. premiere of “Seventy Degrees Below Zero.” With Michael Duvernois of the UW IceCube Particle Astrophysics Center.
Meet the composer and performers at a reception to follow in Mills Hall lobby.
Tickets: $20 adults, free for students. Tickets available via the Wisconsin Union Theater prior to show (online and in person) and on the day of show at Mills Hall.
Box office: http://www.uniontheater.wisc.edu/location.html
At 8 p.m. in Mills Hall.
Concert: Cool It — The Chamber Music of Cecilia McDowall.
For a link to this festival on our website, please see: http://www.music.wisc.edu/cecilia-mcdowall/
For an interview:
By Jacob Stockinger
A good friend in the University of Wisconsin-Madison School of Music, who also happens to be an avid brass fan, recently wrote to The Ear:
“A young violinist I know heard a brass quintet perform last spring at the UW-Madison School of Music, and afterwards she said to me: ‘I had no idea this music is so beautiful.’
“She’s not alone. Most people don’t know. They associate brass with marching bands, or with obnoxious loud horns. And occasionally they notice a high trumpet solo in an orchestra concert (and don’t actually see the trumpeter as she or he is seated so far in back).
“But there’s much, much more. Think of the beauty of strings, with its complex interweavings of melodies and lushness of sound, but applied to trumpets, trombones, “French” horns and the tuba.
That is what the UW is offering during its weeklong Brass Festival — “Celebrate Brass” — the first in 32 years at the School of Music and organized by John Aley (below, in a photo by Katrin Talbot), professor and principal trumpet with the Madison Symphony Orchestra as well as a member of the Wisconsin Brass Quintet.
This event will even bookend John’s tenure here at the School of Music, as he helped organize the first brass festival 32 years ago.
The main concert, called “Brass Alchemy,” on next Saturday, Oct. 11, will present a varied program of lyrical music that is just as much a part of the classical repertory as anything else.
“And the visiting performers are tops in their fields.
One is Oystein Baadsvik (below) an iconoclastic virtuoso tubist from Norway. Two are UW-Madison women alumna horn players. Another is a top composer and trumpeter.
“The two brass quintets – including the Western Brass Quintet (below top) from Michigan and Wisconsin Brass Quintet (below bottom in a photo by Megan Aley) at the UW-Madison School of Music — are frequent commissioners of new works, essential if one is to continue the growth and development of classical music. (The Western Brass Quintet will feature a new work by American composer Pierre Jalbert whose “Howl” Clarinet Quintet scored such a success in its world premiere by the Pro Arte Quartet last Friday night. Below is a link to The Ear’s rave review of the Jalbert work.)
“The School of Music is ticketing this main concert only — a departure from the recent past but long overdue, one that will be followed during the year for selected other concerts. Money raised will be put toward the many needs of the UW-Madison School of Music, which is another topic in itself.
“All the rest of the week’s events — master classes, colloquia and several other concerts — are FREE and open to the public.
“Tickets for the general public are $25 for the one concert listed below, but all students get in FREE. For information, visit http://www.music.wisc.edu/about-us/tickets/
“One hopes that these performances and educational festivals this year can be continued into the future, as they offer so much more than a stand-alone guest artist.
“One can also hope that listeners will discover an angle that is particularly interesting to them –whether it’s a solo tuba work called “Fnugg” (seriously) or the grace of a choral work performed by soaring brass.
“Here are a few links that illustrate the program for that night’s concert:”
“Quidditch” by John Williams:
“Of Kingdoms and Glory” by Anthony Di Lorenzo:
“Elegy” by Pulitzer Prize-winner Kevin Puts
The Ear is also providing some other links that seem relevant and informative.
Here is one to the official UW-Madison School of Music press release with the full schedule and list of programs and performers:
And here is one to Wisconsin Public Radio’s recent session of “The Midday” with host Norman Gilliland and guest UW-Madison trumpeter John Aley. It has lots of good commentary and great samples of brass music:
And here is a link to a Tiny Desk Concert, given by the Canadian Brass, playing Johann Sebastian Bach in a studio for NPR or National Public Radio:
ALERT: The FREE Friday Noon Musicales (below) in the Landmark Auditorium of the First Unitarian Society of Madison, 900 University Bay Drive, resume again this Friday, Oct. 3, at 12:15 to 1 p.m. This week’s featured group is the Arbor Ensemble with flutist Berlinda Lopez, violinist Marie Pauls and pianist Stacy Fehr-Regehr in the music of Jacques Ibert, Cesar Cui, Bohuslav Martinu, Astor Piazzolla and Josef Suk.
