By Jacob Stockinger
The Madison Bach Musicians (below), which specializes in authentic period performances of early music, will perform Johann Sebastian Bach’s “St. John Passion” this coming Friday and Saturday nights, both at 7:30 p.m., in the Atrium Auditorium of the First Unitarian Society of Madison, 900 University Bay Drive.
On both nights at 6:45 p.m., MBM founder and music director Trevor Stephenson (below) will give a free pre-concert lecture on the “Structure and Performance History of the St. John Passion.” In his remarks, Stephenson said he will discuss the question of anti-Semitism in the famous work.
(NOTE: Stephenson and some of the players will also be on Wisconsin Public Radio’s “The Midday” with Norman Gilliland TODAY at noon.)
At the end of Part I, the Rev. Michael Schuler of the Unitarian Society will give a talk focusing on “Theological Reflections on Bach and the St. John Passion.”
This is only the second time the work has been performed in historical style in the state of Wisconsin. For more information and explanation, see the story in the Wisconsin State Journal:
Tickets are $28-$33 and are available online, at Orange Tree Imports and at the door. Ticket information is at www.madisonbachmusicians.org
Trevor Stephenson writes the following about the work and the performance:
Bach was 38 years old when he composed the monumental St. John Passion during his initial year of employment in Leipzig, 1723-24. The work was first performed at the Nikolai Church during the Good Friday service on April 7, 1724.
As was the custom, no concerted music had been played in church during the previous six weeks of Lent, and the airing of the St. John Passion ― music of unprecedented complexity, lasting for over two hours — must have had an overwhelming effect on the fresh ears and devoted souls of the parishioners.
From its outset—with the whirling gear-like figures in the strings beneath the moiling of the oboes—the St. John Passion has an otherworldly aura of a story that has been foretold. Bach’s genius is in how he balances this inevitability with a sense of forward dramatic thrust: the passion story must happen, has already happened, but it also must be played out in real-time by living people, step by painful step. Time is at once both linear and circular. (Below is the manuscript for the “St. John Passion.”)
I believe that the objective of Bach (below) in setting the St. John Passion was to tell as vividly as possible the story of Jesus’ cruel earthly demise while at the same time tempering this vividness with frequent textual reminders, as well as an overarching tone, that convey the firm belief that Jesus’ Passion had not only been prophesied long before his birth but that Jesus’ suffering and death on earth was the only solution for the forgiveness of humanity’s sins.
The Evangelist John is our guide for the story of Jesus’ arrest, trial, crucifixion and burial. John sings his narration in the dry and angular recitative style, addressing the audience directly. He summarizes some scenes and introduces others, which are then played out in present-tense tableau format by various characters: Jesus, Peter, Pilate, Court officers, the angry mob.
Bach uses two techniques to pause and comment upon the narrative: first, with arias for solo voices and instrumental obbligato, that employ freely-composed poetry to reflect upon the story in a personal way — like the thoughts of someone observing the action; and second, by chorales which use tunes and texts that would have been familiar to Bach’s parishioners to elicit a broader communal response to the passion story. Many of the chorales are like a spiritual balm, providing moments of much needed rest throughout the work.
For the upcoming April 14 and 15 concerts of the St. John Passion ― on Good Friday and Holy Saturday ― the Madison Bach Musicians has endeavored as much as possible to recreate the early 18th-century sound world of that first Leipzig performance in 1724. MBM will use a 17-member baroque orchestra, conducted by UW-Madison bassoonist and performance-practice specialist Marc Vallon (below, in a photo by James Gill).
The orchestra will play entirely on 18th-century style instruments:
These instruments will join with 10 outstanding vocalists—specialists in singing both solo and choral baroque repertoire.
Internationally recognized, and Grammy Award winning tenor, Dann Coakwell (below, in a photo by Mary Gordon) will sing the part of John the Evangelist.
The Passion will be sung in its original German; but an English translation of the text will be projected in supertitles scene-by-scene throughout the performance.
MBM is thrilled to be presenting this masterwork in the Atrium Auditorium (below, in a photo by Zane Williams) at First Unitarian Society, a space beautifully suited to early music. The sightlines are superb, and the acoustics offer a great balance of clarity, crispness, and spaciousness.
Seating is limited, so advance ticket purchase is suggested.
NEWS: In case you missed it last night on Wisconsin Public Television and Wisconsin Public Radio, here are the winners of the Madison Symphony Orchestra’s high school concerto competition, which featured a lot of fine music and excellent performances.
