The Well-Tempered Ear

Classical music: UW Choral Union and UW Symphony Orchestra resurrect Paul Hindemith’s long-neglected 20th-century secular Requiem with fine singing and committed playing

May 2, 2017
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By Jacob Stockinger

Here is a special posting, a review written by frequent guest critic and writer for this blog, John W. Barker. Barker (below) is an emeritus professor of Medieval history at the University of Wisconsin-Madison. He also is a well-known classical music critic who writes for Isthmus and the American Record Guide, and who hosts an early music show once a month on Sunday morning on WORT FM 89.9 FM. For years, he served on the Board of Advisors for the Madison Early Music Festival and frequently gives pre-concert lectures in Madison. He also took the performance photographs below.

By John W. Barker

It is unusual that, within the space of a few days, we have parallel performances of two very untraditional Requiems, ones setting vernacular texts rather than liturgical Latin ones.

The UW Choral Union and UW Symphony(below) performed Paul Hindemith’s “When Lilacs Last in the Dooryard Bloom’d: A Requiem For those we love” last weekend. And the Madison Symphony Chorus and Orchestra will give us Johannes BrahmsEin deutsches Requiem (A German Requiem) this coming weekend, May 5-7.

(NOTE: Here is a link with more information about the three MSO performances this coming weekend:

https://welltempered.wordpress.com/2017/05/01/classical-music-madison-symphony-orchestra-closes-its-season-with-the-german-requiem-by-brahms-and-the-american-premiere-of-charles-villiers-stanfords-1921-concert-piece-fo/)

It is hard to resist the temptation to compare them.

They were, of course, composed about a century apart, in the contexts of very different stylistic eras. They reflect very different aesthetics: High Romantic warmth for Brahms, conservative modernism for Hindemith.

The different texts chosen also determine crucial differences. Brahms selected Luther’s German translations of passages from Scripture, as a broad collage of human consolation and solace, whereas the German-born Hindemith, a naturalized American citizen who fled from Hitler’s Nazism, in a patriotic commemoration of the death of President Franklin Delano Roosevelt, chose the long poem of grieving that Walt Whitman (below) wrote over the death of President Abraham Lincoln.

The relatively concise Scriptural texts allowed Brahms to develop rich melodic and contrapuntal elaborations. Hindemith’s determination to set Whitman’s complete poem, of 208 verses in altogether irregular free verse, committed him to keep things in constantly moving continuity, with little chance for pausing and elaborating.

To be sure, Hindemith (below) was never a distinguished lyricist, for all his skills, so his writing is endless declamation by the soloists, backed by strongly cast choral statements. (You can hear famed baritone Dietrich Fischer-Dieskau and the chorus sing the opening of the Hindemith requiem in the YouTube video at the bottom.)

There are many lovely and powerful moments, but they pass by quickly and leave little of memorable expressiveness. There is much clever music here, but in sum total it is more dutiful than beautiful.

The performance in Mills Hall — I heard the one Sunday night — showed a stage packed with musicians. There were two soloists, a chorus of exactly 100 singers, and an orchestra (the UW Symphony) of 67 players, 46 of them on strings. UW choral director and conductor Beverly Taylor (below) drew from all of them deeply committed musical results.

Of the two soloists, soprano Jennifer D’Agostino (below left) sang with beauty and expression, but it was baritone James Held (below right) who stole the show, with a ringing voice, superb diction, and a genuine eloquence.

The huge chorus was quite magnificent, well unified, fully serious in its enunciation, and capable of some truly musical sound — and Hindemith, though nowhere near Brahms as a choral composer, gave them some serious challenges. The orchestra sounded a bit rough at the very beginning, but settled into participating strongly in the performance.

Whatever reservations one may have about Hindemith’s score, this Whitman Requiem, one of his last important works and premiered in 1946, is a significant piece. It is far less frequently heard than that by Brahms, and so it is very good that UW choral director Beverly Taylor has brought it to our attention.

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Classical music: The UW Concert Choir, Choral Union and Symphony Orchestra will perform world premieres, local premieres and new music in three concerts this weekend

April 26, 2017
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By Jacob Stockinger

The Ear has received the following messages from UW composer Laura Schwendinger and from Beverly Taylor, the director of choral activities at the University of Wisconsin-Madison School of Music who is also the assistant conductor and chorus director of the Madison Symphony Orchestra:

Writes conductor Beverly Taylor: This is a busy and musically fascinating weekend for me coming up.

On Friday night at 8 p.m. in Mills Hall, there is a special concert by the Concert Choir (below) on the subject of Art Born of Tragedy, with the acclaimed guest cellist Matt Haimovitz.

Tickets are $15, $5 for students. For more information about tickets as well as the performers and the program, go to:

http://www.music.wisc.edu/event/uw-concert-choir-4-matt-haimovitz/

Then in Mills Hall at 8 p.m. on Saturday night and at 7:30 p.m. on Sunday night, there are two performances of When Lilacs Last in the Dooryard Bloomed by the 20th-century composer Paul Hindemith by the UW Choral Union and the UW Symphony Orchestra (below). It is a work that to my knowledge has never been performed in Madison.

Tickets are $15, $8 for students. For more information about obtaining tickets and about the concert, visit:

http://www.music.wisc.edu/event/uw-choral-union-uw-symphony-orchestra/

Here is more information about the events:

CONCERT CHOIR

The Concert Choir performance explores in music of several centuries the theme of “Art Born of Tragedy” — how outside events can be the spark that causes the creation of works of substance that range from the gentle and comforting to rage and despair.

