The Well-Tempered Ear

Classical music: Here are the classical music nominees for the 2020 Grammy Awards. They make a useful holiday gift guide and highlight the trend toward more diversity

November 29, 2019
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By Jacob Stockinger

Today is Black Friday followed by Small Business Saturday and Cyber Monday — all with special deals and sales.

With that in mind, here is a list of the recently announced nominees in classical music for the 2020 Grammy Awards.

Although it is a self-serving list for a competition sponsored by The Industry, it can also be good way to find holiday gifts to give to others or to receive for yourself.

The list can be useful for spotting trends and finding new releases you may not have heard of.

For example, this year seems especially good for new music or recent works and contemporary composers. You won’t find any Bach, Haydn, Mozart, Beethoven, Schubert, Brahms, Dvorak, Tchaikovsky or Mahler although you will find Berlioz, Schumann, Wagner, Bruckner, Berg, Rachmaninoff and Copland.

Another favorite seems to be the rediscovery of older composers such as Mieczyslaw Weinberg (1919-1996, below) whose centennial has become an occasion for bringing his neglected works to the forefront.

You can also see that like the Oscars, the Grammys seem to be paying more attention to women composers and conductors, artists of color and crossovers or mixed and hybrid genres.

For complete lists of all 84 categories, go to this site and click on the categories that interest you: https://www.grammy.com/grammys/news/2020-grammy-awards-complete-nominees-list

The 62nd annual Grammy Awards will be presented on Sunday, Jan. 26, at the Staples Center in Los Angeles and will be broadcast live on CBS television.

  1. Best Engineered Album, Classical
    An Engineer’s Award. (Artist names appear in parentheses.)
  • AEQUA – ANNA THORVALDSDÓTTIR
    Daniel Shores, engineer; Daniel Shores, mastering engineer (International Contemporary Ensemble)
  • BRUCKNER: SYMPHONY NO. 9
    Mark Donahue, engineer; Mark Donahue, mastering engineer (Manfred Honeck and Pittsburgh Symphony Orchestra)
  • RACHMANINOFF – HERMITAGE PIANO TRIO
    Keith O. Johnson & Sean Royce Martin, engineers; Keith O. Johnson, mastering engineer (Hermitage Piano Trio)
  • RILEY: SUN RINGS
    Leslie Ann Jones, engineer; Robert C. Ludwig, mastering engineer (Kronos Quartet)
  • WOLFE: FIRE IN MY MOUTH
    Bob Hanlon & Lawrence Rock, engineers; Ian Good & Lawrence Rock, mastering engineers (Jaap Van Zweden, Francisco J. Núñez, Donald Nally, The Crossing, Young People’s Chorus Of NY City & New York Philharmonic)

  1. Producer Of The Year, Classical
    A Producer’s Award. (Artist names appear in parentheses.)
  • BLANTON ALSPAUGH
  • Artifacts – The Music Of Michael McGlynn (Charles Bruffy & Kansas City Chorale)
    • Berlioz: Symphonie Fantastique; Fantaisie Sur La Tempête De Shakespeare (Andrew Davis & Toronto Symphony Orchestra)
    • Copland: Billy The Kid; Grohg (Leonard Slatkin & Detroit Symphony Orchestra)
    • Duruflé: Complete Choral Works (Robert Simpson & Houston Chamber Choir)
    • Glass: Symphony No. 5 (Julian Wachner, The Choir Of Trinity Wall Street, Trinity Youth Chorus, Downtown Voices & Novus NY)
    • Sander: The Divine Liturgy Of St. John Chrysostom (Peter Jermihov & PaTRAM Institute Singers)
    • Smith, K.: Canticle (Craig Hella Johnson & Cincinnati Vocal Arts Ensemble)
    • Visions Take Flight (Mei-Ann Chen & ROCO)
  • JAMES GINSBURG (below)
  • Project W – Works By Diverse Women Composers (Mei-Ann Chen and Chicago Sinfonietta)
    • Silenced Voices (Black Oak Ensemble)
    • 20th Century Harpsichord Concertos (Jory Vinikour, Scott Speck and Chicago Philharmonic)
    • Twentieth Century Oboe Sonatas (Alex Klein and Phillip Bush)
    • Winged Creatures & Other Works For Flute, Clarinet, And Orchestra (Anthony McGill, Demarre McGill, Allen Tinkham and Chicago Youth Symphony Orchestra)
  • MARINA A. LEDIN, VICTOR LEDIN
  • Bates: Children Of Adam; Vaughan Williams: Dona Nobis Pacem (Steven Smith, Erin R. Freeman, Richmond Symphony & Chorus)
    • The Orchestral Organ (Jan Kraybill)
    • The Poetry Of Places (Nadia Shpachenko)
    • Rachmaninoff – Hermitage Piano Trio (Hermitage Piano Trio)
  • MORTEN LINDBERG
  • Himmelborgen (Elisabeth Holte, Kare Nordstoga & Uranienborg Vokalensemble)
    • Kleiberg: Do You Believe In Heather? (Various Artists)
    • Ljos (Fauna Vokalkvintett)
    • LUX (Anita Brevik, Trondheimsolistene & Nidarosdomens Jentekor)
    • Trachea (Tone Bianca Sparre Dahl & Schola Cantorum)
    • Veneliti (Hakon Daniel Nystedt & Oslo Kammerkor)
  • DIRK SOBOTKA
  • Bruckner: Symphony No. 9 (Manfred Honeck & Pittsburgh Symphony Orchestra)