First prize went to violinist Julian Rhee of Brookfield, who performed Tchaikovsky; second prize went to pianist Michael Wu of Sun Prairie, who performed Saint-Saens; and the two runners-up were violinist Yaoyao Chen of Menasha, who played Sibelius, and harpist Naomi Sutherland, who performed Ravel.
For more information about the annual event, including links to video biographies of the contestants, go to:
ALERT: This week’s FREE Friday Noon Musicale, at the First Unitarian Society of Madison, 900 University Bay Drive, will feature bassoonist Juliana Mesa-Jaramillo in works for solo bassoon by 20th-century Latin American composers. The concert runs from 12:15 to 1 p.m.
By Jacob Stockinger
The critically acclaimed Mosaic Chamber Players will conclude its 2016-2017 season with a program of piano trios.
Members of the Madison-based Mosaic Chamber Players are Wes Luke, violin; Kyle Price, cello; and Jess Salek, piano.
The program features the “Elegy” Trio in D Minor, Op. 9, by Sergei Rachmaninoff; the Trio, Op. 86, by Charles Ives; and the Trio in D Minor, Op 49, by Felix Mendelssohn. (You can hear the opening of the lovely and darkly dramatic Rachmaninoff Trio in the YouTube video at the bottom.)
The concert will be this Saturday, April 1, at 7 p.m. in the Landmark Auditorium of First Unitarian Society of Madison.
Tickets are $15 for general admission; $10 for seniors; and $5 for students. Cash or checks only will be accepted.
Pianist Jess Salek (below), who graduated from the Lawrence University Conservatory of Music in Appleton Wis., and who runs his own piano studio in Madison and also works with the Madison Youth Choirs.
Violinist Wes Luke (below) plays with many regional orchestras and ensembles, including the Madison-based Ancora String Quartet.
Here is an informative and engaging story about cellist Kyle Price (below), a UW-Madison student, and how he started a music festival and ended up studying with Professor Uri Vardi at the UW-Madison.
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 photos for this review.
By John W. Barker
Despite nasty weather and icy conditions, a quite substantial audience turned out for the concert Wednesday night by the Middleton Community Orchestra (below).
There was an unusual element to the program.
The mostly amateur orchestra opened with an exuberant performance of Rossini’s overture to his opera Il turco in Italia (The Turk in Italy).
Then the normal procedures were interrupted by a local writer, Matt Geiger (below), reading two of his short essays from a recently published collection, which was sold in the lobby.
This appearance was based on his long and valiant boosting of the orchestra in his journalism, but it would have been more appropriate at some community festival than in the midst of an orchestra concert. His essays were not without wit, but had absolutely nothing to do with music.
Back to business with guest soloist Andrew Briggs (below), a young cellist who played two miniatures for his instrument, with orchestra, by Antonin Dvorak.
Silent Woods, Op. 68, No. 5, is sometimes heard as a foil or filler for the composer’s great cello concerto, especially in recordings. Still less familiar is a Rondo in G minor for Cello and Orchestra, Op. 94. It is a work of charm and imagination.
Briggs played both of these with affectionate sensitivity. Currently finishing his doctoral studies at the University of Wisconsin-Madison School of Music, he is an artist with an already expanding reputation and a great future.
The second half of the concert was devoted to Felix Mendelssohn’s Symphony No. 5, the “Reformation.” Composed to celebrate the 300th anniversary of the Augsburg Confession, it was offered here as a gesture to this year’s 500th anniversary of Martin Luther’s launching of his Reformation movement with the posting of his 95 Theses. This is a score full of Lutheran symbolism, particularly with the prominent use of Luther’s chorale, Ein feste Burg ist unser Gott (“A Mighty Fortress is our God”).
NOTE: You can hear how Mendelssohn uses the Luther hymn in the symphony’s final movement by listening to the YouTube video at the bottom.
Commentators have sometimes shrugged off this work, and it has been overshadowed in audience favor by the composer’s popular third and fourth symphonies. But it is a well-wrought score, full of fine musical interest. Conductor Steve Kurr (below) led the orchestra through a sturdy and solidly played performance, ending the concert on a triumphant note.
By Jacob Stockinger
Attention all pianists– amateurs, professionals and students — as well as other keyboard players.
This Saturday brings the first University of Wisconsin-Madison “Keyboard Day.” The focus is comprehensive, having the title “From the Practice Room to the Stage: The Pathway to Artistry.”(The official logo is below.)