We will sing music from the Renaissance: part of the Thomas Tallis’ “Lamentations of Jeremiah (on the ancient destruction of Jerusalem),” and a John Wilbye madrigal “Draw on Sweet Night for a Broken Heart.”

We will present three works from modern composers: one is a world premiere by the prize-winning composer Laura Schwendinger (below top), my colleague at the UW-Madison, for viola — played by Sally Chisholm (below bottom) of the UW Pro Arte Quartet — and wordless chorus. It is called “For Paris” in memory of those killed in the Paris terrorist bombings of 2015.

(Adds composer Laura Schwendinger: “The viola starts this short work by referencing only for a moment the merest idea of a ‘musette song,’ one that might be heard on an evening in a Paris cafe. The choir enters with a simple refrain that repeats again and again, each time with a little more material, as an unanswered question of sorts. Each time the viola reenters the texture, the music becomes more pressing in a poignant manner, until it arrives in its highest register, only to resolve with the choir as it quietly acquiesces in the knowledge that the answer may not be known.”)

We will present a short “O vos omnes” (O you who pass by) written by Pennsylvania composer Joseph Gregorio (below), composed in memory of a Chinese girl hit by a car and left to die.

The third piece is a reprise of “Après moi, le deluge” by Luna Pearl Woolf (below top), which we premiered and recorded 11 years ago. We are lucky to have back the wonderful internationally known cellist Matt Haimovitz (below bottom), who premiered this work with it. The text, written by poet Eleanor Wilner, mixes the Noah story with the Hurricane Katrina disaster.

The term “Après moi, le deluge” is a term attributed to Louis XV or his mistress Madame Pompadour, and means “after me the flood” — referring either to the chaos after his reign, or that what happens afterword bears no importance for him.

The work has four different moods like a symphony — with strong themes at the start and cries for help, followed by the slow movement despair, a scherzo-like depiction of havoc, and a final movement that is like a New Orleans funeral, upbeat and Dixieland.

Throughout the program we also present spirituals that depict loneliness or salvation from trouble.

UW CHORAL UNION

In certain ways, When Lilacs Last in the Dooryard Bloomed resembles the Concert Choir concert in that it contains a number of moods and styles as well, under a dark title. The subtitle of the work is “a Requiem for Those We Love.”

It was commissioned by the great choral and orchestral conductor Robert Shaw as a tribute to President Franklin Delano Roosevelt on his death and the train ride that carried him from Warm Springs, Georgia, to Washington, D.C.

The text that Paul Hindemith (below top) chose is by Walt Whitman (below bottom), who wrote his poem on the death of Abraham Lincoln, and the funeral train from Washington, D.C., to Springfield, Illinois.

Whitman’s grief is combined with pride and joy in the countryside that the train traverses, and his feelings find an outlet in the thrush that sings out its song. His sense of a sustaining universe is a contrast to his depiction of the despair and ravages of the Civil War.

Hindemith’s calling the work a “Requiem for Those We Love,” puts it, like the Brahms’ “German” Requiem, into a class of non-liturgical requiems — that is, the texts are not those that are part of the Catholic Mass for the Dead, but are other selected texts of joy or remembrance.

Hindemith’s style can loosely be described as tonal that veers away into dissonance and returns again to the home key. The Prelude and opening movement are dark; the solo songs of baritone (James Held, below top) and mezzo-soprano (Jennifer D’Agostino, below bottom) are marvelous; the fugue on the glories of America is glorious and other sections are soft and tender. (NOTE: You can hear the orchestral prelude of the work, with composer Paul Hindemith conducting the New York Philharmonic, in the YouTube video at the bottom.)

The work is hard for both chorus and orchestra, but well worth the effort. The piece is about 80 minutes long and will be performed without interruption. It’s a work I’ve always wanted to do, having heard it performed at Tanglewood many years ago. I’m delighted to have the chance now.


Classical music: The Willy Street Chamber Players kick off their new FREE Community Connect concert series this coming Sunday afternoon at Warner Park. Plus, FREE oboe and piano concerts are this Friday at noon and Saturday night

February 16, 2017
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ALERT: This week’s FREE Friday Noon Musicale at the First Unitarian Society of Madison, 900 University Bay Drive, features oboist Laura Medisky and pianist Vincent Fuh in sonatas by Paul Hindemith, Henri Dutilleux and Malcolm Arnold. The concert runs from 12:125 to 1 p.m. On Saturday night at 7 p.m., the same performers will repeat the same program in a FREE concert at Oakwood Village West auditorium, 6201 Mineral Point Road, on Madison’s far west side near West Towne.

By Jacob Stockinger

The Ear’s friends at the Willy Street Chamber Players (below), which The Ear named as Musicians of the Year for 2016, write:

Willy Street Chamber Players 2016 outdoors

We wanted to let you know about the upcoming kickoff of the Willy Street Chamber Players’ “Community Connect” series. We are committed to our mission of making classical music accessible to all.

The Willy Street Chamber Players’ Northside Community Connect Concert is on this coming Sunday, Feb. 19, at noon at the Warner Park Community Recreation Center.

Warner Park shelter

Enjoy hot coffee, exciting classical music and great conversation with the Willy Street Chamber Players. 

This program is FREE, family-friendly and will last about 60 minutes. All are welcome.

The program is: String Quartet in C Major, K. 157, by Wolfgang Amadeus Mozart; String Quartet No. 5, “Rosa Parks” by Daniel Bernard Roumain; “Entr’acte” for String Quartet by Pulitzer Prize-winner Caroline Shaw (you can hear the piece, which The Ear loves for its pulsing and hypnotic rhythm plus unusual and interesting string textures, in the YouTube video at the bottom); and “Four, for Tango” by Astor Piazzolla.

