The Well-Tempered Ear

Classical music: The fifth FREE citywide annual Make Music Madison – featuring 300 concerts at 100 venues — takes place all day tomorrow

June 20, 2018
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By Jacob Stockinger

Tomorrow – Thursday, June 21, 2018 — is the Summer Solstice.

That means summer arrives.

That makes it the longest day and shortest night of the year.

And that also makes it the day when the fifth annual Make Music Madison will take place. The FREE citywide festival of outdoor music-making will go on all day.

According to the official website, there will be more than 300 concerts at more than 100 venues.

The website also has a very well-organized listing of concerts, artists and venues. It features a very user-friendly search engine – called a Filter Map — where you can check out the events by genre of music, name of the performers and the venue. It also includes rain accommodations, and given the weather this week, that could come in handy.

Here is a link to the complete listings:

http://www.makemusicmadison.org/listings/2018/locations/

Here is a link to the website, which has a fascinating and impressive overview and also a gallery of photos from last year’s event:

http://www.makemusicmadison.org

Of course the majority of the music that will be played by both amateurs and professionals, both individuals and groups, will be non-classical: jazz, pop, hip-hop, rock and roll, folk, world, musical theater, early music, blues, Celtic, funk, gospel and many more.

But from what The Ear sees there are about 25 noteworthy classical offerings too. They include music for guitar, organ, brass, strings, cello, flute and piano, including a public piano that will be at the UW-Madison’s Alumni Park from 11 a.m. until 4 p.m. Other venues include churches and libraries, schools and shopping malls, parks and businesses.

Here is a more detailed list of classical offerings with artists as well as venues (you can hear a vocal group from 2015 in the YouTube video at the bottom):

http://www.makemusicmadison.org/listings/2018/artists?artist_name=&genre=Classical

Happy Listening!

If you go, leave a message about your reaction and how well it went in the COMMENT section.

The Ear wants to hear.

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Classical music: The Festival Choir of Madison will perform Slavic music – including several U.S. and world premieres — under a guest Spanish conductor this Saturday night

May 15, 2018
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By Jacob Stockinger

The Festival Choir of Madison (below) will perform the program “The Slavic Soul” this coming Saturday night, May 19, at 7:30 p.m. in the Atrium Auditorium at the First Unitarian Society of Madison, 900 University Bay Drive.

The Festival Choir will have guest conductor Nikoleta Popova for the event, who is coming from Spain to conduct a program comprised of songs either by Slavic composers or inspired by Slavic music. More about the conductor is below.

Several U.S. premieres are marked with an asterisk and there is one world premiere.

Tickets are $20, $15 for seniors 65 and over; and $10 for students. For information and tickets, go to: https://festivalchoirmadison.squarespace.com/concerts/2018/5/theslavicsoul

Here is the complete program:

THE SLAVIC SOUL

Bela Bartok (1881-1945) – Four Slovak Folk Songs (heard in the YouTube video at the bottom)

Dmitri Shostakovich (1908-1975) – Two Russian Folk Songs. With Anya Gubenkova, alto

Alexander Davidenko (1899–1934) – “At Ten Versts From the Capital”* with Ted Reinke, piano, and Dan Broner, organ

Vera Nasha (Our Faith)* Serbian Folk Song, arr. Yónatan Sánchez Santianes with James McKenzie, percussion

Szymon Godziemba-Trytek (1988) Agnus Dei (World Premiere) with Ted Reinke, organ

Georgy Sviridov (1915–1998) – “A Wondrous Birth”; “Balalaika”; and “Reveille.” With Anya Gubenkova, alto

Dobri Hristov (1875–1941) – “Rachenitsa”

Todor Popov (1921–2000) – “Stara Sa Maika” (The Old Mother)*

“Kalinka,” a Russian Folk Song arranged by Vadim Prokhorov

The guest conductor is Nikoleta Popova (below) of Bulgaria and Spain. She is a renowned specialist in Eastern European and Bulgarian music and has offered seminars and master classes all over the world.

Currently, Popova is Professor in Conducting at the Conservatorio Superior de Música de Canarias in Las Palmas, Spain, where she is also music director of the conservatory orchestra and choirs. She has appeared as guest conductor in Austria, Italy, Spain, Poland, and the U.S., as well as her native Bulgaria.