 75. Best Orchestral Performance Award to the Conductor and to the Orchestra.

  • BRUCKNER: SYMPHONY NO. 9
    Manfred Honeck, conductor (Pittsburgh Symphony Orchestra)
  • COPLAND: BILLY THE KID; GROHG
    Leonard Slatkin, conductor (Detroit Symphony Orchestra)
  • NORMAN: SUSTAIN
    Gustavo Dudamel, conductor (Los Angeles Philharmonic)
  • TRANSATLANTIC
    Louis Langrée, conductor (Cincinnati Symphony Orchestra)
  • WEINBERG: SYMPHONIES NOS. 2 and 21
    Mirga Gražinytė-Tyla, conductor (City Of Birmingham Symphony Orchestra & Kremerata Baltica)

  1. Best Opera Recording
    Award to the Conductor, Album Producer(s) and Principal Soloists.
  • BENJAMIN: LESSONS IN LOVE & VIOLENCE
    George Benjamin, conductor; Stéphane Degout, Barbara Hannigan, Peter Hoare & Gyula Orendt; James Whitbourn, producer (Orchestra Of The Royal Opera House)
  • BERG: WOZZECK
    Marc Albrecht, conductor; Christopher Maltman & Eva-Maria Westbroek; François Roussillon, producer (Netherlands Philharmonic Orchestra; Chorus Of Dutch National Opera)
  • CHARPENTIER: LES ARTS FLORISSANTS; LES PLAISIRS DE VERSAILLES
    Paul O’Dette & Stephen Stubbs, conductors; Jesse Blumberg, Teresa Wakim & Virginia Warnken; Renate Wolter-Seevers, producer (Boston Early Music Festival Chamber Ensemble; Boston Early Music Festival Vocal Ensemble)
  • PICKER: FANTASTIC MR. FOX
    Gil Rose, conductor; John Brancy, Andrew Craig Brown, Gabriel Preisser, Krista River & Edwin Vega; Gil Rose, producer (Boston Modern Orchestra Project; Boston Children’s Chorus)
  • WAGNER: LOHENGRIN
    Christian Thielemann, conductor; Piotr Beczała, Anja Harteros, Tomasz Konieczny, Waltraud Meier & Georg Zeppenfeld; Eckhard Glauche, producer (Festspielorchester Bayreuth; Festspielchor Bayreuth)

  1. Best Choral Performance
    Award to the Conductor, and to the Choral Director and/or Chorus Master where applicable and to the Choral Organization/Ensemble.
  • BOYLE: VOYAGES
    Donald Nally, conductor (The Crossing)
  • DURUFLÉ: COMPLETE CHORAL WORKS
    Robert Simpson, conductor (Ken Cowan; Houston Chamber Choir)
  • THE HOPE OF LOVING
    Craig Hella Johnson, conductor (Conspirare)
  • SANDER: THE DIVINE LITURGY OF ST. JOHN CHRYSOSTOM
    Peter Jermihov, conductor (Evan Bravos, Vadim Gan, Kevin Keys, Glenn Miller & Daniel Shirley; PaTRAM Institute Singers)
  • SMITH, K.: THE ARC IN THE SKY
    Donald Nally, conductor (The Crossing)

  1. Best Chamber Music/Small Ensemble Performance
    For new recordings of works with chamber or small ensemble (twenty-four or fewer members, not including the conductor). One Award to the ensemble and one Award to the conductor, if applicable.
  • CERRONE: THE PIECES THAT FALL TO EARTH
    Christopher Rountree and Wild Up
  • FREEDOM & FAITH
    PUBLIQuartet
  • PERPETULUM
    Third Coast Percussion
  • RACHMANINOFF – HERMITAGE PIANO TRIO
    Hermitage Piano Trio
  • SHAW: ORANGE
    Attacca Quartet

79. Best Classical Instrumental Solo Award to the Instrumental Soloist(s) and to the Conductor when applicable.

  • THE BERLIN RECITAL
    Yuja Wang
  • HIGDON: HARP CONCERTO
    Yolanda Kondonassis; Ward Stare, conductor (The Rochester Philharmonic Orchestra)
  • MARSALIS: VIOLIN CONCERTO; FIDDLE DANCE SUITE
    Nicola Benedetti; Cristian Măcelaru, conductor (Philadelphia Orchestra)
  • THE ORCHESTRAL ORGAN
    Jan Kraybill
  • TORKE: SKY, CONCERTO FOR VIOLIN
    Tessa Lark; David Alan Miller, conductor (Albany Symphony)

 80. Best Classical Solo Vocal Album  Award to: Vocalist(s), Collaborative Artist(s) (Ex: pianists, conductors, chamber groups) Producer(s), Recording Engineers/Mixers with 51% or more playing time of new material.