There was an announcement about this series in the January string quartet program at A Place to Be (below, in a photo by John W. Barker), and it included a couple more concerts. But we have decided to make Community Connect a self-produced series.

willy-street-chamber-players-at-a-place-to-be-jan-2017-cr-jwb

We are planning a second Community Connect concert in July during our regular summer series, and have listed our other free appearances on our regular calendar.

The concert is made possible in part by Willy Street Co-Op and the North/Eastside Senior Coalition (NESCO).

For more information go to: www.willystreetchamberplayers.org

Willy Street Chamber Players logo


Classical music: Chamber music for horn, jazz music for saxophone, a master class for pianists plus concertos for various instruments and a new composition are featured this week at the UW-Madison

February 7, 2017
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CORRECTION: In an early version of yesterday’s post, The Ear mistakenly said that performances by the Madison Opera of “Charlie Parker’s Yardbird” are on Saturday night at 8 as well as Sunday afternoon at 2:30. The first performance is FRIDAY NIGHT at 8 p.m. – NOT Saturday night. The Ear apologizes for the error.

Here are two links with more information about the opera and the production:

https://welltempered.wordpress.com/2017/02/06/classical-music-jazz-and-classical-music-are-not-so-different-says-composer-daniel-schnyder-he-discusses-his-score-to-charlie-parkers-yardbird-which-the-madison-opera-st/

https://welltempered.wordpress.com/2017/01/17/classical-music-madison-opera-will-present-the-midwest-premiere-of-charlie-parkers-yardbird-here-are-the-many-preparatory-events-for-the-public/

By Jacob Stockinger

This is a busy week with a wide diversity of music at the University of Wisconsin-Madison School of Music.

Here is a run-down by day:

WEDNESDAY

At 7:30 p.m. in Mills Hall, UW hornist Daniel Grabois (below, in a photo by James Gill) will be joined by fellow UW-Madison professor pianist Christopher Taylor for a concert of brass music that is FREE and OPEN to the public.

The program features works by Franz Strauss (Empfindungen am Meere), Paul Hindemith (Alto Horn Sonata), Maurice Ravel (Horn Sonata, originally Violin Sonata) and Jean-Michel Damase (Sonata).

Daniel Grabois 2012 James Gill

THURSDAY

At 7:30 p.m. (NOT 7, as mistakenly first stated in yesterday’s post)  in Morphy Recital Hall, saxophonist Daniel Schnyder will perform  music by American jazz titan Charlie Parker with the Blue Note Ensemble and also participate in a Q&A session. The event is FREE and open to the public.

Schnyder is the composer of the opera “Charlie Parker’s Yardbird” that the Madison Opera will perform in the Capitol Theater of the Overture Center on Friday night at 8 p.m. and Sunday afternoon at 2:30 p.m. See the above correction for links to more information about the opera.

daniel-schnyder-2017

FRIDAY

From 4:30 to 6 p.m. in Mills Hall, Venezuelan pianist Gabriela Montero will offer a FREE and PUBLIC master class. The Ear has no details about what will be featured.

Montero (below, in a photo by Shelley Mosman), who specializes in spontaneous improvisations but also performs standard repertoire, will perform at 8 p.m. on this Saturday night at the Wisconsin Union Theater. (In the YouTube video at the bottom, you can hear her live improvisations in Cologne, Germany on the aria theme of Johann Sebastian Bach‘s well-known “Goldberg” Variations.)

Here is a link with more information, including ticket prices, concert and recording reviews and audio-video clips, about her recital in Shannon Hall at the Wisconsin Union Theater:

https://union.wisc.edu/events-and-activities/event-calendar/event/gabriela-montero/

And here is a link to more information about Montero, who also has won awards for her playing, improvisations and her Piano Concerto No. 1:

http://www.gabrielamontero.com

gabriela-montero-2017-shelley-mosman

SUNDAY

At 7:30 p.m. in Mills Hall is the annual Symphony Showcase with the winners of the UW concerto competition and the world premiere of a student composition. The concert will be conducted by Professor James Smith and graduate student Kyle Knox.

Admission to the event costs $10 for adults; students and children get in for free. There is also a FREE post-concert reception at the nearby University Club.

For more information about the program (violin works by Ravel and Shostakovich, vocal works by Ravel and Gounod, a trumpet work by Oskar Boehme) and biographies of the five student performers (below) plus student composer (Nathan Froebe), go to:

http://www.music.wisc.edu/event/uw-symphony-orchestra-showcase/

uw-symphony-showcase-performers-2017


Classical music: This week at the UW-Madison features three FREE concerts: the UW Wind Ensemble, pianist Leon Fleisher with the Pro Arte Quartet and the UW Symphony Orchestra in music by Prokofiev and Sibelius

October 4, 2016
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By Jacob Stockinger

This week there are three FREE concerts at the University of Wisconsin-Madison School of Music that merit your attention and attendance:

WEDNESDAY:

On Wednesday night at 7:30 p.m. in Mills Hall, the UW-Madison Wind Ensemble (below top) will perform a concert of theater music under director Scott Teeple (below bottom).

UW Wind Ensemble

Scott Teeple conducting

The concert features special guest soloist, percussionist Darin Olson (below), assistant director of the University of Wisconsin Marching Band.

The program includes music from “The Three Penny Opera” by Kurt Weill; the wind octet “Figures in the Garden” by Jonathan Dove; the Concertino for Timpani with Brass and Percussion by Michael Colgrass; the “Nocturno” by Felix Mendelssohn; and the “Geschwindmarsch” (Wind March) by Paul Hindemith.