Born in Dobrich, Bulgaria, Nikoleta Popova received her education as a conductor from the National Academy of Music in Sofia, Bulgaria, and from Universität für Musik und darstellende Kunst in Graz. Among her teachers are Eric Whitacre, Fernando Malvar-Ruiz, Alex Schillings, Klaas Stok, Marco Antonio Da Silva Ramos, and others.

In 2011 Nikoleta Popova received her Ph.D. from the University of Las Palmas de Gran Canaria with a dissertation on the performance of the black spiritual. Since 2012, she has published three books in Spanish with in-depth analysis of the problems that singers and conductors face in the interpretation of African-American spirituals.


Classical music: Greg Zelek closes out the Madison Symphony Orchestra’s organ recital season this Friday night with music by Bach, Schumann, Franck and Liszt

May 8, 2018
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By Jacob Stockinger

The Madison Symphony Orchestra (MSO) organist Greg Zelek (below) will perform a recital this Friday night, May 11, at 7:30 p.m. in Overture Hall of the Overture Center, 201 State St.

According to the MSO, “Zelek thrilled the Overture audience with his spellbinding debut recital in 2016, and then again with his appearances in 2017 and 2018 as the Madison Symphony Orchestra’s new Principal Organist and Curator of the Overture Concert Organ (below).”

This past weekend, Zelek played an impressively virtuosic organ passage in the “Glagolitic Mass” by Leos Janacek and was warmly received by the audience.

This time, Zelek returns to close out the season’s concert organ series in a “Voices of Spring” program of music that includes music by Johann Sebastian Bach, Robert Schumann, John Weaver, Cesar Franck and Gioachino Rossini as well as the  monumental 30-minute Fantasy and Fugue on the Chorale “Ad nos, ad salutarem unjam” by Franz Liszt.

For the complete program and an audiovisual sample of Zelek’s playing Bach, go to: https://www.madisonsymphony.org/zelek

Zelek recently completed Bachelor’s and Master’s degrees, and an Artist Diploma at the Julliard School. Adds the MSP: “Greg continues to cultivate his reputation as one of the most exciting organists in the American organ scene.” (You can hear Zelek play Bach’s famous Toccata and Fugue in D  minor in the YouTube video at the bottom.)

Admission for each Overture Concert Organ performance is $20.

Tickets can be purchased at madisonsymphony.org/zelek, (608) 258-4141 or the Overture Box Office.

Student Rush tickets can be purchased in person on the day of the concert at the Overture Box Office at 201 State Street. Students must show a valid student ID and can receive up to two $10 tickets.

This performance is sponsored by Walter and Karen Pridham. Support for all Overture Concert Organ programs is provided by the Diane Endres Ballweg Fund.

With a gift from Pleasant T. Rowland, the Madison Symphony Orchestra commissioned the Overture Concert Organ, which is the stunning backdrop of all MSO concerts.


Classical music: UW Choral Director Beverly Taylor talks about her life with Bach’s “St. Matthew Passion,” which she will conduct this Sunday afternoon and night

April 20, 2018
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By Jacob Stockinger

Johann Sebastian Bach’s “St. Matthew Passion” always ranks high on the short list of the greatest choral works ever composed.

And for good reason.

It represents a peak of Bach’s sacred music and his choral compositions.

This Sunday afternoon and night in Mills Hall, Beverly Taylor, director of choral activities at the University of Wisconsin-Madison’s Mead Witter School of Music and the assistant music director of the Madison Symphony Orchestra, will conduct the UW Choral Union (below) — comprised of university and community singers — plus soloists and an orchestra, in a performance of the complete work.

At 4 p.m. they will do Part 1 and then at 7:30 p.m., Part 2.

Tickets (one ticket is good for both parts) are $15, $8 for students and seniors. To purchase tickets, go to: https://www.music.wisc.edu/about-us/tickets/

Tickets will also be available at the door.

The Ear is always curious to learn more about the relationship between a professional musician and a towering masterpiece.

He found out more when Taylor (below) recently answered an email Q&A about her past and current experiences with the “St. Matthew Passion”:

When did you first hear the “St. Matthew Passion” and what was your reaction?

I never heard it until my late 20s, would you believe? I’d been through grad school and all its training, and learned German, knew a lot of Bach; and when Seiji Ozawa and the Boston Symphony did it on Good Friday, I sat spellbound for over three hours.