By Jacob Stockinger
Imagine my unexpected joy at hearing the new Clarinet Quintet by American composer Pierre Jalbert (below), who was inspired by Beat poet Allen Ginsberg’s famous “Howl,” last Friday night at the Wisconsin Union Theater.
The reason for my happiness is because I heard music that was so compelling and so moving that it made me want to listen to it again and again.
I know, I know.
A lot of proponents of new music say you have to listen to any new and unheard piece several times before you can pass judgment.
I don’t buy it.
True, as loyal readers know, I am generally not a fan of new music. I find too much of it unenjoyable and forgettable. It just doesn’t speak to me, for whatever reason. I like tunes and melody and harmonic mood as well as rhythmic pulse. New music too often seems detached from the emotional life of the listeners– or at least this listener.
I prefer music that speaks so deeply and movingly to me on the first hearing that I welcome any chance to hear it more often as another chance to experience beauty — not to fulfill some intellectual obligation or duty to the composer or the art form.
When I first heard Samuel Barber’s Violin Concerto, for example, I knew within one minute that I just had to hear it again and would hear it again many times. It never fails to disappoint. And so it is with any masterwork, from early music, through Baroque and Romantic music, to modern and contemporary music.
Anyway, the “Howl” Clarinet Quintet by Pierre Jalbert was performed last Friday night by the Pro Arte Quartet (below top, in a photo by Rick Langer), artists-in-residence at the University of Wisconsin-Madison School of Music. The guest clarinetist was Charles Niedich (below bottom) from New York City, who has a major international reputation from working with the Orpheus Chamber Orchestra and other well-known ensembles.
The performance came at the newly remodeled Wisconsin Union Theater, which the old Pro Arte Quartet helped to inaugurate when the theater opened 75 years ago in 1939. The theater was not sold-out Friday night, but there was a good and enthusiastic audience that rewarded the Jalbert with a prolonged standing ovation (below). So I know that I was not alone in my positive and approving reaction.
Here is a link with more background:
The program started off with the rarely heard and pretty tame String Quartet No. 2 by Juan Crisostomo Arriaga, a Spanish composer known as “the Spanish Mozart” who died at 20. The program’s fitting finale was the sublime Clarinet Quintet by Wolfgang Amadeus Mozart.
In between the Arriaga and the Mozart came the Jalbert Clarinet Quintet, which was the final of six commissions done to mark the Pro Arte’s centennial. (The Pro Arte Quartet, originally from Belgium, is now the oldest continuously performing string quartet in the world.)
Other elements added to the effectiveness. For one, the Pro Arte Quartet was in top form. Each voice was distinct and yet the overall blend was smooth, resonant and perfect in pitch. And their playing was enhanced by the terrific acoustics of the remodeled Shannon Hall at the Wisconsin Union Theater and the new on-stage shell (below, in the background).
But it was really the music itself that swept The Ear away.
It started right away, with the pulsing and almost hypnotic rhythms of the opening measures.
The two outer fast movements proved infectious and involving. But I particularly loved the way the middle movement developed.
I heard various audience members talk about how the work reminded them of Samuel Barber, of Philip Glass, of John Adams, of Steve Reich. And yet it didn’t seem to imitate any of them. It possessed a pure, strong voice of its own that used the idea of “Howl” without becoming a didactic piece of program music.
It isn’t often you get to hear a new work that holds the promise of becoming a staple in the repertoire. But that is exactly how it felt as I listened to the Jalbert quintet. Others I spoke to agreed.
Of the six centennial commissions that the Pro Arte has premiered over the past three years, this one seems the best one to end on because it seems the most likely one to succeed in coming years.
Sure, we may hear repeat performances of the String Quartets by John Harbison, Walter Mays and Benoît Mernier; of the Piano Quintets by William Bolcom and Paul Schoenfield. They are all recognized composers of quality.
But my money is on the work by Pierre Jalbert, which was by turns pensive and joyous, outraged and lamenting, much like the original poem “Howl.” The tone of both matched, and the clarinet, with its klezmer-like qualities, proved the perfect narrative voice imparted by Beat writer Allen Ginsberg (below).