For more information, visit:

http://www.music.wisc.edu/event/uw-wind-ensemble-5/

darin-olson

THURSDAY

Famed pianist Leon Fleisher (below top) will perform a FREE noon concert with the Pro Arte Quartet (below bottom, in a photo by Rick Langer).

A single work is featured but it is a great one, an undisputed masterpiece: The Piano Quintet in F Minor by Johannes Brahms.

The concert is from noon to 1 p.m. in Mills Hall.

For more information and background, visit:

http://www.music.wisc.edu/event/special-guest-artist-concert-the-legendary-leon-fleisher-in-concert-with-pro-arte-quartet/

Leon Fleisher

PAQ-8BIT03

FRIDAY

At 8 p.m. on Friday night in Mills Hall, the UW Symphony Orchestra (below) will perform under its director and conductor James Smith.

The ingenious program features two terrific fifth symphonies that are NOT the most famous Fifth Symphony, the one by Ludwig van Beethoven: these are instead the Symphony No. 5 in B-flat by Russian composer Sergei Prokofiev; and the Symphony No. 5 by Finnish composer Jean Sibelius

You can listen to the exciting and moving finale of the Sibelius symphony, performed by the Finnish conductor Essa-Pekka Salonen and the Swedish Radio Symphony Orchestra  in the YouTube video at the bottom. It is one of The Ear’s favorites.)

UW Symphony violins 2015

Smith_Jim_conduct07_3130

Three student recitals, including graduate recitals in viola and piano, are also on the schedule this week. For information, visit:

http://www.music.wisc.edu/events/


Classical music: Concertmaster Naha Greenholtz explains Leonard Bernstein’s “Serenade,” which she will perform with the Madison Symphony Orchestra this weekend in concerts that also feature Beethoven’s Ninth Symphony.

May 7, 2015
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By Jacob Stockinger

The Ear supposes that Leonard Bernstein’s Serenade for violin and orchestra  qualifies as program music since it aims to translate Plato’s famous dialogue about love — “Symposium” — into music. (At the bottom, is a YouTube video of Joshua Bell performing the work with the New York Philharmonic under conductor Alan Gilbert in 2013.)

This much is sure. The 1954 work by Bernstein — to be performed by the Madison Symphony Orchestra concertmaster Naha Greenholtz (below) — is part of what makes this weekend’s one of the most interesting programs, maybe THE most interesting, of the season from the Madison Symphony Orchestra.

Naha Greenholtz [playing

The combination of Romantic and post-WW II modern music includes the performance of a major symphony that is beloved around the world: the Ninth Symphony by Ludwig van Beethoven, also known as the “Choral” and Ode to Joy” symphony.

That was the symphony that Leonard Bernstein himself famously conducted in Germany to celebrate to fall of the Berlin Wall. So, what better offering is there to accompany it than something composed by Bernstein?

(John DeMain talked about the Beethoven symphony in a Q&A here earlier this week. Here is a link to that post: https://welltempered.wordpress.com/2015/05/04/classical-music-maestro-john-demain-talks-about-the-challenges-and-rewards-of-beethovens-ninth-the-choral-or-ode-to-joy-sympho/ )

Love and joy: Can there be a better way to finish out a season?

The program will be performed under the baton of longtime MSO music director John DeMain, who studied and worked with Leonard Bernstein. It will feature the Madison Symphony Chorus, as prepared by MSO assistant conductor Beverly Taylor, who heads the UW-Madison choral department.

Guest vocal soloists are: soprano Melody Moore; contralto Gwendolyn Brown; tenor Eric Barry; and bass Morris Robinson.

Performances are in Overture Hall in the Overture Center. Times are Friday at 7:30 p.m.; Saturday at 8 p.m.; and Sunday at 2:30 p.m.

Tickets are $12-$84.

For details, go to https://www.madisonsymphony.org or call the Overture Center Box Office at (608) 258-4141.

For more information, including audio samples and a link to program notes by MSO bass trombonist and UW-Whitewater professor Michael Allsen, visit: http://www.madisonsymphony.org/beethoven

Concertmaster Naha Greenholtz (below) recently agreed to do an email Q&A about Leonard Bernstein’s “Serenade” with The Ear:

Naha Greenholtz profile

How would you compare Leonard Bernstein’s work to the great historical violin concertos by Bach, Beethoven, Mendelssohn, Brahms, Tchaikovsky and Sibelius? What about to modern and contemporary violin concertos by, say, Samuel Barber and Philip Glass, Sergei Prokofiev and Dmitri Shostakovich? Are there any you would draw parallels or contrasts to?

The five-movement format in Bernstein’s “Serenade” differentiates it substantially from some of the 18th and 19th century classics. While there’s no literal program, there is the suggestion of a basic narrative in Bernstein’s re-imagination of Plato’s communal dialogue. This element alone connects the work more closely to the late 19th and 20th century sub-genre of “program music.” (Below is a portrait of Leonard Bernstein composing at the piano in 1955, around the time of the “Serenade.”)

In its familiar tonal language — combing modal and traditional harmonic elements — it has some resemblance to the Barber concerto. I don’t think middle-of-the-century American composers like Aaron Copland, Samuel Barber and Leonard Bernstein were consciously adhering to style parameters.

That said, there is a distinctive “American-ness” to their works.  Much the same way music by Dmitri Shostakovich and Sergei Prokofiev has a “Russian” sound, without necessarily being nationalistic.  It’s subtler than that.  It is more like these composers shared some common aesthetic DNA due to their national and cultural origins.