I was shaken to the core by its beauty, and even though it was hardly an early music performance, it was well handled, and one of my favorite British singers, Robert Tear, was the Evangelist. I’ve never forgotten it!

Where do you place the “St. Matthew Passion” among Bach’s works and especially among his many choral works?

As with all masterpieces, it’s hard to choose. It’s the longest work, and its size and scope alone make it a frequent choice of many for favorite work.

It’s more dramatic than the breath-taking B Minor Mass and more meditative than the St. John Passion, but I also love the unbelievable variety of cantatas that Bach (below) produced.

Don’t make me choose!

What role has the “St. Matthew Passion” played in your personal and professional life?

I’d say it’s a pinnacle work. This is only my second time performing it, and I’m unlikely to have the chance again, although one hopes. So I’m invested in its beauty and in its core message of hope in the face of tragedy.

Are there things you would like audiences to know about your upcoming performance?

There are several things.

We have a wonderful cast of soloists, and the orchestra is not the usual student orchestra, since the UW Symphony Orchestra is committed to another program in the near future, but is instead a mixture of students, semi-pros and pros.

The work is set for the two choruses and two orchestras that play with them. Many of the choral movements are set for both orchestras, but Bach varies the texture of each movement by varying who plays in what.

If a listener hasn’t been to a Passion performance before, then you might want to know that:

The character of the Evangelist (sung superbly in this case by Wesley Dunnagan, below) is the narrator of the drama. He is accompanied by the continuo part—which is made up of a keyboard (usually organ with sacred works) and a low melody instrument, usually cello.

The chorus members sing sometimes in the character of Greek chorus commentary, sometimes as characters in the roles of Mob, Roman soldiers, Pharisees, and disciples. Most of this text comes from the book of St. Matthew. However, German theologians wrote commentary that is used for the beautiful Chorales-which basically are hymn-style settings of well-known Lutheran tunes. These chorales turn personal—for instance when Judas betrays Jesus, the chorus, after being a mob, turns around and says in repentance—It is I, I’m the one that killed you. (You can hear the final chorus in the YouTube video at the bottom.)

The text is so important, and Bach uses myriad details to bring it out. It is typical that when the text is about death, or evil, or sin, the writing is chromatic, or full of augmented fourth intervals (once nicknamed the devil’s interval). When Jesus has died and been buried, the chorus sings what feels like a lullaby, with the rocking cradle motion. When an earthquake follows Jesus’ death and the curtain of the temple is torn, the continuo cello breaks out of accompaniment mode and tears down the scale like lightning

Although this work presents Bach’s Christian view in the heart of the church year, the scope and issues of faithfulness and disloyalty, trust and fear, should resonate with listeners of all faiths.

We’ve chosen, as some other presenters have, to have a dinner/snack break between the two parts of the three-hour work. One ticket will get you into either or both halves. We do this to give singers and players a little rest, and a little movement to our listeners. Part I runs from 4 p.m. to about 5:15 p.m., and Part II runs from 7:30 p.m. to about 9:15 p.m.


Classical music: Meet Isabelle Demers, who performs an unusual organ recital tonight at 7:30 in Overture Hall

April 17, 2018
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By Jacob Stockinger

The Ear has received the following announcement to post:

The Madison Symphony Orchestra (MSO) welcomes the return of organist Isabelle Demers (below) for a recital tonight, Tuesday, Apr. 17 at 7:30 p.m. in Overture Hall of the Overture Center, 201 State St.

Professor of organ and head of the organ program at Baylor University, Isabelle Demers enjoys a very active recital career with performances worldwide from London to Los Angeles and Melbourne to Madison.

Her program entitled The Three B’s includes music by Edward Bairstow, Joseph Bonnet, and Hector Berlioz with Demers’ own transcription of Berlioz’s blistering “Symphonie Fantastique.” She is renowned for her dazzling performances, dynamic style, and universal audience appeal.

Admission for each Overture Concert Organ performance is $20. Tickets can be purchased at madisonsymphony.org/demers, where you can also see Demers’ complete program, or by calling (608) 258-4141, or by going to the Overture Box Office.

Student Rush tickets can be purchased in person on the day of the concert at the Overture Box Office at 201 State Street. Students must show a valid student ID and can receive up to two $10 tickets.