  • THE EDGE OF SILENCE – WORKS FOR VOICE BY GYÖRGY KURTÁG
    Susan Narucki (Donald Berman, Curtis Macomber, Kathryn Schulmeister & Nicholas Tolle)
  • HIMMELSMUSIK
    Philippe Jaroussky & Céline Scheen; Christina Pluhar, conductor; L’Arpeggiata, ensemble (Jesús Rodil & Dingle Yandell)
  • SCHUMANN: LIEDERKREIS OP. 24, KERNER-LIEDER OP. 35
    Matthias Goerne; Leif Ove Andsnes, accompanist
  • SONGPLAY
    Joyce DiDonato; Chuck Israels, Jimmy Madison, Charlie Porter and Craig Terry, accompanists (Steve Barnett and Lautaro Greco)
  • A TE, O CARA
    Stephen Costello; Constantine Orbelian, conductor (Kaunas City Symphony Orchestra)

  

  1. Best Classical Compendium
    Award to the Artist(s) and to the Album Producer(s) and Engineer(s) of over 51% playing time of the album, if other than the artist.
  • AMERICAN ORIGINALS 1918
    John Morris Russell, conductor; Elaine Martone, producer
  • LESHNOFF: SYMPHONY NO. 4 ‘HEICHALOS’; GUITAR CONCERTO; STARBURST
    Giancarlo Guerrero, conductor; Tim Handley, producer
  • MELTZER: SONGS AND STRUCTURES
    Paul Appleby & Natalia Katyukova; Silas Brown & Harold Meltzer, producers
  • THE POETRY OF PLACES
    Nadia Shpachenko; Marina A. Ledin & Victor Ledin, producers
  • SAARIAHO: TRUE FIRE; TRANS; CIEL D’HIVER
    Hannu Lintu, conductor; Laura Heikinheimo, producer

  

  1. Best Contemporary Classical Composition
    A Composer’s Award. (For a contemporary classical composition composed within the last 25 years, and released for the first time during the Eligibility Year.) Award to the librettist, if applicable.
  • BERMEL: MIGRATION SERIES FOR JAZZ ENSEMBLE & ORCHESTRA
    Derek Bermel, composer (Derek Bermel, Ted Nash, David Alan Miller, Juilliard Jazz Orchestra & Albany Symphony Orchestra)
  • HIGDON: HARP CONCERTO
    Jennifer Higdon, composer (Yolanda Kondonassis, Ward Stare & The Rochester Philharmonic Orchestra)
  • MARSALIS: VIOLIN CONCERTO IN D MAJOR
    Wynton Marsalis, composer (Nicola Benedetti, Cristian Măcelaru & Philadelphia Orchestra)
  • NORMAN: SUSTAIN
    Andrew Norman, composer (Gustavo Dudamel & Los Angeles Philharmonic)
  • SHAW: ORANGE
    Caroline Shaw, composer (Attacca Quartet)
  • WOLFE: FIRE IN MY MOUTH
    Julia Wolfe, composer (Jaap Van Zweden, Francisco J. Núñez, Donald Nally, The Crossing, Young People’s Chorus Of NY City & New York Philharmonic)

 


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Classical music: Today at noon you can hear Japanese marimba music. At the UW-Madison, tonight offers a FREE concert of Eastern European music by the Wingra Wind Quintet. Tomorrow night is a FREE concert of vocal music by UW Chorale

November 8, 2019
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ALERT: TODAY, Nov. 8, from 12:15 to 1 p.m. at the FREE Friday Noon Musicale at the First Unitarian Society of Madison, 900 University Bay Drive, the veteran international marimbist Rebecca Kite (below) — who teaches and concertizes — will perform a program that features music of Handel, herself and contemporary Japanese composers including Keiko Abe and Minoru Miki. Kite recently moved to Madison.

By Jacob Stockinger

Tonight and tomorrow night feature two noteworthy and FREE concerts of chamber music for winds and choral music at the University of Wisconsin-Madison Mead Witter School of Music.

Here are details:

WINGRA WIND QUINTET

TONIGHT, Nov. 8, at 8 p.m. in the Collins Recital Hall of the new Hamel Music Center, 740 University Ave., the UW-Madison’s Wingra Wind Quintet  performs a FREE concert of music from Eastern Europe.

Works by Bela Bartok, Leos Janacek, Gyorgy Kurtag and Endre Szervanszky will be featured.

The guest artist is clarinetist Brian Gnojek (below).

For more information about the concert, the works on the program and background of the Wingra Wind Quintet (below, in 2018, in a photo by Katrin Talbot) as an acclaimed faculty chamber music ensemble, go to: https://www.music.wisc.edu/event/wingra-wind-quintet-2/2019-11-08/

UW CHORALE

This Saturday night, Nov. 9, in the Mead Witter Foundation Concert Hall of the Hamel Music Center, the UW Chorale (below) will perform a FREE concert with an eclectic theme.

The program is called “How to Spice Up Your Life.” Selections include works about music, dance, chat, sports, love, outings and cooking.