Leonard Bernstein composing in 1955

Where do you place it among Bernstein’s body of works? Is he generally underappreciated as a composer compared to his work as a conductor and his music for the Broadway theater?

To the latter question, this is certainly true.  He was such a charismatic public figure in music, especially in his work as an educator, conductor and composer of popular music. In light of this, I think his remarkable contributions to “art” music are easily overlooked.

In the Serenade he manages to blend many stylistic elements.  I hear the Devil’s Dance from Igor Stravinsky’s “Histoire du Soldat” and, in the fourth movement, glimpses of Gustav Mahler’s Ninth Symphony.  The instrumentation is a nod to Bela Bartok in his “Music for Strings Percussion and Celeste” and the tonal language shows Paul Hindemith’s influence.

But despite all of that, Bernstein’s unique language is apparent within the first five seconds of the piece when the rising augmented 4th resolves up a half step.  That’s what is so remarkable about Bernstein (below, in a photo by Jack Mitchell) — he manages to blend disparate elements of other great artists without losing his own intrinsic style.

Leonard Bernstein CR Jack Mitchell

How does Bernstein express the idea of Platonic dialogue?

Each of the movements is loosely based on the themes of the seven speakers in the work by Plato (below is an ancient sculptural depiction of the philosopher). The concerto begins with the soloist alone in a rhetorical statement and the piece unfolds as each orator presents his perspective on the topic of love. By the end of the fifth movement, drinking seems to have taken over the gathering, leading to a thrilling depiction of a boisterous dinner party.

Plato

How is the idea of love as a carnal and spiritual subject that the guests discuss get expressed?

On describing the duality of love, as a force that cuts both ways, Bernstein is explicit. For example in the third movement Erixymathus, he uses the soloist and orchestra as warring factions. The orchestra explodes with a three-note jab. Then the soloist introduces a quasi-tone row that’s passed back and forth with contrasting intensity. Further into the movement, he piles these themes on top of each other in a frenetic fugue that expresses the mystery and ecstasy of love.

In contrast, the next movement Agathon features the same three-note motive that opened the previous movement, but stretched to 10 times its initial length, utterly transforming it into a spiritual and intimate aria. Bernstein does this all over the piece, taking material from previous movements and showing them in a new light. (Below is a fresco depiction of the Symposium.)

Fresco of Symposium USE

What do you think of the work itself and how its fits with Beethoven’s Ninth? Have you played it before or is it new to you?

Until last year I’d only known the Serenade by recording, so I was thrilled when John suggested we perform it here with the MSO.

It’s strangely neglected in the solo violin repertoire. Maybe that is because of the unconventional five-movement format, or that the title “after Plato’s Symposium”   is somehow intimidating or off-putting.

It’s clearly one of Bernstein’s great orchestral works and is a firework of a showpiece for the violin. As far as pairing with Beethoven’s Ninth, the themes of brotherhood and platonic love feature prominently in both works.

How challenging is it to play and what are the challenges both technically and interpretively? What would you like the audience to pay special attention to?

I find all music challenging. Mozart is simpler in terms of notes and patterns than, say, Shostakovich or Bernstein, but in its own way it is just as hard to play and requires just as much diligent work to pull off.

The Bernstein is full of musical challenges and requires lots of imagination and characterization to communicate the narrative of Plato’s dialogue.

That being said, it’s a major 20th-century solo work so it’s also chock full of technical hurdles. Isaac Stern (below, in 1977) – for whom this piece was written — has left us fingering and bowing suggestions, so I know the thorny passages are at least theoretically possible!

Isaac Stern in 1979

In any event, I’m really looking forward to these performances and think these will be fantastic concerts for anyone who loves great music.

 


Classical music education: Music con Brio gives a FREE concert this Thursday night with a world premiere and the acclaimed percussion group Clocks in Motion. Plus, two guitarists give a FREE recital on Friday at noon.

April 22, 2015
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ALERT: This week’s FREE Friday Noon Musicale, to be held from 12:15 to 1 p.m. in the Landmark Auditorium of the Frank Lloyd Wright-designed Meeting House of the First Unitarian Society of Madison, features guitarists Jaime Guiscafre (below) and Christopher Murray in music by Johann Sebastian Bach,  Moreno, Paul Hindemith, Fernando Sor, Toru Takemitsu and Heitor Villa-Lobos.

Jaime Guiscafre

By Jacob Stockinger

The Ear has received the following word from Music con Brio, a local group that specializes in music education:

Greetings!

You are cordially invited to a concert featuring Music con Brio (below top) and the acclaimed Madison-based percussion ensemble Clocks in Motion this Thursday, April 23, at 6 p.m. in Music Hall (below bottom) 925 Bascom Mall, Madison WI 53606 — NOT the Humanities building) on the UW-Madison campus at the foot of Bascom Hill.

Music con Brio 1

MusicHall2

We are proud to present the world premiere of “Illusions” by Madison composer Brad Fowler, which was commissioned specifically for this concert.

The concert is FREE and UNTICKETED.

However, parking on the UW-Madison campus can be a challenge. The UW-Madison website offers the following information: “The closest public parking to Music Hall is the Helen C. White Parking Garage at the end of Park Street.  You may also want to check the Memorial Union Lot or the Lake Street Ramp.  Please plan accordingly as parking can be challenging in this area.  There is no free parking anywhere close to Music Hall as all of the lots surrounding the building are controlled 24/7.  You can follow this link to check out the real-time parking availability in the Helen C White Garage.” http://transportation.wisc.edu/parking/lotinfo_occupancy.aspx

For more information about the various groups here are links:

For Music con Brio (below):

http://www.musicconbrio.org

Music con Brio 2

For Clocks in Motion (below):

http://clocksinmotionpercussion.com

Clocks in Motion group collage

For Sound Cloud samples of works by Brad Fowler (below):

https://soundcloud.com/composer-brad

SAMSUNG


Classical music: A gem-like short song by Felix Mendelssohn is rediscovered and recorded for the BBC after 132 years. Here is the story on NPR.