This performance is sponsored by the Skofronick Family Charitable Trust. Support for all Overture Concert Organ programs is provided by the Diane Endres Ballweg Fund. With a gift from Pleasant T. Rowland, the Madison Symphony Orchestra commissioned the Overture Concert Organ (below), which is the backdrop of all MSO concerts.

For more Overture Concert Organ information, visit madisonsymphony.org/organ.

Here is a Q&A that the MSO did with Demers, who has more than two dozen videos on YouTube, including her own transcriptions of sections from “Scheherazade” by Nikolai Rimsky-Korsakov that is at the bottom:

MSO: Tell us about growing up and how that led you to make the organ a career.

ID: I grew up in Quebec, Canada, and started piano when I was 6. Most of my family works in sciences, but my mother wanted music to be an important part of my education. I entered pre-college at the Montreal Conservatory when I was 11 and really loved it, so it was not a very hard decision to choose music as a career later on.

My mother also suggested that I learn organ when I turned 16; she thought it would be a good instrument for me, while I saw it as a way to pay for my piano lessons. I guess the moral of the story is that one should always listen to their mother.

MSO: What differentiates you from other organists?

ID: I’m much shorter and I have a lovely French-Canadian accent. Seriously, I think I have a different feel for registration because I didn’t grow up with organ music. I listened to lots of orchestral and operatic works as a teenager, and I think that it influences the way I register most works, especially transcriptions.

I also have a more extensive background as a pianist than most other organists, so virtuosic works might come slightly more easily to me. (By the time I stopped playing piano, I had learned almost all the Chopin etudes, for example.)

MSO: What excites you most about playing the organ?

ID: Definitely the wide range of sounds and dynamics at our disposal! Being able to create my own sound world on every instrument I play is a very exciting part of my job. I don’t always play the same works, but even if I did, they often sound completely different when you try them on new instruments. I also like the physical aspect of playing organ; it’s good to get all your limbs moving together, especially when they are all falling on the right keys at the right time!

MSO: What would you say to someone at their first organ concert?

ID: Let yourself be moved by the instrument. Instead of trying to understand every note, listen for the bigger gestures, for the colors, for the larger picture. The organ has the potential to be very exciting and moving, but first one must forget that it is essentially a big machine.

If you don’t like the colors or the music, then hopefully it is possible to see the organist. I always find it fascinating to watch people play, and see how they can manage all the knobs and buttons on the console.

MSO: Other than playing the organ, what are some interests of yours?

ID: I love traveling, reading, spending time outside when it’s cold (which unfortunately doesn’t happen much in Texas) and cooking. I like to make ice cream, which is obviously very popular with the students as well. On my last visit to Madison I was able to try sour cream ice cream, which was delicious! I’ve tried to reproduce the recipe at home, but I think I’ll need some more practice.


Classical music: The Wisconsin Chamber Choir will celebrate the Americas with two world premieres this Friday night

April 10, 2018
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By Jacob Stockinger

The Wisconsin Chamber Choir (below) will give two performances — one in Madison and one in Milwaukee — of the program “I Hear America Singing.”

The Madison program features two world premieres: Alleluia by Wayne Oquin and Shenandoah by Jae Lee. The Madison performance will also include a special guest ensemble: The University of Wisconsin–Whitewater Chamber Singers.

The local performance on this Friday, April 13, is at 7:30 p.m. in Grace Episcopal Church (below), 116 West Washington Ave., on the Capitol Square.

On next Saturday, April 21, at 7:30 p.m., the WCC will perform at St. Paul’s Episcopal Church, 914 East Knapp Street, Milwaukee.

The concert is a musical celebration of all the Americas — North and South — and all Americans.

Also, in recognition of Robert Gehrenbeck’s 10th anniversary as artistic director, the WCC presents the world premiere of Alleluia by New York composer and Juilliard School faculty member Wayne Oquin.

Inspired by Randall Thompson’s classic setting of the same one-word text, Oquin’s new version updates Thompson’s musical style in his own harmonic language, which has been compared to Morten Lauridsen’s.

An extremely versatile musician, Oquin (below) boasts recent commissions and performances by the Philadelphia Orchestra, the Danish National Symphony, the United States Air Force Band, the Houston Chamber Choir, and the King’s Singers.

At the Madison concert the WCC will be joined by the UW-Whitewater Chamber Singers performing their own world premiere, Shenandoah, by New York composer, organist and former jazz pianist Jae Lee (below).

The remainder of the program spans music of four centuries and multiple nationalities. Masterpieces of the U.S. choral repertoire — Samuel Barber’s Reincarnations and Charles Ives’s Psalm 67 — share billing with a diverse selection of works from throughout the hemisphere.

They include music by Mexican Baroque master Manuel de Samaya (below top); Argentinian tango composer Astor Piazzolla; African-American composers Bobby McFerrin, Hall Johnson, W. C. Handy, and Rosephanye Powell; and Native-American composer and longtime friend of the WCC, Brent Michael Davids (below bottom).

(You can hear a work that Robert Gehrenbeck commissioned for the UW-Whitewater Chamber Singers from Wayne Oquin in the YouTube video at the bottom, performed by the Houston Chamber Choir.)

The WCC’s award-winning organist, Mark Brampton Smith (below), will perform Samuel Barber’s virtuosic Wondrous Love: Variations On a Shape-Note Hymn on two amazing pipe organs: the 1987, 38-rank Casavant at Grace Episcopal Church in Madison, and the 2012, 51-rank Schantz at St. Paul’s Episcopal Church in Milwaukee.

Founded in 1998, the Wisconsin Chamber Choir has established a reputation for excellence in the performance of oratorios by Bach, Handel, Mozart and Brahms; a cappella works from various centuries; and world premieres.

Artistic director Robert Gehrenbeck (below), who directs choral activities at the UW-Whitewater, has been hailed by critics for his vibrant and emotionally compelling interpretations of a wide variety of choral masterworks.

Advance tickets for the April 13 performance in Madison are available for $20 ($10 for students) from www.wisconsinchamberchoir.org, via Brown Paper Tickets, or at Orange Tree Imports and Willy Street Coop (all three locations).

The April 21 performance in Milwaukee will be presented for a free-will offering.


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Classical music: This Saturday’s CAN’T MISS, MUST-HEAR Bach Around the Clock 5 is new and improved with something for everyone who loves the music of Johann Sebastian

March 9, 2018
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By Jacob Stockinger

How do you like your Bach?

No matter how you answer, it is just about certain that you will find it at this Saturday’s marathon Bach Around the Clock 5, which is even more impressive this year than last year, which was plenty successful.

BATC 5 is a community birthday celebration of the life and music of Baroque master Johann Sebastian Bach (below) – for many, The Big Bang of classical music — who turns 333 this month.

BATC 5 will take place this Saturday from 10 a.m. to 10 p.m. in St. Andrew’s Episcopal Church (below) at 1833 Regent Street, on Madison’s near west side.

NOTE: If you can’t make it in person, the entire event will be streamed live, as it was last year, from the church via a link on the BATC web page.

https://bacharoundtheclock.wordpress.com/live-stream/

But also – new this year – you can listen via streaming from the web site of Early Music America, which also awarded the event one of only five $500 grants in the entire U.S.

https://www.earlymusicamerica.org

For all 12 hours, BATC 5 is FREE and OPEN TO THE PUBLIC. Those who attend are also encouraged to be informal in dress and behavior – to come in and listen, then leave and came back again – in short, to wander in and out as they want to or need to.

To The Ear, the event has been improved in just about every way you can think of.

Do you like to hear professional performers? Amateurs? Students? You will find lots of all of them. (Below are the Sonora Suzuki Strings of Madison.)

Do you like your Bach on period instruments, such as the harpsichord and the recorder, using historically informed performance practices? BATC 5 has that.

Do you like your Bach on modern instruments like the piano? BATC has that too. (Below is Tim Adrianson of Madison who will play the Partita No. 5 in G Major this year.)

Do you like more familiar works? There will be the Harpsichord Concerto No. 1 in D minor, the Concerto for Two Violins and the Brandenburg Concerto No. 2. (Last year saw Brandenburg Concertos Nos. 3 and 5, and BATC director Marika Fischer Hoyt says her plans call for the one-day festival to work its way through all six Brandenburgs before repeating any.) You can hear the Brandenburg Concerto No. 2 in the YouTube video at the bottom.

Do you like less familiar works to expand your horizon? There will be lots of those too.

Do you prefer Bach’s vocal and choral writing? BATC has lots of it, including the famous Cantata No. 140 (“Wachet auf”) performed by UW baritone Paul Rowe (below, in a photo by Michael R. Anderson) and his students from the UW’s Mead Witter School of Music, plus two solo cantatas. The Wisconsin Chamber Choir will also sing.

Do you prefer Bach’s instrumental music? BATC has that in abundance, from solo pieces like a Cello Suite to chamber music such as an Organ Trio Sonata and larger ensembles.

Do you like the original versions? No problem. BATC has them.

Do you like novel or modern arrangements and transcriptions of Bach’s universal music? BATC has them too.

Concerned about how long the event is?

You might want to bring along a cushion to soften a long sit on hard pews.

Plus, there is more food and more refreshments this year, thanks to donations from Classen’s Bakery, HyVee, Trader Joe’s and the Willy Street Co-op.

There are more performers, up from 80 last year to about 200. And they include a pianist who is the official Guest Artist Lawrence Quinnett (below) and is coming all the way from North Carolina, where he teaches at a college, to perform two half-hour segments of Preludes and Fugues from The Well-Tempered Clavier, Book II.

Here is a link to Quinnett’s own web site:

http://www.lawrencequinnett.com

But familiar faces and voices from the UW-Madison and other groups in the Madison area will also be returning to perform.

Also new this year is a back-up group for concertos and accompaniment.

Some features have been carried over, including mini-interviews with performers conducted by hosts, including Stephanie Elkins (below top) of Wisconsin Public Radio and Marika Fischer Hoyt herself (below bottom, with flutist Casey Oelkers, on the left, who works for the Madison Symphony Orchestra)


But The Ear is also impressed by how little repetition in repertoire there is from last year. So far, each year feels pretty much new and different, and the newly designated non-profit organization, with its newly formed board of directors, is working hard to keep it that way.

What more is there to say?

Only that you and all lovers of classical music should be there are some point – or even more than one.

Here is a link to the BATC general web site, with lots of information including how to support this community event — which, for the sake of full disclosure, The Ear does:

https://bacharoundtheclock.wordpress.com

And here is a link to the full schedule that you can print out and use as a guide. It also has last year’s schedule for performers and pieces that you can use for purposes of comparison:

https://bacharoundtheclock.wordpress.com/concert-schedule/

Let the music begin!

See you there!


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Classical music: Piano and viola duo Vis-à-Vis gives a FREE concert this Saturday at noon as part of Grace Presents

January 11, 2018
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By Jacob Stockinger

For a while, the acclaimed FREE community outreach concert series Grace Presents had folded.

But now it is back.

Grace Presents’ new coordinator Yanzel Rivera, who is a graduate student at the UW-Madison Mead-Witter School of Music, has sent the following information to post:

“Grace Presents, which offers free monthly concerts on the Capitol Square, will feature the Vis-À-Vis duo (below) of violist Brandin Kreuder and pianist Craig Jordan.

“The one-hour concert, called “Clarke and Brahms” will take place this Saturday, Jan. 13, at noon at the Grace Episcopal Church, 116 West Washington Avenue, across from the Capitol Square.

The program features: Four Pieces by British composer Frank Bridge, (1879-1941); a Sonata by British composer Rebecca Clarke, (1886-1979, below top); “Un regard dans le vide” or ‘A Look Into the Void” (2017) by American composer Christian Messier (b. 1995, below bottom), who studies at Lawrence University in Appleton, Wisconsin;  and the Sonata in F Minor by Johannes Brahms (1833-1897).

ABOUT THE PERFORMERS

“Duo Vis-À-Vis aims to bring engaging and explorative chamber music performances to communities across the country and share their love for musical collaboration and expression.

“The duo is comprised of violinist/violist Brandin Kreuder, and pianist, Craig Jordan. Brandin is a native of Burlington, Wisconsin, and a 2016 graduate of Lawrence University and Conservatory (below) who holds a B.A. in Studio Art and a B.M. in Violin Performance.

“Brandin is currently in his second year of his Master of Music degree studying viola with virtuoso violist Jodi Levitz at the Frost School of Music, University of Miami.

“Jordan, from Ames, Iowa, is a junior at the Lawrence Conservatory of Music pursuing his Bachelor of Music degree in Piano Performance under the teaching of Catherine Kautsky, with an emphasis on Collaborative Piano. He is currently studying this fall semester at the Conservatorium van Amsterdam in the Netherlands with Marta Liébana Martínez.

“Since its debut in spring 2016, duo Vis-A-Vis has performed three recital tours in Wisconsin, Iowa, Florida, Missouri, Colorado and Massachusetts. Their recent tour “Reminiscence” brought the duo to their widest variety of performance locations yet. One of these performances also served as the beginning of a new chamber music series hosted by the College Light Opera Company in Falmouth, Mass.

(You can hear Duo Vis-à-Vis (below) perform the Violin Sonata by Cesar Franck in the YouTube video at the bottom.)

ABOUT GRACE PRESENTS

Grace Presents features a diverse range of music, including everything from classical and folk to jazz and bluegrass. The performers include nationally recognized musicians and exceptional young talent from Madison and beyond.

The mission is to create a premier concert series that everyone in the Madison community can enjoy. Each month it welcomes a diverse audience to its concerts, including Madison residents, students, farmers’ market shoppers, tourists, and people who are homeless.

The organizers invite audiences to bring a lunch to enjoy inside the church during our concerts.

A celebrated historic landmark established in 1839, Grace Episcopal Church (below top and bottom) is the oldest church in Madison. Known for its grand Gothic architecture and distinctive red doors, the church features hand-carved woodwork, brilliant stained glass windows–including a Tiffany window–and a cathedral organ.

Grace Presents is supported in part by a grant from Dane Arts, the W. Jerome Frautschi Foundation, the Madison Arts Commission, with additional funds from the Wisconsin Arts Board.

The series also relies on donations from sponsors and free-will offerings at each concert.


Classical music: Today is the winter solstice. What music best captures or celebrates winter?

December 21, 2017
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By Jacob Stockinger

Today is the Winter Solstice.

Winter arrives at 10:28 a.m. Central Standard Time.

That means we are turning the corner. Starting today, nights will get shorter and days will get longer.

But there is still plenty of the year’s most blustery and bone-chilling weather ahead of us.

Lots of classical music celebrates winter.

Vivaldi’s “Four Seasons” is a popular choice.

So is the “Winter Dreams” symphony by Tchaikovsky.

Here are links to two compilations of winter music, lasting for a total of more than two hours, on YouTube:

https://www.youtube.com/watch?v=yNMIgZAx2gQ

https://www.youtube.com/watch?v=v2jAweLVLRk

But no music is more wintry than the celebrated song cycle “Winterreise” or “Winter Journey” by Franz Schubert (below).

Every year, The Ear uses the solstice and the coming of winter to listen once again to this deeply moving and surprisingly modern song cycle.

Many excellent recordings exist. Famed German baritone Dietrich Fischer-Dieskau (below left, with pianist Gerald Moore) made multiple recordings over many years.

In recent years Matthias Goerner, Thomas Quasthoff, Mark Padmore, Jonas Kaufmann and many others have already made acclaimed recordings, always with distinguished pianists including Gerald Moore, Alfred Brendel, Murray Perahia, Daniel Barenboim and Paul Lewis.

Yet I always find the most satisfying version to be the one made by English tenor Ian Bostridge with Norwegian pianist Leif Ove Andnes.

Bostridge’s tenor voice lends a lightness that has a certain clarity and almost speech-like quality to it.

And Bostridge, who wrote the excellent book “Schubert Winter Journey: Anatomy of an Obsession” – a song-by-song analysis of the cycle — knows the texts and contexts of the songs inside and out. His are well-informed and thoroughly thought-out interpretations.

The whole cycle takes about 70 minutes to listen to.

This year The Ear might do one of the 24 songs in the cycle each day and then the entire cycle in one sitting at the end.

The different approach might yield some new insights and new pleasure.

Anyway, choose your own artists and your own way of listening.

But it is a great and timely choice.

Here is “Good Night,” the first song of “Winterreise”:

And here is “The Organ Grinder,” the last song and a favorite of writer Samuel Beckett who found a shared sensibility in the lean austerity of the music of the music and the text:

What winter music would you listen to or recommend to mark the solstice and the coming of winter?

The Ear wants to hear.


Classical music: Two performances of the annual Winter Choral Concert, to benefit the homeless, are this Sunday afternoon at 2 and 4. Other UW groups also perform during a busy end-of-semester week

November 29, 2017
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By Jacob Stockinger

As always happens towards the end of a semester, the tempo of the performances at the UW-Madison’s Mead Witter School of Music picks up and accelerates.

One highlight this week is two performances of a traditional choral concert.

Under conductor and UW choral program director Beverly Taylor (below), six of seven UW-Madison choirs — Chorale, Concert Choir, Madrigal Singers, University Chorus, Women’s Chorus, Masters Singers – will perform their annual winter concert twice this Sunday afternoon.

The two performances, at 2 and 4 p.m., will be at Luther Memorial Church, located at 1021 University Avenue.

Consider arriving early since these concerts are often very well attended.

Choirs will perform choral works as individual ensembles and jointly.

Holiday carols are part of the program and concert-goers are invited to sing along.

Sorry, but no composers or titles of works have been provided.

Professor John Chappell Stowe (below, in a photo by Katrin Talbot) will perform organ music for the season.

A free-will offering is accepted at the end of the program with proceeds after expenses donated to “The Road Home,” an organization that provides housing and food to homeless families.

THURSDAY

At 7:30 p.m. in Morphy Recital Hall, guest artists flutist Patricia Surman (below) and pianist Michel Keller will give a FREE recital. There is no word on the program, but if you want to know more background about the two musicians, go to:

http://www.music.wisc.edu/event/guest-recital-patricia-surman-flute/

FRIDAY

At 7:30 p.m. in Mills Hall, UW bassoonist Marc Vallon (below top, in a photo by James Gill) will perform a FREE program called “Breaking New Ground” that features the music of Carl Philipp Emmanuel Bach, Anton Webern and Yannis Xenakis among others. UW pianist Christopher Taylor (below bottom) will also play the last piano sonata, No. 32 in C minor, Op. 111, by Ludwig van Beethoven.

For the complete program, go to: http://www.music.wisc.edu/event/breaking-ground-with-marc-vallon-and-friends/

 

SATURDAY

At 4 p.m. in Mills Hall, the All-University Strings (below in a photo by Jeff Miller of the UW-Madison), which is made up of students from all fields and not just music, will perform a FREE concert under conductor Matt Chan. No word on composers or works on the program.

SUNDAY

At 12:30 p.m. in the Brittingham Gallery No. 3 of the Chazen Museum of Art, the Wingra Wind Quartet will perform on “Sunday Live at the Chazen.” Admission is free.

The program includes: “Piano Piece” by Richard Strauss and arranged by Marc Vall0n; Wind Quintet by Theodor Blumer; “Eight Etudes and a Fantasy for Woodwind Quartet” by Elliott Carter; “Opus Number Zoo” by Luciano Berio.

Members (below, from left, in a photo by Katrin Talbot) are: Marc Vallon, bassoon; Timothy Hagen, flute;  Alicia Lee, clarinet; Aaron Hill, oboe; and Joanna Schulz, horn.

You can digitally stream the concert live by going to this website: https://www.chazen.wisc.edu/about/news/in-the-news/sunday-afternoon-live-with-the-wingra-wind-quintet/

For more background about the Wingra Wood Quintet, go to: http://www.music.wisc.edu/wingra-woodwind-quintet/

At 1 p.m in Mills Hall, the UW Concert Band (below top), under conductor Scott Teeple, will perform a FREE concert.The program features UW trombonist Mark Hetzler (below bottom). The program includes “Psalm for Band” by Vincent Persichetti (heard in the YouTube video at the bottom)  “Silver Lining” by Anne McAninch, a UW doctoral student in composition; and “Falling” by Mark Hetzler.

At 4 p.m. in Mills Hall, University Bands will perform a FREE concert. No word on the program.

MONDAY

At 8:30 p.m. in Morphy Recital Hall, the UW Early Music Ensemble, under director Jeanne Swack will mark the 250th anniversary of the death of Baroque composer Georg Philipp Telemann (below) by performing music of Telemann, Johann Joachim Quantz, Barbara Strozzi and Elisabeth Jacquet de la Guerre. No word on a specific program. For more information, go to: http://www.music.wisc.edu/event/early-music-ensemble-3/


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