It is a memorable night when you get to hear a masterwork in the making. All that work of chamber music needs now is history and many more repeat performances. I expect it will get those.
And to top it off, Pierre Jalbert (below right) -– who hails from Vermont and teaches at Rice University in Houston, Texas — was a very nice artist who was extremely amiable at the pre-concert dinner at the Chazen Museum of Art as well as insightfully candid during the pre-concert Q&A (below) that was so expertly hosted by Wisconsin Public Radio host Norman Gilliland (center) and also included clarinetist Charles Neidich.
Anyway, the “Howl” Clarinet Quintet by Pierre Jalbert will be recorded by the same players for Albany Records, under the supervision of the Grammy Award-winning producer Judith Sherman, and then released with the String Quartet No. 3 by Belgian composer Benoît Mernier.
I will be first in line to get it and set my CD player on repeat.
If you heard it, what do you think of the Clarinet Quintet by Pierre Jalbert, who offers his thoughts about composing in a YouTube video at the bottom?
Do you think it will become a staple of the repertoire?
The Ear wants to hear.
By Jacob Stockinger
This post is more of a reminder and an embellishment than something that is brand new.
It is a reminder that on this coming Saturday, March 1, at 8 p.m in Mills Hall, the UW-Madison’s Pro Arte Quartet will give a FREE concert that features the WORLD PREMIERE of the String Quartet No. 3 by Belgian composer Benoit Mernier (below). The concert to celebrate the historic centennial of the Pro Arte Quartet — which is now the long lived active quartet in history — had been postponed from the original date last Fall.
The guest artist of the night is the former Juilliard String Quartet violist Samuel Rhodes (below, in a photo by Peter Schaaf). The program includes an early quartet by Franz Joseph Haydn (Op. 20, No. 4, in D Major) and the String Quintet in F Major by Anton Bruckner, which has a soulful and elegy-like slow movement that you can hear in a YouTube video at the bottom.
The Pro Arte Quartet (below, in a photo by Rick Langer) commissioned the Mernier Quartet as part of its centennial celebration two years ago, and the group will take in on a tour to Belgium, the original home of the Pro Arte Quartet this May. It will even play again in the same royal court where the Pro Arte was once the official court quartet. (Its current members, below from left, are first violinist David Perry, second violinist Suzanne Beia, violist Sally Chisholm and cellist Parry Karp.)
The outstanding blog “Fanfare” that is done by concert manager Kathy Esposito at the UW School of Music recently posted an interview, with historic background, that critic Mike Muckian, who often writes for Brava magazine, did with Benoit Mernier (below in a photo by Lise Mernier) and appeared on the terrific blog “Fanfare” at the University of Wisconsin-Madison School of Music:
Also, I want to remind everyone that the concert will be preceded at 7:15 p.m. by a public conversation-interview with the composer, also to be held in Mills Hall, in a home or living room environment with a light, carpet and cozy chairs – as was done to years ago with other composers (below, is music critic John W. Barker talking with composer Walter Mays on the left and cultural historian Joseph Horowitz on the right.)
For more information about the various events and background, including an open quartet rehearsal with the composer on Thursday from 9 a,m. to noon in Mills Hall, and a “Sunday Afternon Live From the Chazen” Museum broadcast 12:30 to 2 p.m. of the quartet’s second performance on Wisconsin Public Radio, visit the Pro Arte Quartet website (below):
I hope to be there and I hope to see you there.
By Jacob Stockinger
The Ear has heard from two loyal readers and friends – period keyboardist Trevor Stephenson and the WORT FM radio host Rich Samuels about events that will take place on the airwaves this Thursday morning and noon.
Rich Samuels (below), who hosts the weekly classical radio program “Anything Goes” from 5 to 8 a.m. on WORT FM 89.9 and who records and emphasizes local music and local musicians, writes:
“This Thursday morning, Aug. 29, starting at 30 seconds past 7:07 to about 7:45 a.m., I’ll be airing (on WORT 89.9) a recut of an interview I recorded last August with Howard, Frances, Parry, Ariana and Isabel Karp in anticipation of the 36th FREE annual Karp Family Labor Day Concert on Monday, Sept. 2, at 7:30 p.m. in Mills Hall. (As you recall, that same concert last year was cancelled on account of Illness).
“Recorded music for this segment includes recordings of Howard and Parry performing the final movement of John Ireland’s Sonata in G minor for Piano and Violin (adapted for violin and cello); Howard and Frances Karp playing Antonin Dvorak’s Slavonic Dance in E minor Op. 72, No. 2, for piano, four hands version; and Joel Hoffman’s “Karptet” (featuring Frances Karp, Howard Karp, Christopher Karp, Parry Karp and Katrin Talbot).”
The program this year includes Pro Arte Quartet violinist Suzanne Beia plus the above Karp family members. The program includes: the Sonata in G minor, Op. 2 No. 8 for Two Cellos and Piano (ca. 1719) by George Frideric Handel (below in a YouTube video); “ November 19, 1828” for Piano and String Trio (1988) by John Harbison ; Sonata in D major for Piano and Cello, Op. 102, No. 2 (1815) by Ludwig van Beethoven ; and music and dramatic excerpts from Shakespeare’s “A Midsummer Night’s Dream,” Op. 61, with incidental music by Felix Mendelssohn. Notes about the concert will be featured on this blog on Friday. (Below are daughter Ariana Karp and father Parry Karp at the Labor Day family concert in 2011.)
Adds Samuels: The Karp segment runs 37 minutes and 43 second. The show concludes with a recording John Harbison gave me from last year’s Token Creek Chamber Music Festival: the first movement of Mozart’s Concerto in D Major for Piano and Orchestra K. 537 in a chamber arrangement featuring some pretty amazing improvising by Harvard University pianist Robert Levin (below) who will perform some of his Mozart completions this coming weekend at the Token Creek Festival. Other instrumentalists are Heidi Braun-Hill and Rose Mary Harbison (violins), John Harbison (viola) and Rhonda Rider (cello).
WERN 88.7 FM
Another fan and friend, Trevor Stephenson (below) writes:
I’ll play selections by Wolfgang Amadeus Mozart, Franz Joseph Haydn, Ludwig van Beethoven and Franz Schubert, and Norman will interview me about the all things fortepiano: How and why it came about in the 18th century? How its construction (thinner wire, leather hammers, all wooden frame, etc.) facilitates playing of Classical-era repertoire?
I’ll talk about why the fortepiano is particularly theatrical, affectively polarized really — from its giddy, fizzy, articulate highs, to its moody, menacing, growling lows. Wisconsin Public Television will also be filming the broadcast and that will air on WPT later in the year.
Also, this Fall — on Monday evenings from October 14 through November 18 — I’m offering a course on the keyboard music of Bach, Handel and Scarlatti. I’ll discuss the stylistic similarities and divergences of these three masters — all born in 1685 — and will also examine how each composer integrated elements of various national styles (French, German, Italian, Spanish, Polish, Hungarian . . .) to form their own personal compositional voice.
I’ll talk about each composer’s life and personality as well as the social circles within which they moved. I’ll also discuss and demonstrate—at both the harpsichord and piano — approaches to performing their music and we will look into elements of performance such as fingering, tempo, rubato, articulation, voicing, instruments, and the ever-elusive yet oh-so-important Affect, or interpretation, or feeling for the moment at hand!
Here is some of the specific repertoire we’ll look at: Johann Sebastian Bach – English Suite in G minor, “Capriccio on the Departure of a Beloved Brother,” “Art of Fugue” Contrapunctus XIX (ending with the B-A-C-H fugue), the C major Prelude and Fugue from Book I and Book II of “The Well-Tempered Clavier to compare them; George Frideric Handel – Suite in E major (which concludes with the “Harmonious Blacksmith” variations), Gavotte in G major, Suite in D minor (which includes the famous Sarabande), Impertinence, Allegro in G major; Domenico Scarlatti – Sonatas: K. 238 and 239 both in F minor, K. 159 in C major, K. 9 in D minor “Pastorale,” and K. 380 in E major.
The course is geared for those people with a reading knowledge of music. The classes will be given at my home studio from 7-8:30 p.m. on the following Monday evenings: October 14, 21, Nov. 4, 11, 18. My home studio (below during a “house concert”) is at 5729 Forsythia Place, Madison, WI 53705. Enrollment for the course is $180. Please let me know by September 15 if you’d like to attend. Contact me at www.trevorstephenson.com or by calling (608) 238-6092.
The Madison Bach Musicians 2013-14 season is now posted and tickets are available! This is our 10th season! Opening concert is October 5. See www.madisonbachmusicians.org Sign up and more details will com by email in a couple of days.