May 10, 2014
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By Jacob Stockinger

In 1842, five years before his death at 38, the early Romantic composer Felix Mendelssohn (below, in an etching from the Hulton Archive/Getty Images), who lived from 1809 to 1847 and is known for his charming and accessible works, wrote a short song of just 29 measures for a friend in Berlin.

mendelssohn_300

Twice the unpublished song manuscript changed hands, being auctioned off in 1862 and 1872.

And then it went missing for a long time.

Until it mysteriously resurfaced in the U.S. this year.

The title is suggestive and intriguing. The song is called “The Heart is Like a Mine” and takes it text from a poem by Friedrich Rückert (below, 1788-1866), a master of 30 languages whose own prolific poetry was used by other major composers including Franz Schubert, Robert Schumann, Clara Schumann, Johannes Brahms, Bela Bartok, Paul Hindemith, Richard Strauss, Hugo Wolf and Gustav Mahler.

friedrich ruckert

Sounds as if the song could be pretty bleak and dire, if you are thinking coal mine.

Or bright and hopeful, if you are thinking about a diamond or gold mine.

You can decide for yourself.

After the manuscript of the song resurfaced, the BBC had it recorded by a singer and a pianist, who do a fine job with it.

You can use the link below to the feature on NPR and its outstanding classical music blog  — “Deceptive Cadence” — to listen to the song, plus get the background about its history and its upcoming auction at Christie’s. And you can find the recording of the lovely 1-1/2 minute song at the bottom in YouTube video.)

The Ear hopes the autographed manuscript ends up in a public museum and not again in a private collection, which is how it went missing for so long. But we will soon see.

http://www.npr.org/blogs/deceptivecadence/2014/05/06/310089313/midspring-surprise-lost-mendelssohn-song-found

 

 

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Classical music: Guest blogger Sig Midelfort says the viola and violin shined in a recent Carnegie Hall recital, thanks to University of Wisconsin-Madison alumni Elias Goldstein and Roxana Pavel Goldstein

March 6, 2014
2 Comments

By Jacob Stockinger

Here is a review by guest blogger Sigurd “Sig” Midelfort, a good friend of the blog and of classical music in the Madison area.

Sig is a retired CPA who has spent a number of years with non-profits.  He adds: “Right now, that means I’m doing and have done volunteer work — with the Democratic Party of Dane County, Madison Music Makers Inc, a local environmental group and an orchestra in the western suburbs of Chicago.  (I also was a history major as an undergrad, have a masters in economic development, was in the Peace Corps in Tanzania for three years, and so on.)  All the time I have been interested in the local classical music scene, playing in amateur groups for decades.”

Sig recently attended a recital at Carnegie Hall in New York City, and asked if he could file this review of performers who have local ties and local interest.

It proved too good to resist. Enjoy!

By Sigurd Midelfort

Two recent University of Wisconsin-Madison doctoral graduates participated in a lustrous viola recital on February 19 at Carnegie Hall (below) in New York City.

carnegie-hall-address

Violist Elias Goldstein, now a professor at Louisiana State University who received his DMA from the UW-Madison in 2011 performed and received assistance on the violin from Roxana Pavel Goldstein, his wife (she received her DMA from the UW-Madison in 2012) and from Ieva Jokubaviciute, a Lithuanian pianist. (They are below, in a photo by Daniel Balan.)

Elias and Roxana Pavel Goldstein in Carnegie Hall CR Daniel Balan

Elias began the evening, playing an unaccompanied sonata for viola, Op. 25, No. 1, by Paul Hindemith.  Roxana (below) joined him in two duos for violin and viola: one, a three-movement duet in G Major, K. 423, by Wolfgang Amadeus Mozart, and the other, a “Passacaglia” by George Frideric Handel as arranged by the 19th-century Norwegian composer and conductor Johan Halvorsen.

Roxana Pavel Goldstein

After intermission, Elias and Ieva performed three works for viola and piano: a divertimento in three movements by Franz Joseph Haydn, as arranged by the famous cellist Gregor Piatigorsky and the famous violist William Primrose (below); a sonata (No. 6 in A major) in two movements by Luigi Boccherini, as arranged by Primrose; and the famous Caprice No. 24 by the legendary Nicolo Paganini –- it has been used for theme and variations by Franz Liszt, Johannes Brahms, Sergei Rachmaninoff and Witold Lutoslawski — also as transcribed for viola by Primrose. (The caprice, taken at a quasi presto tempo, is hard enough for violin, its original instrument. For viola?  Well, one can imagine the difficulties it presented.)

William Primrose  BYU (Submission date: 05/19/2005)

I was not an unbiased observer. Elias is a distant relative, and I have been a passionate amateur cellist my entire life.  Nonetheless, Elias’ tone was stunning. His playing was mellow and warm, round and resonant, displaying an ease and mastery of technique that is unusual for even the most accomplished performers.

Elias holds recent top prizes in the following international viola competitions: the Primrose, the Yuri Bashmet, the Lionel Tertis, the Watson Forbes and the Andrews University String Competition. In 2011, he made his Russian debut with the Moscow Soloists and the New Moscow Philharmonic Orchestra under Alexander Sladkovsky.