The concert includes a performance of PDQ Bach’s The Seasonings, a parody of baroque oratorios, featuring faculty soloists Julia Rottmayer and Paul Rowe with student soloists Angela Peterson and Charles Hancin. (You can hear Part I of “The Seasonings” in the YouTube video at the bottom.)

For more information, go to: https://www.music.wisc.edu/event/uw-chorale-3/

 


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Classical music: World-famous Japanese violist Nobuko Imai will teach and perform two FREE concerts with students and the Pro Arte Quartet during her UW residency today and Thursday

October 30, 2019
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By Jacob Stockinger

Think of it as Viola Week at the University of Wisconsin-Madison Mead Witter School of Music — a chance to celebrate the gorgeous, mellow sound of a frequently but unjustly maligned instrument (below) the range of which falls between the higher violin and the lower cello.

The world-famous Japanese violist Nobuko Imai (below) is returning to the UW-Madison campus this week for a two-day residency where she will give master classes and perform.

Imai will be joined by two other distinguished guest violists, both Taiwanese: Wei-Ting Kuo (below top, in a photo by Todd Rosenberg) now of the Chicago Symphony Orchestra and formerly the Milwaukee Symphony Orchestra; and En-Chi Cheng (below bottom), a prize-winning, concertizing student of Imai now studying at the Juilliard School.

For detailed biographies of all three violists  go to: https://www.music.wisc.edu/event/nobuko-imai-with-wei-ting-kuo-and-the-uw-madison-viola-studio/

The violists will give two FREE concerts in the new Hamel Music Center, 740 University Avenue.

At 7 p.m. TONIGHT, Wednesday, Oct. 30, in Collins Recital Hall, Nobai and the two other guest artists will perform with viola students at the UW-Madison Mead Witter School of Music. No program has been given for them. Nobuko will also perform a chorale by Johann Sebastian Bach with UW-Madison collaborative pianist Martha Fischer (below).

Then at NOON tomorrow, Thursday, Oct. 31, in the Mead Witter Foundation Concert Hall, the UW’s Pro Arte Quartet (below, in a photo by Rick Langer) will perform the melodious “American” Viola Quintet by Antonin Dvorak with Imai. (You can hear the second movement of the Dvorak quintet in the YouTube video at the bottom.)

In addition to a viola arrangement of the “Song of the Birds” by Pablo Casals, Imai will perform the Adagio movement from Beethoven’s Trio in C Major for Two Oboes and English Horn, Op. 87, with Wei-Ting Kuo and Pro Arte Quartet violist Sally Chisholm (below, second from right). 


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Classical music: The gala opening this weekend of the UW-Madison’s new Hamel Music Center is SOLD OUT. What do you think of the building, the music and the event? Plus, veteran music critic John W. Barker has died

October 25, 2019
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ALERT: Word arrived late last night that the respected longtime music critic John W. Barker, a retired UW-Madison professor of medieval history, died Thursday morning. He wrote locally for Isthmus, The Capital Times and this blog. Details will be shared when they are known. 

By Jacob Stockinger

This weekend, Oct. 25-27, marks the official gala opening of the new Hamel Music Center (below, in a photo by Bryce Richter for University Communications) at the University of Wisconsin-Madison Mead Witter School of Music. It is located at 740 University Ave., next to the new wing of the Chazen Museum of Art, which has a special exhibit relating to the new music center.

The impressive $58-million structure, which has taken many years to fund  (completely privately) and then to build, will celebrate its opening tonight, Saturday night (while the 14th annual Halloween FreakFest on State Street is happening) and Sunday afternoon.

The performers will include distinguished alumni, faculty members and students.

Here is a link to an overall schedule as published on the School of Music’s home website: https://www.music.wisc.edu/hamel-music-center-opening-schedule/

Thanks to an astute reader who found what The Ear couldn’t find, here is a complete schedule — long, varied and impressive — of works and performers: https://www.music.wisc.edu/wp-content/uploads/2019/10/20191025-Hamel-Music-Center-Opening-Weekend.pdf

And here is a link to the official UW-Madison press release with more background and details about the building: https://news.wisc.edu/mead-witter-school-of-musics-hamel-music-center-opening-this-fall/

UW-Madison composer Laura Schwendinger (below) has been commissioned to write a Fanfare that will receive its world premiere tonight.

The opening promises to be a success, complete with receptions at the end of each performance.

In fact, the public has signed on enough that the FREE tickets to all events are SOLD OUT, according to the School of Music’s home website.

Taste is personal and varies, and The Ear has heard mixed reviews of the new building. (For the special occasion, you can hear “The Consecration of the House” Overture by Beethoven, performed by the La Scala opera house orchestra in Milan under Riccardo Muti, in the YouTube video at the bottom.)

Basically, people seem to agree that the acoustics are much improved over Mills Hall and Morphy Recital Hall in the old Humanities Building.

But public opinion seems more divided over other aspects, from the overall external architecture and interior design to the smaller size of the big hall, the seats and seating layout, and the restrooms.

So if you go – or have already gone – let the rest of us know what you think about those various aspects of the new building and about the various performers and programs.

As a warm-up preview, here are photos of the main halls or spaces, all taken by Bryce Richter for University Communications:

Here is the 660-seat Mead Witter Concert Hall:

Here is the 300-seat Collins Recital Hall:

And here is the Lee/Kaufman Rehearsal Hall:

But what do you say? You be the critic.

The Ear and others hope to see COMMENTS from listeners and especially performers. What is it like to perform there? Or to sit and listen?

What does the public think of the new building and concert halls? Are you satisfied? What do you like and what don’t you like?

Should some things have been done – or not done – in your opinion?

Does the building and do the concert halls live up to the expectations and hype?

The Ear wants to hear.


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Classical music: The adventurous Oakwood Chamber Players open their new ”Panorama” season of unusual repertoire this coming Saturday night and Sunday afternoon

September 13, 2019
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By Jacob Stockinger

How many of the composers’ names below do you recognize?

Probably very few, if you are like The Ear.

But here is your chance to explore new musical territory.

Over many years, the adventurous Oakwood Chamber Players (OCP) have built a reputation for first-rate performances of rarely heard repertoire, both old and new.

This year is no different.

The group will begin its new season — entitled Panoramawith performances on this coming Saturday night, Sept. 14, at 7 p.m. and Sunday afternoon, Sept. 15, at 2 p.m.

Both concerts will be held at the Oakwood Village Center for Arts and Education, 6209 Mineral Point Road, on Madison’s far west side near West Towne Mall.

Tickets can be purchased with cash or personal checks — no credit cards — at the door: $25 for general admission, $20 for seniors and $5 for students. Visit www.oakwoodchamberplayers.com for more information.

Members of the Oakwood Chamber Players (below) are: flutist Marilyn Chohaney; clarinetist Nancy Mackenzie; bassoonist Amanda Szczys; hornist Anne Aley; violinist Elspeth Stalter-Clouse; and cellist Maggie Darby Townsend.

Guest artists are: pianist Eric Tran; flutist Dawn Lawler; oboist Valree Casey; bassoonist Midori Samson; and trumpeter John Aley.

The ensemble is pleased to feature a new member at its opening concert. Violinist Elspeth Stalter-Clouse’s talents will be heard in two works: a fiery piano trio by Spanish composer Gaspar Cassado (below top); and as a soloist on the sweetly expressive Canzonetta for violin and piano by Italian-American composer Rosa Alba Vietor (below bottom). You can hear the Recitative movement, which takes about 10 seconds to start, from the Piano Trio by Gaspar Casado in the YouTube video at the bottom.

The program will include two larger wind works by French composers: Pastoral Variations in the Old Style  by Gabriel Pierne (below top); and Octet for Winds by Claude Pascal (below bottom).

The ensemble will round out the program with two short contrasting works for winds and piano: the flute trio La Bergere des Brise de Vallee (The Shepherdess of the Valley Breezes) by American composer Margaret Griebling-Haigh (b. 1960, below top); and Suite for flute, oboe, clarinet and piano by Danish composer Johan Amberg (below bottom). 

The Oakwood Chamber Players is a group of Madison-area professional musicians who rehearse and perform at Oakwood Village University Woods. Members also play in other area ensembles, including the Madison Symphony Orchestra and the Wisconsin Chamber Orchestra, and have ties to the University of Wisconsin-Madison Mead Witter School of Music.

The Oakwood Chamber Players are a professional music ensemble proudly supported by Oakwood Lutheran Senior Ministries and the Oakwood Foundation.


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Classical music: There was so much to like about the Grand Tour finale of the 2019 Madison Early Music Festival. But where were the high notes in Allegri’s legendary “Miserere”?

July 19, 2019
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By Jacob Stockinger

Fair is fair.

Before he talks about last Saturday night’s conclusion of the successful 2019 Madison Early Music Festival – which marked its 20th anniversary — The Ear has a confession to make: He generally prefers later Baroque music and he generally prefers instrumental music to vocal or choral music.

That said, he nonetheless had a memorable and very enjoyable time on the “Grand Tour” during the well-attended All-Festival concert. There was so much to like and to admire.

The concert used the conceit of a Grand Tour by a composite 17th-century traveler going to London, Venice, Rome, Naples, Paris and Dresden to take in the local sights and local music, and included lesser-known composers such as William Lawes and William Child as well as such famous figures as Claudio Monteverdi, Giovanni Gabrieli , Jean-Baptiste Lullyand Heinrich Schütz.

Like most journeys, this one – once again assembled in an ingenious scissors-and-paste job by early music specialist Grant Herreid (below) – had many entertaining and uplifting moments.

But it also had one big disappointment.

The Ear really looked forward to hearing a live performance  of the famous “Miserere” by Gregorio Allegri (below) as a high point. But those haunting, ultra-high descant notes that give you goosebumps and that you never forget hearing just never materialized.

Maybe it had to do with the different ornamentation that the MEMF forces used. Maybe it was based on a different manuscript or score. Maybe there was no one capable of singing those spellbinding and unforgettable high notes.