The underlying reason may be to attract and recruit talented undergraduate students to the University of Wisconsin-Madison School of Music. But the net effect is that a lot of wisdom about keyboard playing – from practicing to performing — will be on display to be shared with those who attend.
All events are FREE and OPEN TO THE PUBLIC.
The event takes place in Morphy Recital Hall from 9:30 a.m. to 5 p.m.
Here is a schedule:
9:30-10 a.m. Coffee and Pastries (Mills Lobby)
10 a.m.-noon UW-Madison Keyboard Faculty Workshops
Strategies for Learning a New Piece with Professor Martha Fischer (below top) and Professor Jess Johnson (below bottom)
Getting Inside a Composer’s Head with Professor John Stowe
Beyond Repetitive Drilling: Custom Exercises for Every Difficult Passage with Professor Christopher Taylor
Mindfulness and Self-Compassion in the Practice Room with Professor Martha Fischer and Professor Jess Johnson
1:30-3:30 p.m. Master class for high school students with UW-Madison keyboard faculty
Etude in E major, Op. 10, No. 3 by Frederic Chopin; Yunyao Zhu, a student of Kangwoo Jin
Sonata in G major, Op. 49, No. 2 by Ludwig van Beethoven. George Logan, a student of Liz Agard
Sposalizio, by Franz Liszt. Owen Ladd, a student of William Lutes
Scherzo No. 2 in B-flat minor, Op. 31, by Frederic Chopin. Jacob Beranek, a student of Margarita Kontorovsky
3:30-4 p.m. Reception in Mills Lobby
4-5 p.m. Recital featuring UW-Madison Keyboard Faculty
Sonata, Wq. 49 No. 5 by Carl Philipp Emanuel Bach (1714-1788). From Sei Sonate, Op. 2 (1744). John Chappell Stowe, harpsichord (below top)
Quasi Variazioni. Andantino de Clara Wieck by Robert Schumann (1810-1856) from Piano Sonata in F minor, Op. 14. Jess Johnson, piano. *Performed on a Steinbuhler DS 5.0 TM (“7/8”) alternatively-sized piano keyboard.
Don Quixote a Dulcinea (1933) by Maurice Ravel (1875-1937) Poetry by Paul Morand. Paul Rowe, baritone, and Martha Fischer, piano
The Banjo by Louis Moreau Gottschalk (1829-1869). Christopher Taylor, piano (below middle). You can hear the piece in the YouTube video at the bottom. Taylor will also play “Ojos criollos” (Creole Eyes) and “Pasquinade” by the American composer Gottschalk.
Nature Boy by George Alexander “eden ahbez” Aberle (1908-1895) Johannes Wallmann, jazz piano (below bottom)
By Jacob Stockinger
A friend of The Ear and a fan of this blog writes:
I want to alert you and your readers that in February we have two performances scheduled at The Malt House (below), 2609 East Washington Avenue, on the corner of Milwaukee Street.
The Yahara String Quartet (below) plays on this coming Saturday, Feb. 4, from 4 to 6 p.m. YSQ says they will play “among others … music by Tchaikovsky, Borodin, Mendelssohn, Mozart, Holst, Haydn, Vivaldi … and more.” For information, go to:
The Cello and Bass Duo of Karl von Huene (cello, below) and John Dowling (contrabass) will play on Saturday, Feb. 11, from 3 to 5 p.m.
Adds Karl von Haene: “We play short pieces by Sebastian Lee (1805-1887) that are obscure enough that I will buy a beer for anyone who knows them. You see, there’s no opus number, they’re just “melodic studies/etudes.”
You can hear the first of Sebastian Lee’s “40 Melodic and Progressive Studies” in the YouTube video at the bottom. For information about Sebastian Lee, who performed and taught in France and Germany, go to:
For information, go to:
Performances are FREE, and the full bar is open for business. We open at 2 p.m. on Saturdays.
For more information about the highly rated tavern that specializes in artisan beers and ales, and also presents other forms of music, go to:
Bill Rogers, The Malt House
By Jacob Stockinger
It’s no secret that the University of Wisconsin-Madison School of Music is strapped for money, especially for hiring staff and funding student scholarships — if less so for the construction of new buildings that are financed by selling naming rights.
Certain events, such as the UW Choral Union, have always charged admission. And most UW-Madison musical events, especially faculty and student performances, remain, thankfully, FREE and OPEN TO THE PUBLIC.