While at the UW-Madison School of Music, Elias was a student of Sally Chisholm of the Pro Arte Quartet.

elias goldstein 2

Although the viola (below) generally has a lower public profile, in the hands of such an artist as Elias it stands as an equal of, or is even superior to, the violin or cello in terms of its quality of sound.

viola

Roxana, too, is a superb artist, playing with considerable warmth and sensitivity on the violin. Originally from Romania, she worked at the UW-Madison with David Perry, first violinist of the Pro Arte Quartet, doing research on Romanian tunes and folk music as expressed on the violin.

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Classical music: Here is update and analysis of this year’s Grammy Award winners in classical music. Plus, the Madison Symphony Chorus under conductor Beverly Taylor will sample American choral traditions this Sunday at 2 p.m. at the Overture Center.

February 1, 2014
1 Comment

By Jacob Stockinger

The Ear’s friends at the Madison Symphony Orchestra have sent in the following announcement:

“Can you name all the different distinctly American choral traditions?

“Director Beverly Taylor (below, in a photo by Katrin Talbot) and the Madison Symphony Chorus will answer that question this Sunday afternoon, Feb. 2, at 2 p.m., when they’ll appear in “Apple Pie America: A Slice of Choral Americana” in Promenade Hall at the Overture Center for the Arts. (Taylor is also the head of the choral department at the university of Wisconsin-Madison, where she directs the UW Choral Union and UW Concert Choir, and is the assistant conductor of the Madison Symphony Orchestra. And sorry, I have so specific titles of works on the program but I have been told that the concert is closing in on being sold-out, with only a few tickets remaining.)

Beverly Taylor Katrin Talbot

The concert will start with classical music selections from Charles Pachelbel, Lukas Foss, Randall Thompson and others, while the second half will be dedicated to folk songs, hymns, and spirituals.

Many of the works will be accompanied by Madison Symphony Orchestra principal pianist Daniel Lyons (below).

Dan Lyons

Tickets are $15, and are available at http://madisonsymphony.org/Americana or at the Overture Center Box Office at (608) 258-4141 or 201 State Street.

Formed in 1927, the Madison Symphony Chorus (below, in a photo by Greg Anderson) gave its first public performance in 1928 and has performed regularly with the Madison Symphony Orchestra ever since.

It was featured at the popular Madison Symphony Christmas concerts in December, and it will be joined by four soloists for the MSO’s performance of Mozart’s Requiem on April 4, 5 and 6.

MSO Chorus CR Greg Anderson

The Chorus is comprised of more than 125 volunteer musicians from all walks of life who enjoy combining their artistic talent, and new members are always welcome. Visit http://madisonsymphony.org/chorus for more information.

CATCHING UP WITH THE GRAMMY WINNERS

Last Sunday was the Grammy Awards.

Here is a complete list of the nominees and the winners. It makes for a good listening list or buying list.

WINNER

Sibelius: Symphonies Nos. 1 & 4

Osmo Vänskä, conductor (Minnesota Orchestra)
Label: BIS Records

Atterberg: Orchestral Works Vol. 1

Neeme Järvi, conductor (Gothenburg Symphony Orchestra)
Label: Chandos

Lutosławski: Symphony No. 1

Esa-Pekka Salonen, conductor (Los Angeles Philharmonic)
Track from: Lutosławski: The Symphonies
Label: Sony Classical

Schumann: Symphony No. 2; Overtures Manfred & Genoveva

Claudio Abbado, conductor (Orchestra Mozart)

Stravinsky: Le Sacre Du Printemps

Simon Rattle, conductor (Berliner Philharmoniker)
Label: EMI Classics

74. BEST OPERA RECORDING

 WINNER  Adès: The Tempest
 Thomas Adès, conductor; Simon Keenlyside, Isabel Leonard, Audrey Luna & Alan Oke; Jay David Saks, producer (The Metropolitan Opera Orchestra; The Metropolitan Opera Chorus)
Label: Deutsche Grammophon

Britten: The Rape Of Lucretia

 Oliver Knussen, conductor; Ian Bostridge, Peter Coleman-Wright, Susan Gritton & Angelika Kirchschlager; John Fraser, producer (Aldeburgh Festival Ensemble)
Label: Virgin Classics

Kleiberg: David & Bathsheba

Tõnu Kaljuste, conductor; Anna Einarsson & Johannes Weisser; Morten Lindberg, producer (Trondheim Symphony Orchestra; Trondheim Symphony Orchestra Vocal Ensemble)
Label: 2L (Lindberg Lyd)

Vinci: Artaserse

Diego Fasolis, conductor; Valer Barna-Sabadus, Daniel Behle, Max Emanuel Cencic, Franco Fagioli & Philippe Jaroussky; Ulrich Ruscher, producer (Concerto Köln; Coro Della Radiotelevisione Svizzera, Lugano)
Label: Virgin Classics

Wagner: Der Ring Des Nibelungen

Christian Thielemann, conductor; Katarina Dalayman, Albert Dohmen, Stephen Gould, Eric Halfvarson & Linda Watson; Othmar Eichinger, producer (Orchester Der Wiener Staatsoper; Chor Der Wiener Staatsoper)
Label: Deutsche Grammophon

75. BEST CHORAL PERFORMANCE

 WINNER Pärt: Adam’s Lament
Tõnu Kaljuste, conductor (Tui Hirv & Rainer Vilu; Estonian Philharmonic Chamber Choir; Sinfonietta Riga & Tallinn Chamber Orchestra; Latvian Radio Choir & Vox Clamantis)
Label: ECM New Series

