The Well-Tempered Ear

Classical music: The UW Schubertiade last Sunday afternoon explored the influence of Beethoven on Schubert with insight and beauty

February 2, 2020
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ALERT: In early editions of my last post, I mistakenly said that the UW Choral Union and the UW Symphony Orchestra will perform the Verdi Requiem on May 25 and 26. The correct dates are APRIL 25 and 26. The Ear regrets the error.

By Jacob Stockinger

One of the most informative and enjoyable events of the Beethoven Year – 2020 is the 250th anniversary of the composer’s birth – came early.

It took place last Sunday afternoon in the Collins Recital Hall of the new Hamel Music Center at the UW-Madison.

It was the seventh annual Schubertiade, and its theme was “Schubert and Beethoven: Influences and Homages.” A classic contrast-and-compare examination of two musical giants who lived and worked in Vienna in the early 19th century, the concert took place for almost three hours before a packed house. (Schubert is below top, Beethoven below middle, and the sold-out audience below bottom)

The annual event is organized by co-founders and co-directors UW piano professor Martha Fisher and her pianist husband Bill Lutes (below, greeting the crowd), who also perform frequently, especially as outstandingly sensitive and subtle accompanists.

They make the event, with audience members sitting onstage, look easy and informal. But it takes a lot of hard work.

The two sure know how to choose talent. As usual, all the singers and instrumentalists – UW alumni and faculty members (below) — proved very capable. The concert cohered with consistency.

Nonetheless, The Ear heard highlights worth singling out.

Baritone Michael Roemer (below) sang exceptionally in “An die ferne Geliebte” (To the Distant Beloved) by Beethoven (1770-1827). His voice brought to mind the young Dietrich Fischer-Dieskau in the inviting tone and direct delivery of the first song cycle ever composed. It was also the one that inspired the younger Schubert (1797-1828) to compose his own song cycles, and you could hear why.

Soprano Jamie Rose Guarrine (below right), accompanied by Bill Lutes and cellist Karl Knapp (below center), brought warmth, ease and confidence to the lyrical beauty of “Auf dem Strom” (On the River).

Tenor Daniel O’Dea (below) showed how Schubert’s setting of Friedrich Schiller’s “Ode to Joy” – the same Romantic poem made famous in Beethoven’s Ninth Symphony “Choral” – ended up much more lighthearted than the more familiar, serious and intense symphonic version.

Martha Fischer and Bill Lutes, who also sang as well as narrated and accompanied, showed complete blending and tightness in Schubert’s first published composition: “Eight Variations on a French Song.” It was for piano, four-hands – a sociable genre that Schubert favored and wrote a lot of.

Soprano Jennifer D’Agostino (below) sang Schubert’s song “Elysium” in which it is unclear whether it is a pastiche or a parody of Beethoven, who remained a mentor until Schubert died at 31. Could that ambiguity point to Schubert’s maturing sense of himself and his own art as compared to Beethoven’s?

One year after Beethoven’s death – Schubert was a pallbearer — Schubert put on his only formal public concert of his own work. That was when he premiered his Piano Trio No. 2, the bravura last movement of which was played by Bill Lutes with cellist Parry Karp and first violinist David Perry (below), of the UW’s Pro Arte Quartet.

Then all four members of the Pro Arte Quartet (below) – with violist Sally Chisholm and second violinist Suzanne Beia – played the last two movements of Beethoven’s late String Quartet in C-sharp Minor, Op. 131, the work that Schubert requested to hear performed as he lay on his death bed in his brother’s Vienna apartment.

Of course there were other moments that pleased and instructed. There was a set of four songs – one coupling sung by mezzo-soprano Allisanne Apple (below) — in which the same texts were set to music by both Beethoven and Schubert.

We got to hear Beethoven’s final song, “Abendlied unterm gestirnten Himmel” (Evening Song Beneath the Starry Firmament).

Then there was the heart-wrenching “Nachthymne” (Hymn to the Night) by Schubert, again beautifully performed by Jamie Rose Guarrine. (You can hear “Hymn to the Night,” sung by Elly Ameling, in the YouTube video at the bottom.)

So in the end, what were the big lessons, the takeaways from this year’s Schubertiade?

One lesson is that for all his more familiar symphonies and concertos, his string quartets and piano trios, his piano sonatas and his sonatas for cello and violin, Beethoven was also a much more accomplished song composer than the public generally knows.

But for The Ear, the biggest lesson of all is that despite Beethoven’s deep influence, Schubert retained his own special voice, a voice full of unforgettable melodies and harmonies, of lyricism and empathy.

And using a mentor to find, refine and retain one’s own identity is the highest homage any student can pay to a teacher.

 


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Classical music: A veteran reviewer bids farewell with a rave review of this summer’s last concert by the Willy Street Chamber Players and UW-Madison pianist Christopher Taylor

July 29, 2019
18 Comments

IF YOU LIKE A CERTAIN BLOG POST, PLEASE SPREAD THE WORD. FORWARD A LINK TO IT OR, SHARE IT or TAG IT (not just “Like” it) ON FACEBOOK. Performers can use the extra exposure to draw potential audience members to an event. And you might even attract new readers and subscribers to the blog.

By Jacob Stockinger

Here is a very special posting, the final review that will be written by frequent guest critic and writer for this blog, John W. Barker.

Barker (below), who is dealing with medical issues, is an emeritus professor of Medieval history at the University of Wisconsin-Madison. He also is a well-known classical music critic who wrote for The Capital Times, Isthmus and the American Record Guide, and who, until two weeks ago, hosted an early music show once a month on a Sunday morning on WORT-FM 89.9. For years, he served on the Board of Advisors for the Madison Early Music Festival and frequently gave pre-concert lectures in Madison.

Please use the comment section to join The Ear in thanking Barker for his many years of public service and wishing him well.

By John W. Barker

I had to miss the first concert this summer by the Willy Street Chamber Players (below) on July 12; and the next one, on July 19, was cancelled because of power failures. But the final one, last Friday night, was well worth waiting for — one of the really memorable events of the year, I think.

The program, performed at the usual near East Side venue of the Immanuel Lutheran Church, 1021 Spaight Street, began with some short items.

First, there was a set of Three Nocturnes (1924) for piano trio — violin, cello and piano — by Ernest Bloch. They contain elements of the Hebraic sound that Bloch cultivated but also had their own individualities, the first two contemplative and the third marked “tempestuoso.” Interesting was Bloch’s alternating uses of muting the strings.

After this came an example of the short pieces for string quartet by the contemporary composer Jessie Montgomery, her “Voodoo Dolls” (2008). Much is packed into this five-minute piece. A few lyrical touches aside, it sounded like a hoedown gone crazy, full of quite novel sounds, including rhythmic thumping on the wood of the instruments.

All that was a curtain-raiser to the big event of the program: the Piano Quintet No. 2 in A major, Op. 81, by Antonin Dvorak. This 40-minute work is one of the composer’s best-known chamber music compositions, and one of the standouts in the whole chamber music literature.

The very opening notes of the first movement bring a flood of warm well-being.  (After hearing just that, I commented, “I haven’t felt such happiness in months.”)

The fecundity and richness of invention pervaded the entire work. For me, its high point is the second movement, in which Dvorak (below) used the Czech formula of the dumka, a kind of folk music lament that is paced slow-fast-slow-fast. (You can hear the Dumka movement, played by the Jerusalem Quartet and pianist Stefan Vladar, in the YouTube video below.)

Dvorak liked to play viola in chamber music, and so he always wrote some good things for himself. The sublime passages for viola in this movement were played with such transcendent beauty by Rachael Hauser (below) – who is leaving Madison for New York City — that I felt I was hearing the composer’s voice directly. Put simply, this was one of the greatest examples of chamber-music performance that I have ever heard.

All of the players, many of whom play in the Madison Symphony Orchestra,  of course matched remarkable skill with humane vitality and vibrancy.

And a measure of the Willys’ standards was the fact that they were able to draw as a partner no less than that magnificent UW-Madison music school pianist, Christopher Taylor (below), who also performed the same Dvorak Piano Quintet in the 1993 Van Cliburn International Piano Competition, where he won a bronze medal. Much of his excellence here was demonstrated by the fact that he did not play the star, but joined with the Willys in perfect collegial integration.

This ends the Willy Street group’s fifth summer season. As a symbol of vibrancy and fresh spirit, they are among the most important of Madison’s classical music world today. They have drawn steadily growing audiences, and the house was truly packed for this concert.  We can only hope that they will continue to brighten that world in the years ahead.

I am now ending my time as a music critic. I can think of no more satisfying a final review to write than of the Willy Street Chamber Players.


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