Whatever the reason, The Ear’s hope for a live performance of the dramatic and iconic work were dashed and the famous, even classic, recorded versions – the 1980 recording by the Tallis Scholars is heard in the YouTube video at the bottom — remain for him the unsurpassed standard.

The evening also had its ironies. That same night on the NBC TV news The Ear saw a story about “overtourism” in Europe and China. Venice, for example, has now shrunk to only about 50,000 unhappy residents who put up with some 20 million tourists a year.

But centuries ago, travel was a rare and exotic luxury of the wealthy and well-educated, not an affordable indulgence or curiosity by ever-expanding middle classes. And this metaphorical trip proved an ideal vehicle to sample 16th- and 17th-century music in England, France, Germany and Italy.

Combining high culture and low, Herreid chose witty and detailed travelogue texts that gave the audience the rich flavor of various cultures at the time.

Details mattered to the four sharp-eyed travelers on which this tour was based. So as “our hero” wandered, we got to hear about the “libidinous ladies” of Naples and the musical talented courtesans of Venice as well as the richly attired archbishop of Paris attending a feast day service in the newly finished Notre-Dame cathedral.

Such descriptions were well delivered by unnamed narrators (below) from the chorus and proved a refreshingly earthy and entertaining counterpoint to the more serious spiritual and religious music of the era.

Another big satisfaction was the exceptional quality of the ensemble playing – exhibited even in large amounts of less interesting music — by the many singers and instrumentalists on the stage of Mills Hall, and, at one point, in the hall’s balcony.

Whether the players and singers were conducted by Herreid or by assistant conductor Jerry Hui — a UW-Madison graduate who is now a tenured professor at UW-Stout — the music sounded tight, authentic and expressive.

As for more superficial pleasures, it is great visual fun watching such early versions of modern string, wind and percussion instruments being played — trombone-like sackbuts, oboe-like shawms, flute-like recorders and lute-like theorbos. (Below are cello-like viols.)

The players, both faculty and students, were particularly convincing on their own in the sound painting done to depict battle scenes and political upheaval. And who will ever forget the surprise of loud foot-stomping by all the performers and conductor?

Herreid was absolutely spot-on to keep the program to about 80 minutes with no intermission. It helped the audience stay in the spirit of the Grand Tour and added cohesion to the program.

The Grand Tour, in short, proved outstanding in concept and excellent in execution.

But was The Ear alone in missing to those high notes?


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Classical music: This Saturday night and Sunday afternoon, the Oakwood Chamber Players finish their “Vignettes” season with an American audio-visual work and music by French, Italian and British composers

May 14, 2019
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By Jacob Stockinger

This weekend, the Oakwood Chamber Players — known for highlighting neglected composers and works — perform the last concert of their current season series “Vignettes” with an array of contrasting and generally neglected works from the late 19th to 21st century.

Performances will take place on Saturday night, May 18, at 7 p.m. and on Sunday afternoon, May 19, at 2 p.m. Both concerts will be held at the Oakwood Village Center for Arts and Education, 6209 Mineral Point Road, on Madison’s far west side near West Towne Mall.

Tickets can be purchased with cash or personal checks at the door: $25 for general admission, $20 for seniors and $5 for students.

Members of the Oakwood Chamber Players (below) are: Marilyn Chohaney, flute; Nancy Mackenzie, clarinet; Amanda Szyczs, bassoon; Anne Aley, horn; and Maggie Townsend, cello.

They are joined by guest artists: Valree Casey, oboe; Hillary Hempel, violin; Michael Koszewski, percussion; Jason Kutz, piano; and Carrie Backman, conductor.

American composer Michael Gandolfi (below top) collaborated with MIT computer animator Jonathan Bachrach (below bottom) to create a unique musical and visual partnership for his Abridged History of the World in Seven Acts. Six instrumentalists create overlapping textures and rhythmic interplay in response to mesmerizing images.

Four French composers from the late 19th to mid-20th century are featured: The piano, four-hand “Dolly Suite” by Gabriel Fauré (below top) in an arrangement for woodwind quintet and piano; Petite Pièces (Small Pieces) for violin, horn and piano by his student Charles Koechlin (below middle; the sweetly engaging quartet Sérénade  (Serenade) by Reynaldo Hahn (below third)and five Pièces en Trio (Trio Pieces) for oboe, clarinet and bassoon by Jacques Ibert (below bottom).

The Piano Trio in One Movement” by British composer Norman O’Neill (below) is full of verve and heart-felt melodies.

The woodwind quintet Piccolo Offerta Musicale” by noted Italian film composer Nino Rota (below), who wrote the scores for many films by Federico Fellini, is a short homage to Johann Sebastian Bach. (You can hear in the YouTube video at the bottom.)

The Oakwood Chamber Players are a group of Madison-area professional musicians who have rehearsed and performed at Oakwood Village for over 30 years. They perform in other groups, including the Madison Symphony Orchestra, the Wisconsin Chamber Orchestra and the Willy Street Chamber Players.

For more information, go to www.oakwoodchamberplayers.com or call (608) 230-4316.

The Oakwood Chamber Players are a professional music ensemble supported by Oakwood Lutheran Senior Ministries and the Oakwood Foundation.


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Classical music: The Madison New Music Ensemble makes its debut this Friday night. A FREE harpsichord recital is Friday at noon

April 10, 2019
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ALERT: This Friday’s FREE Noon Musicale at the First Unitarian Society of Madison, 900 University Bay Drive, features harpsichordist Faythe Vollrath (below). She has been hailed by the Wall Street Journal for her “subtly varied tempo and rhythm that sounds like breathing.” Her programs do not focus solely on early music, but also incorporate new music written for historic instruments. The concert runs from 12:15 to 1 p.m. (In the YouTube video at the bottom, you can hear and see her playing the 1993 “Toccata” by Emma Lou Diemer.)

By Jacob Stockinger

On this coming Friday night, April 12, at 7:30 p.m. at the First Unitarian Society of Madison, 900 University Bay Drive, the Madison New Music Ensemble will give its debut concert.

Tickets are $10 for adults, $5 for students and seniors. Only cash and personal checks will be accepted at the door.

The program features music by the group’s artistic director and Madison-based composer Joseph Koykkar — the director of music in the Dance Department at the University of Wisconsin-Madison —  Robert Muczynski, Ed Martin, Lennon/McCartney and others.

Special guests are The Vine Street Trio, a faculty trio from the University of Wisconsin-Oshkosh, playing works by contemporary composers and saxophonist Peterson Ross.

Members of the Madison New Music Ensemble (below, from left) are: Danielle Breisach; Joseph Koykkar; Monica Jiang; Joseph Ross; Amy Harr; Elena Ross; and Bethany Schultz

For more information about the performers and the group, go to the Madison New Music Ensemble page on Facebook at: https://www.facebook.com/madisonnewmusicensemble/


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Classical music: On Saturday night and Sunday afternoon, the Madison Bach Musicians explore the miracle of Mozart across his lifetime and across different genres

April 1, 2019
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By Jacob Stockinger

The Madison Bach Musicians concludes its 15th season on this coming Saturday night, April 6, at 8 p.m. and Sunday afternoon, April 7, at 3:30 p.m. with  The Mozart Miracle .

The program features performances of beloved music by Wolfgang Amadeus Mozart (1756-1791, below) with an all period-instrument chamber orchestra in the magnificent acoustic setting of the First Congregational United Church of Christ (below), 1609 University Avenue, near Camp Randall Stadium.

Period-instrument specialists hailing from Madison, Milwaukee, Chicago, Omaha, Seattle, Philadelphia and New York City will perform on natural or valveless horns, classical oboes, gut-strung violins, violas, cellos and a double bass played with 18th-century transitional bows.

Early music specialist and bassoon professor Marc Vallon (below to, in a photo by James Gill) of UW-Madison Mead Witter School of Music will lead the orchestra (below bottom, in a performance last year at the First Unitarian Society of Madison).

Internationally acclaimed soprano Ariadne Lih (below), from Montreal, Canada, will join the ensemble for  Exsultate Jubilate — a ringing example of how Mozart could seamlessly fuse religious zeal with vocal pyrotechnics. (You can hear Renée Fleming sing “Exsultate Jubilate” in the YouTube video at the bottom.)

The program also features dance sequences, choreographed by Karen McShane Hellenbrand (below) of the UW-Madison, from Mozart’s ballet Les Petits Riens  (The Little Nothings).

Also included are pre-concert lectures: On Saturday, April 6, at 7:15 p.m.  there is a lecture by MBM artistic director Trevor Stephenson with an 8 p.m. concert . On Sunday, April 7, his lecture is at 2:45 p.m.  with the concert at 3:30 p.m.

Advance-sale discounted  tickets are $35 for general admission.

Tickets are available at  Orange Tree Imports and Willy Street Coop (East and West). You can also buy advance tickets online at www.madisonbachmusicians.org

Tickets at the door are:  $38 general for adults, $35 for seniors 65-plus, and student rush for $10, on sale 30 minutes before lecture.

MBM artistic director Stephenson (below) sent the following remarks to The Ear:

Here are two fantastic quotations about Mozart:

“Together with the puzzle he gives you the solution.” Ferrucio Busoni on Mozart

“It may be that when the angels go about their task of praising God, they play only Bach. I am sure, however, that when they are together as a family, they play Mozart…” Karl Barth

Both quotes underline, I believe, Mozart’s charismatic generosity of spirit, his sense of play and camaraderie. We’re all in this together! Mozart’s music is a perfect fusion of melodic inspiration — tunes so good they can stay in your head for joyous weeks at a time, or even a lifetime — and structural clarity.

His sense of proportion — when to display 18th-century balance and when to step outside the frame — is uncanny and always a delight. And for me, as a five-year-old-boy, dancing about the living room to the old LP vinyl — dancing lightly, though, so the record wouldn’t skip — it was Mozart’s boundless energy and joy, pouring out of the speakers, that really revved me up.

The Madison Bach Musicians program on this coming Saturday and Sunday will explore several sides of Mozart’s genius: master orchestrator and symphonist; aficionado of fugues; virtuoso keyboard player and mesmerizing improviser; ballet composer; and the greatest fashioner of material for the soprano voice.

MBM has assembled a Classical-period chamber orchestra, replete with gut strings and transitional bows, natural horns, and classical oboes. To this we’ll add: a fortepiano — the type of instrument Mozart toured with; an elegant dancer — for dance was an integral part of 18th-century living; and a magnificent soprano — Mozart was virtually besotted with the magic of the high female voice, and he wrote for it throughout his life with imagination and a sense of thrilling experiment that has never been equaled before or since.

Here is a bit about each selection:

Symphony No. 1 in E-flat majorComposed 1764 when Mozart was just eight years old (below), during an extended stay in London with his father Leopold and sister Nannerl. Strongly influenced by the symphonies of C. F. Abel and J. C. Bach (The London Bach, youngest son of Johann Sebastian).

Symphony No. 29 in A majorComposed 1774 when Mozart was 18 years old (below). It is often considered the pinnacle of his early symphonic writing.

Exsultate Jubilate  for soprano and orchestra – Written 1773 in Milan for the castrato, or male soprano, Venanzio Rauzzini, it is an elegant fusion of rapturous melodies and vocal display.

Adagio & Fugue  in C minor for strings – Composed in 1788, certainly the latest Mozart work on the program when the composer was 32. Mozart had by this time — largely through the Sunday soirees at Baron van Swieten’s—been studying Bach’s fugues closely for several years. This fugue is an arrangement of a work for two fortepianos, K. 426, which Mozart had composed five years earlier in 1783. Mozart added the opening Adagio for the strings version.

Fantasy in D minor for fortepiano – Mozart improvised frequently as part of both private and public performance. This Fantasy, with its dark distinctive opening which explores the fantastical low register of the fortepiano, may give us a good idea of what Mozart might have done one night just sitting down to “jam” for his friends.

Two French Songs for soprano and fortepiano — Birds follow the warm weather, so they never cease their courtship. And in the woods one day the protagonist foolishly rouses a sleeping Cupid — and pays a terrible price.

Ballet excerpts from  Les Petit Riens – literally The Little Nothings. Mozart composed most, but not all, of this ballet in Paris 1778 for Jean-Georges Noverre, ballet master of the Paris Opera. The work served as an interlude to an opera by Niccolo Piccinni that closed after just four performances.

For more information, go to: www.madisonbachmusicians.org


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Classical music: Bach Around the Clock marks Johann Sebastian’s 334th birthday next Saturday with a FREE 12-hour celebration. Here is the full schedule. Plus, Parry Karp plays all-French cello music on Thursday night

February 25, 2019
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ALERT: This coming Thursday night, Feb. 28, at 7:30 p.m. in Mills Hall, UW-Madison cellist Parry Karp, of the Pro Arte Quartet, will perform a FREE all-French recital with longtime piano partner Eli Kalman of the UW-Oshkosh. The program includes the Cello Sonata by Claude Debussy; the Cello Sonata by Albéric Magnard; “Granada” from “Foreign Evenings” by Louis Vierne; and Cello Sonata No. 1 by Camille Saint-Saens. For more information, go to: https://www.music.wisc.edu/event/faculty-recital-parry-karp-cello-and-eli-kalman-piano-2/

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By Jacob Stockinger

The event is coming a couple of weeks earlier than the actual birthday on March 21.

But next Saturday, March 2, from 10 a.m. until 10 p.m., the annual Bach Around the Clock will celebrate the 334th birthday of Johann Sebastian Bach (1685-1750).

At 10 p.m., there will even be a birthday cake for the birthday boy and for those who are still there celebrating the Big Bang of classical music.

The FREE informal event – complete with interviews, snacks and beverages – will take place at St. Andrew’s Episcopal Church (below) at 1833 Regent Street on Madison’s near west side close to Randall Elementary School.

How do you like your Bach?

Sung? Played on instruments?

As originally scored? As arranged and transcribed?

Played by students? By adult amateurs? Or by professionals?

Whatever you are looking for and love to hear, chances are good you will find it on the schedule. There will be all of the above, and more. There will be cantatas and concertos, suites and sonatas, preludes and fugues. (You can hear the instantly recognizable and frequently played Prelude No. 1 in C Major from The Well-Tempered Clavier, Book I, in the YouTube video at the bottom.) 

The whole event will be streamed live locally and beyond.

To get an idea of what will happen from previous events, go to the previous blog post, which has a lot of photos, or use this blog’s search engine:

https://welltempered.wordpress.com/2019/01/20/classical-music-bach-around-the-clock-2019-is-looking-for-performers-of-all-kinds-to-play-on-march-2/

For more information, here is a link to the home website that has both the full schedule and a link for streaming as well as other information about free parking as well as how to participate in and support the event.

https://bachclock.com

Here is the specific link to the full schedule, with names of performers and pieces:

https://bachclock.com/concert-schedule/

Take a look. Do you have any suggestions or recommendations about what others should attend and listen to? Leave a COMMENT if you want.

The Ear wants to hear.


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