Berlioz: Grande Messe Des Morts

Colin Davis, conductor (Barry Banks; London Symphony Orchestra; London Philharmonic Choir & London Symphony Chorus)
Label: LSO Live

Palestrina: Volume 3

Harry Christophers, conductor (The Sixteen)
Label: Coro

Parry: Works For Chorus & Orchestra

Neeme Järvi, conductor; Adrian Partington, chorus master (Amanda Roocroft; BBC National Orchestra Of Wales; BBC National Chorus Of Wales)
Label: Chandos

Whitbourn: Annelies

James Jordan, conductor (Arianna Zukerman; The Lincoln Trio; Westminster Williamson Voices)
Label: Naxos
76: BEST CHMABER MUSIC/SMALL ENSEMBLE PERFORMANCE

 WINNER  Roomful Of Teeth

Brad Wells & Roomful Of Teeth
Label: New Amsterdam Records

Beethoven: Violin Sonatas

Leonidas Kavakos & Enrico Pace
Label: Decca

Cage: The 10,000 Things

Vicki Ray, William Winant, Aron Kallay & Tom Peters
Label: MicroFest Records

Duo Hélène Grimaud & Sol Gabetta

Labe;: Deutsche Grammophon

Times Go By Turns

New York Polyphony
Label: BIS Records

77. BEST CLASSICAL INSTRUMENTAL SOLO

 WINNER  Corigliano: Conjurer – Concerto For Percussionist & String Orchestra
Evelyn Glennie; David Alan Miller, conductor (Albany Symphony)
Track from: Corigliano: Conjurer; Vocalise
Label: Naxos

Bartók, Eötvös & Ligeti

Patricia Kopatchinskaja; Peter Eötvös, conductor (Ensemble Modern & Frankfurt Radio Symphony Orchestra)
Label: Naïve

The Edge Of Light

Gloria Cheng (Calder Quartet)
Label: Harmonia Mundi

Lindberg: Piano Concerto No. 2

Yefim Bronfman; Alan Gilbert, conductor (New York Philharmonic)
Track from: Magnus Lindberg
Label: Dacapo Records

Salonen: Violin Concerto; Nyx

Leila Josefowicz; Esa-Pekka Salonen, conductor (Finnish Radio Symphony Orchestra)
Label: Deutsche Grammophon

Schubert: Piano Sonatas D. 845 & D. 960

Maria João Pires
Label: Deutsche Grammophon

78. BEST CLASSICAL VOCAL SOLO

 WINNER Winter Morning Walks
 Dawn Upshaw (Maria Schneider; Jay Anderson, Frank Kimbrough & Scott Robinson; Australian Chamber Orchestra & St. Paul Chamber Orchestra)
Label: ArtistShare
winter morning walks

Drama Queens

 Joyce DiDonato (Alan Curtis; Il Complesso Barocco)
Label: Virgin Classics

Mission

 Cecilia Bartoli (Diego Fasolis; Philippe Jaroussky; I Barocchisti)
Label: Decca

Schubert: Winterreise

Christoph Prégardien (Michael Gees)
Label: Challenge

Wagner

Jonas Kaufmann (Donald Runnicles; Markus Brück; Chor Der Deutschen Oper Berlin; Orchester Der Deutschen Oper Berlin)
Label: Decca

79. BEST CLASSICAL COMPENDIUM

 WINNER Hindemith: Violinkonzert; Symphonic Metamorphosis; Konzertmusik
 Christoph Eschenbach, conductor
Label: Ondine

Holmboe: Concertos

Dima Slobodeniouk, conductor; Preben Iwan, producer
Label: Dacapo Records

Tabakova: String Paths

 Maxim Rysanov; Manfred Eicher, producer
Label: ECM New Series

80. BEST CONTEMPORARY CLASSICAL COMPOSITION

 WINNER Schneider, Maria: Winter Morning Walks
Maria Schneider, composer (Dawn Upshaw, Jay Anderson, Frank Kimbrough, Scott Robinson & Australian Chamber Orchestra)
Track from: Winter Morning Walks
Label: ArtistShare

Lindberg, Magnus: Piano Concerto No. 2

Magnus Lindberg, composer (Yefim Bronfman, Alan Gilbert & New York Philharmonic)
Track from: Magnus Lindberg
Label: Dacapo Records

Pärt, Arvo: Adam’s Lament

Arvo Pärt, composer (Tõnu Kaljuste, Latvian Radio Choir, Vox Clamantis & Sinfonietta Riga)
Track from: Arvo Pärt: Adam’s Lament
Label: ECM New Series

Salonen, Esa-Pekka: Violin Concerto

Esa-Pekka Salonen, composer (Leila Josefowicz, Esa-Pekka Salonen & Finnish Radio Symphony Orchestra)
Track from: Out Of Nowhere
Label: Deutsche Grammophon

Shaw, Caroline: Partita For 8 Voices

Caroline Shaw, composer (Brad Wells & Roomful Of Teeth)
Track from: Roomful Of Teeth
Label: New Amsterdam Records
And here is an excellent analysis of the classical Grammy winners that appeared on NPR’s “Deceptive Cadence” blog and the rise of new music — including work by the relatively unknown Minnesota composer Maria Schneider (below, in a photo by Michael Buckner for Getty Images), whose “Winter Morning Walks,” using the poems of Ted Kooser and the voice of soprano Dawn Upshaw, capture three Grammy Awards. You can hear a sample of the moving songs and accessible songs by the three cancer survivors in a YouTUbe video at the bottom:

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