But under increasing financial pressure, a few years ago the UW started charging admission to more events: the UW Brass Festival, the UW Concerto Competition Winners’ Concert and the annual Schubertiade to name a few.
So one can well imagine the temptation to “monetize” — charge admission to – concerts by the popular Pro Arte String Quartet (below, in a photo by Rick Langer), which typically draws both critical acclaim and large audiences.
Yet The Ear thinks that would be a mistake, even if the purpose or intent is the best.
The Pro Arte Quartet, which ended up here from its native Belgium when it was exiled here on tour during World War II when Hitler and the Nazis invaded and conquered Belgium, is a primary example of The Wisconsin Idea in action.
The Wisconsin Idea – under siege now by the governor and many legislators — is that the boundaries of the UW are the borders of the state and that the UW should serve the taxpayers who support it.
No single musical group at the UW does that job that better than the hard working Pro Arte Quartet, which has done it for many decades.
The quartet practices for three hours every weekday morning. It tours and performs frequently in Madison and elsewhere in the state, including Door County. It has played in Carnegie Hall in New York City and toured Europe, South America and Asia. It has commissioned and premiered many new works. It has made numerous outstanding recordings. It is a great and revered institution.
The Pro Arte Quartet is, in short, a great ambassador for the state of Wisconsin, the UW-Madison and the UW System. It has given, and will continue to give, countless listeners a start on loving chamber music.
If you are unfamiliar with the history of the Pro Arte Quartet, which is now over 100 years old and is the longest lived active quartet in the history of Western music, go to this link:
And you might consider attending or hearing one of the three FREE PUBLIC performances this week in the Madison area:
From 7 to 9 p.m., the Pro Arte Quartet will perform FREE at Oakwood Village Auditorium, 6209 Mineral Point Road on Madison’s far west side near West Towne. The program is the same as the one listed below on Saturday.
The Oakwood Village concert is OPEN to the public.
Here is a link to more information:
At 8 p.m., in Mills Hall, the Pro Arte Quartet, joined by University of Maryland guest pianist Rita Sloan (below top), will perform a FREE program that features the Fuga in E-flat Major, (1827) by Felix Mendelssohn; the String Quartet No. 20 in F major, Op. 46, No. 2 (1832-33) by the prolific but neglected 19th-century French composer George Onslow (below bottom); and the rarely heard Piano Quintet in A minor, Op. 84, (1919) by Sir Edward Elgar. (You hear the lovely slow movement from the Elgar Piano Quintet in the YouTube video at the bottom.)
For information, go to:
At 12:30 p.m. in the Brittingham Gallery III (below) of the Chazen Museum of Art, the Pro Arte Quartet will perform for “Sunday Afternoon Live From the Chazen,” where over the years it has become the chamber music ensemble in residence.
The program is the same as the one on Saturday night.
Here is information about reserving seats and also a link for streaming the concert live via the Internet:
Do you have an opinion about the Pro Arte Quartet?
Should admission to Pro Arte concerts be started? Or should the quartet’s performances remain free?
Leave a COMMENT below with the why and your reasoning.
The Ear wants to hear.
By Jacob Stockinger
The University of Wisconsin-Madison School of Music is sponsoring a daylong workshop for pianists and the keyboard artists called “From the Practice Room to the Stage: The Pathway to Artistry.”
The first annual “Keyboard Day” event is FREE and OPEN TO THE PUBLIC, and will take place in Morphy Hall on Saturday, March 4.
The event features UW-Madison students and faculty members – including well-known UW pianists Christopher Taylor (below top) and Martha Fischer (below bottom) — as well as selected high school pianists who will take part in master classes and recitals.
NOTE: The deadline for high school pianists to apply to participate in master classes and recitals is this coming Tuesday, Jan. 31. Those who are selected will be notified by Feb. 15. For more information, see below.
The purpose of the daylong event is to help advertise the piano program at the UW-Madison and to attract talented high school piano students to the UW music school.
Workshops will cover many aspects, from learning a new piece, developing keyboard technique, practicing efficiently and overcoming stage fright when performing.
There will be master classes too.
Interested high school students must submit a recording of two pieces as well as an application.
Here is a link with a complete schedule and more specific information about the various workshops and concerts, along with an application form that can be downloaded and submitted:
By Jacob Stockinger
Here is an announcement from the Madison Symphony Orchestra about two performances of a special concert this coming weekend:
Join the Madison Symphony Orchestra (MSO, below top) and Music Director John DeMain (below bottom, in a photo by Prasad) as they explore one of the most popular orchestral works ever written with Beyond the Score®: Scheherazade this coming weekend in Overture Hall.
The concerts are this Saturday, Jan. 14, at 8 p.m. and Sunday, Jan. 15, at 2:30 p.m. in Overture Hall, 201 State Street.
The first half experience encompasses video, photos, musical excerpts, and actors Jim DeVita (below top) and Brenda DeVita (below bottom), of American Players Theatre in Spring Green, telling the story.
In the second half, Scheherazade will be performed from start to finish, by the Madison Symphony Orchestra with John DeMain conducting.
The captivating music of Scheherazade evokes images and passions with a solo violin representing the intoxicating storyteller, Scheherazade. Based on an ancient Persian legend, Scheherazade staves off her death at the hands of her cruel Sultan husband, by regaling him with stories for 1001 nights until he falls in love with her.
Rimsky-Korsakov evokes the moods of her various tales with memorable and haunting melodies. (You can hear “Scheherazade,” conducted by the Russian conductor Valery Gergiev, in the YouTube video at the bottom.)
Designed for classical music aficionados and newcomers looking to delve deeper into the world of classical music, Beyond the Score explores Scheherazade’s context in history, how it relates to the work of other composers, and the events of Rimsky-Korsakov’s life that influenced its creation. The Chicago Tribune said of the Beyond the Score series, “Seldom has enlightenment proved so entertaining.”
As a young man, Rimsky-Korsakov (below) spent almost three years at sea with the Russian Navy and was exposed to other cultures. With 19th-century readers fascinated by exotic settings and fairy tales, he first conceived of creating an orchestral work based on the tales known as The Thousand and One Nights in 1887, when he was the leading teacher at the St. Petersburg Conservatory.
Groups of 15 or more can save 25% by calling the MSO office at (608) 257-3734. For more information, visit madisonsymphony.org/groups.
Student rush tickets can be purchased in person on the day of the concert at the Overture Center Box Office at 201 State Street. Students must show a valid student ID and can receive up to two $12 or $15 tickets. More information is at: madisonsymphony.org/studentrush. Students receive 20% savings on advance ticket purchases for seats in select areas of the hall.
Seniors age 62 and up receive 20% savings on advance and day-of-concert ticket purchases in select areas of the hall.
Discounted seats are subject to availability, and discounts may NOT be combined.
Beyond the Score® is a production of the Chicago Symphony Orchestra. Gerard McBurney, Creative Director for Beyond the Score®.
By Jacob Stockinger
You may recall that several days ago, The Ear named the Willy Street Chamber Players (below) as Musicians of the Year for 2016.
He also mentioned that although there were not yet any YouTube videos of the group, which will have its third season this summer, the alternative radio station WORT-FM 89.9 has broadcast recordings of live performances.
Here is a link to that posting:
If you haven’t yet heard the Willy Street Chamber Players live, you can hear them this Thursday morning on WORT FM 89.9.
Here is what Rich Samuels, radio host and friend of the Willys, writes:
“Thursday morning, Jan. 5, at 7:28 a.m. on my WORT “Anything Goes” broadcast, I’ll be airing the Willy Street Chamber Players performing the Clarinet Quintet in A Major, K. 581, by Wolfgang Amadeus Mozart, which I recorded last July 29 at Madison’s Immanuel Lutheran Church.
(In the YouTube video at the bottom, you can hear the opening movement of Mozart’s beautiful Clarinet Quintet performed by the Emerson String Quartet with clarinetist David Shifrin of the Lincoln Center Chamber Music Players in New York City.)
“Michael Maccaferri is the clarinet soloist (below). He’s a member of the eighth blackbird ensemble of Chicago. He’s participated in four eighth blackbird Grammy-winning releases on the Cedille label, the local nonprofit recording label that is also in Chicago and that recently turned 25.
“Violinist Eleanor Bartsch (below), who presently freelances in Chicago, recruited Maccaferri for this event. In addition to Eleanor, this performance features Willy Street violinist Beth Larson, violist Rachel Hauser and cellist Lindsay Crabb.
“It was my privilege to record most of the first two seasons of the Willy Street Chamber Players for broadcast on WORT.
“Hopefully I’ll be able to continue that tradition in 2017.”
Here is a link about upcoming strong quartet concert on Jan. 21 and 22 and about the Willy Street Chamber Players in general: