The Well-Tempered Ear

Classical music: The seventh annual Make Music Madison is on Friday, June 21, and features 17 different FREE classical concerts as well as dozens of performances of jazz, folk, blues, hip-hop, swing and other genres

June 15, 2019
1 Comment

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.

REMINDER: TODAY, Saturday, June 15, at noon in Grace Episcopal Church, 116 West Washington Avenue, on the Capitol Square, the Ancora String Quartet will give a FREE performance as part of “Grace Presents.” The one-hour program includes the String Quartet in A Major, Op. 13, by Felix Mendelssohn; the String Quartet in B-flat Major, “La Malinconia” (Melancholy), Op. 18, No. 6, by Ludwig van Beethoven; and “Entr’acte” by the contemporary Pulitzer Prize-winning composer Caroline Shaw. The Ear heard an earlier performance of the same program by the Ancora, and highly recommends it.

By Jacob Stockinger

This coming Friday, June 21, is the Summer Solstice, which arrives at 10:54 a.m. CDT.

That means not only the first day of summer, but also the seventh annual Make Music Madison – a day-long FREE mostly outdoor festival of live performances.

The event, which is organized and staffed by volunteers and costs about $45,000,  will take place from easy morning until midnight. Madison will be joining more than 80 cities in the United States and more than 1,000 cities around the world for the global event. The estimated audience worldwide is in the tens of millions.

The local lineup is impressive.

More than 400 concerts at more than 100 venues will take place all around the Madison area.

Many genres of music besides classical will be featured: jazz, folk, ethnic, rock, blues, hip-hop, reggae, gospel, swing and more. (In the YouTube video at the bottom,  you can hear a compilation of different music and assessments from Make Music Madison participants in 2014.) 

And many forms of music, both instrumental and vocal, will be featured. (Below is the Madison Flute Club performing during last year’s event.)

Performers include professionals and amateurs, young people and adults, students and teachers, individuals and ensembles.

Some events will be more formal, while others will be jam sessions. Some events will have an open mic.

The Ear counts 17 different venues for classical music, including a public piano in the University of Wisconsin-Madison’s Alumni Park, between the Memorial Union and the Red Gym. Also featured there is opera singer Prenicia Clifton (below).

You will also find classical music at Metcalfe’s market in the Hilldale Mall; the First Congregational United Church of Christ near Camp Randall Stadium;  branches of the Madison Public Library; and other places. You can hear the Suzuki Strings as well as violin, viola, cello, brass, winds, piano and guitar ensembles.

Unfortunately, though, specific programs and works are not listed, which might cut into the attendance at some performances. 

To whet your appetite, here is a link to the Make Music Madison home website, with lots of background, some fine photos, a complete listing of events and the names of major funding sources, which include the Madison Arts Commission, Isthmus, Dane Arts,  WORT FM 89.9, Wisconsin Public Radio. WSUM-FM 91.7 (the student radio at the University of Wisconsin-Madison) and La Voz de Latinoamerica Desde Wisconsin as well as individual private donors.

To help classical fans decide what to attend and what works in their weekday schedule, here is a map of concerts. Just click on “Classical” in “Filter Map,” which is first tab on the top right, to see classical events listed by genre, location and name:

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

Have you ever attended Make Music Madison?

What did you think of it? Did you have a good time? Did you hear good music and fine performances?

Do you have any words of advice, tips or recommendations for organizers, performers and listeners?

The Ear wants to hear.


Posted in Classical music
Tags: , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

Classical music: Here are the winners of the seventh annual Handel Aria Competition held Friday night before a record audience

June 9, 2019
2 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.

By Jacob Stockinger

Co-founders Orange and Dean Schroeder have sent the following announcement about the winners of the seventh annual Handel Aria Competition that was held Friday night in Mills Hall at the University of Wisconsin-Madison’s Mead Witter School of Music:

The seventh annual Handel Aria Competition was a joyous evening of arias! We had a record audience — we don’t have the final numbers yet, but we ran out of 240 printed ballots and figure there were 250 to 300 people present — despite a widespread power outage on the near west side and severe parking challenges.

The winners, accompanied by the Madison Bach Musicians, were: Australian soprano Morgan Balfour, first prize (below center, in a photo by Tom Miller); soprano Emily Yocum Black, second prize (below right); and bass-baritone Jonathan Woody, third prize and audience favorite (below left).

We are excited to know that Morgan will be singing in St. George’s Church, Hanover Square, next spring thanks to the London Handel Festival. In addition, she will receive $1,500 in cash and – like all finalists — $500 toward travel costs for competing. Other awards were $1,000 for second place, $750 for third place and $500 for Audience Favorite.

Here are the arias, from opera and oratorios, sung by the three winners:

Morgan Balfour: “Spietati, io vi giurai” from “Rodelinda” and “Mean as he was, he is my brother now … Author of Peace” from “Saul”

Emily Yocum Black: “Art thou not Zaphnath? … Prophetic raptures swell my breast” from “Joseph and His Brethren” and “Credete al mio dolore” from “Alcina.”

Jonathan Woody: “Oh memory, still bitter to my soul! … Opprest with never-ceasing grief” from “Belshazzar” and “Why do the nations so furiously rage together?” from “Messiah.”

Schroeder says: “The seven finalists (below in a photo by Tom Miller) were all excellent, presenting a real challenge for audience members picking their favorite as well as for the judges.” (For names and more biographical information about the finalists and judges, go to https://handelariacompetition.com

Adds Schroeder: “The caliber of applicants gets better and better every year. This year everybody was amazing and one of the judges said he was blown away by the quality of the competition. Yet we still try to make the sure that the competition is friendly and most collegial, not cutthroat.”

All the performances from all the finalists as well as the winners were video recorded and, after they are processed, will be posted on YouTube in about a month. (The Ear will let you know when they are available.)

You can also see and hear most of the finalists from the past six years on YouTube now; and more information about the past six years of the competition is on its home website at https://handelariacompetition.com/past-competitions

Did you go to the competition?

Did you agree with the judges about the winners and the Audience Award?

What did you think of the annual competition?

The Ear wants to hear.


Posted in Classical music
Tags: , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

Classical music: Today is the 75th anniversary of D-Day. Here is a sonic and visual “D-Day Symphony” to mark the event – as well as two moving pieces to honor the day and the dead. What music would you choose?

June 6, 2019
Leave a Comment

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.

By Jacob Stockinger

Today is the 75th anniversary of D-Day, that deadly day – June 6, 1944 — when massive Allied forces (below, seen gathering on Omaha Beach) invaded the Normandy coast of France in Nazi-occupied Europe, beginning the liberation from Hitler’ Germany and the end of World War II.

In searching for music to mark the occasion, The Ear returned to two of the best pieces of memorial music he knows of and which are below: the “Nimrod” Variation from Edward Elgar’s “Enigma” Variations, a piece that was used in Ken Burn’s celebrated TV documentary about World War II; and Samuel Barber’s “Adagio for Strings.”

It seems only fitting to the occasion to have works by an American composer and a British composer.

But in searching for music, The Ear also stumbled by chance across a little-known piece that uses a work by a French composer, which also seems fitting for the occasion and the day. It is a sonic and visual symphony of remembrance – a “D-Day Symphony,” if you will — that uses the second movement from the Symphony No. 3 by Arthur Honegger. It is in the YouTube video at the bottom.

The Ear hopes you also find the work moving and a welcome, if largely unknown, addition to musical remembrances for this historic event. Tell us what you think.

And if there is another work you would listen to while marking the anniversary of D-Day, please leave your comment along with the composer and title and, if possible, a YouTube link in the COMMENT section.

The Ear wants to hear.


Classical music: The second LunART Festival will spotlight women in the performing and creative arts. Here is Part 2 of 2 with more about new music, comedy and a full schedule

June 3, 2019
Leave a Comment

IF YOU LIKE A CERTAIN BLOG POST, PLEASE SPREAD THE WORD. FORWARD A LINK TO IT, 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.

ALERT: The second Van Cliburn Junior Piano Competition resumes today — Monday, June 3 — in Dallas at 2:20 p.m. CDT. The young players range from 13 to 17 and come from around the world, and they are terrific. Plus the quality of the live streaming is outstanding, especially for the camera work of the keyboard. It’s all FREE. If you want to see it, here is a link: https://www.cliburn.org. You might also be interested to know that among the jurors are Alessio Bax, who has performed in Madison at Farley’s House of Pianos, and Philippe Bianconi, who has soloed several times with the Madison Symphony Orchestra.  All that and you get to vote for the Audience Award too! 

By Jacob Stockinger

The Ear has received a long and detailed announcement about the upcoming second LunART Festival. Here is Part 2 of two parts with more information about new music, comedy and a schedule of events. Yesterday was Part 1 — a link is below — with background and participants. 

https://welltempered.wordpress.com/2019/06/02/classical-music-starting-wednesday-the-second-lunart-festival-will-again-spotlight-women-in-the-performing-and-creative-arts-here-is-the-first-of-a-two-part-preview/

The LunART Festival, co-founded and co-directed by Iva Ugrcic and Laura Medisky, is back for its second season from this Wednesday, June 5, through Sunday, June 9, and will continue its mission of supporting, inspiring, promoting and celebrating women in the arts.

The 2019 season brings 10 events to eight venues in the Madison area, providing accessible, high-quality, engaging concerts and events with diverse programming from various arts fields.

The festival will showcase over 100 artists this season, including many familiar local artists and performers as well as guest artists hailing from Missouri to Texas, Minnesota to Florida and as far away as Peru.

LunART’s 2019 call for scores was open to women composers of all ages and nationalities, and received an impressive 98 applicants from around the globe. Scores were evaluated by a committee of 17 LunART Festival musicians and directors, and three works were selected to be performed at each of the Gala concerts.

The winning composers are Eunike Tanzil (below top), Edna Alejandra Longoria (below middle) and Kirsten Volness (below bottom). All three will be in attendance at the festival. (In the YouTube video at the bottom, you can hear a piece for cello and piano, with the composer playing the piano, by Eunike Tanzil.)

The “From Page to Stage: Emerging Composers” educational program also returns, bringing six composers to Madison to work with flutist and composer-in-residence Valerie Coleman (below).

During the festival she will mentor participants in developing practical skills to express their creative ideas, cultivate relationships with performers and master the art of collaboration. The program culminates with a free public concert featuring their music on Saturday, June 8, at 2 p.m. in the Capitol Lakes Grand Hall, 333 West Main street, downtown and two blocks from the Capitol Square.

On Friday, June 7 at Overture Center in Promenade Hall, Meaghan Heinrich (below) presents her pre-concert lecture, “Portrait of the Artist as a Young Woman,” which explores what it means to be a woman artist in the 21st century, and how women’s experiences shape their artistic expressions.

Following the Friday gala concert is “Holding Court,” this season’s Starry Night event at Robinia Courtyard. This all-women comedy show features Midwestern comics Vanessa Tortolano (below top), Chastity Washington (below bottom), Vickie Lynn, Samara Suomi and Cynthia Marie who are blazing a trail of funny that will leave you gasping in their wake.

“The Multi-faceted Artist” panel discussion is for anyone interested in the ongoing trend and need for artists to wear multiple hats to succeed and thrive.

Coleman (composer and flutist) and Dr. Linda DiRaimondo (psychiatrist and aerial dancer, below top on top) serve as panelists along with Katrin Talbot (violist, poet and photographer, below bottom in a photo by Isabel Karp), and will lead the discussion on Saturday, June 8, at the downtown Madison Public Library’s Bubbler Room.

The festival wraps up on Sunday, June 9, from 10 a.m. to noon at Common Ground, 2644 Branch Street in Middleton, with “Mooning Around” poetry reading and artist mixer, featuring a performance of “One for Mileva Maric (Einstein)” by Andrea Musher, with special guests Sarah Whelan and Jackie Bradley, and poetry readings by The Line-Breakers: Andrea Potos (below), Eve Robillard, Rosemary Zurlo-Cuva and Katrin Talbot.

Everyone is welcome to come enjoy their morning coffee and pastries while making creative connections with other artists.

LunART Festival is supported by Dane Arts, the Madison Arts Commission, the Wisconsin Arts Board and the Open Meadows Foundation; it also won first place at the 2018 National Flute Association C.R.E.A.T.E. Project Competition and second prize at the 2018 UW Arts Business Competition.

Schedule of 2019 Festival events:

Wednesday, June 5

  • 6-8 p.m.: “Women Against Hate United by Love” exhibition opening reception @ Rotunda Stage, Overture Center for the Arts (free event)

Thursday, June 6

  • 9 a.m.-Noon From Page to Stage composition master class with Valerie Coleman @ First United Methodist Church (free event)
  • 7 p.m.: Opening Gala Concert @ Maiahaus (402 E. Mifflin St.) (Tickets: $20 general/$10 students)

Friday, June 7

  • 6 p.m.: “Portrait of the Artist as a Young Woman” pre-concert lecture by Meaghan Heinrich (free event)
  • 7 p.m.: “Portraits of Josephine” Gala Concert @ Promenade Hall, Overture Center for the Arts (Tickets: $20 general/$10 students)
  • 9 p.m.: Starry Night: “Holding Court” All-Women Comedy Show @ Robinia Courtyard (Tickets: $7 in advance/$10 at the door)

Saturday, June 8

  • 10 a.m.-Noon: “The Multi-faceted Artist” Panel Discussion @ Madison Public Library Bubbler Room (free event)
  • 2 p.m.: From Page To Stage: Emerging Composers Concert @ Capitol Lakes Grand Hall (free event)
  • 7 p.m.: “Gaia” Closing Gala Concert @ First Unitarian Society of Madison Atrium Auditorium (Tickets: $20 general/$10 students)

Sunday, June 9

  • 10 a.m.-Noon: “Mooning Around” poetry reading and artist mixer @ Common Ground, 2644 Branch St., Middleton (free event)

More information can be found at lunartfestival.org

video


Posted in Classical music
Tags: , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

Classical music: This weekend, the Madison Symphony Orchestra and other individuals and groups join forces to celebrate John DeMain’s 25th season with Mahler’s monumental “Symphony of a Thousand”

April 29, 2019
Leave a Comment

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

By Jacob Stockinger

By any standard, it is epic music.

The stage in Overture Hall will have more than 500 participants on it this coming weekend when the Madison Symphony Orchestra (below, in a photo by Peter Rodgers) partners with the Madison Symphony Chorus, the Madison Youth Choirs, the UW–Madison Choral Union and eight critically acclaimed vocal soloists to bring a performance of Gustav Mahler’s massive Symphony No. 8 — or “Symphony of a Thousand.”

For the first time since 2005, MSO music director and conductor John DeMain will conduct one of the largest undertakings in the classical music repertoire as the final concert marking his Silver Anniversary Season.

Performances will be held in Overture Hall of the Overture Center, 201 State St., on Friday night, May 3, at 7:30 p.m.; Saturday night, May 4, at 8 p.m.; and Sunday afternoon, May 5, at 2:30 p.m.

Information about tickets ($18-$93) is below.

Says DeMain (below, in a photo by Greg Anderson): “I have spent 25 years with this orchestra and chorus. In that time, our collaboration on Gustav Mahler’s monumental Symphony No. 8 in 2005 stands out as perhaps the most memorable. I feel a magnetic affinity with Mahler, and began my career 25 years ago with his first symphony. I am honored and moved to conduct this work and feel it is the perfect conclusion to my 25th season.”

Composed in December 1906, Symphony No. 8 is the last work by Mahler (below) to be premiered in his lifetime. It is one of the largest-scale choral works in the classical concert repertoire, and because it requires huge instrumental and vocal forces, it is frequently called the “Symphony of a Thousand.” (Below is a photo of the final rehearsal for the world premiere performance in Munich in 1910.)

The structure of the work is unconventional; instead of the normal framework of several movements, the piece is in two parts.

Part I is based on the Latin text of a 9th-century Christian hymn for Pentecost, and Part II is a setting of the words from the closing scene of Goethe’s Faust.

The two parts are unified by a common idea: redemption through the power of love, a unity conveyed through shared musical themes.

Symphony No. 8 is revered as one of the greatest achievements of classical concert repertoire and expresses the composer’s confidence in the eternal human spirit. (You can hear Sir Simon Rattle conduct the Berlin Philharmonic in the famous finale of the Symphony No. 8 in the YouTube video at the bottom.)

ABOUT THE PERFORMERS

The distinguished solo singers are: soprano Alexandra LoBianco; soprano Emily Birsan (below), who just last weekend sang the title role in the Madison Opera’s production of Antonin Dvorak’s “Rusalka”; soprano Emily Pogorelc; mezzo-soprano Milena Kitic; mezzo-soprano Julie Miller; tenor Clay Hilley; baritone Michael Redding; and bass-baritone Morris Robinson.

For photos and impressive biographical information about the soloists, go to:

https://madisonsymphony.org/event/symphony-of-a-thousand/

The Madison Symphony Chorus (below top, in a photo by Greg Anderson) gave its first public performance on Feb. 23, 1928 and has performed regularly with the Madison Symphony Orchestra ever since.

The chorus is comprised of more than 150 volunteer musicians who come from all walks of life and enjoy combining their artistic talent under the direction of Beverly Taylor (below bottom), who is the director of Choral Activities at the UW-Madison’s Mead Witter School of Music.

Inclusive of members of all skill levels, the Madison Youth Choirs (below), Michael Ross director, incorporate singers from ages 7-18 into their orchestration.

The choirs aim to introduce youths interested in musical performance to collaborative forms of self-confidence and responsibility in the atmosphere of musical training. Randal Swiggum is conducting rehearsals preparing members of the choir for the MSO’s May Symphony of a Thousand concerts.

With 150 members, the UW-Madison Choral Union (below) fuses university and non-university members. Under the direction of Beverly Taylor, former associate conductor of the MSO who also teaches at the UW-Madison, the Choral Union is another testament to the musical outreach in the Madison arts.

CONCERT, TICKET and EVENT DETAILS

The lobby opens 90 minutes prior to each concert. One hour before each performance, Wisconsin Public Radio host Anders Yocom (below, in a photo by James Gill) will lead a 30-minute Prelude Discussion in Overture Hall to enhance concertgoers’ understanding and listening experience. It is free to ticket-holders.

The Symphony recommends concert attendees arrive early for each performance to make sure they have time to pass through Overture Center’s security stations so they can experience the Prelude Discussion.

Program notes for the concerts are available online: http://bit.ly/msomay19programnotes

  • Single Tickets are $18-$93 each and are on sale now at: https://madisonsymphony.org/event/symphony-of-a-thousandthrough the Overture Center Box Office at 201 State Street, or by calling the Box Office at (608) 258-4141. Fees apply to online/phone sales.
  • Groups of 10 or more can save 25% by calling the MSO office at (608) 257-3734. For more information, visit, https://www.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 $15 or $20 tickets. More information is at: https://www.madisonsymphony.org/studentrush
  • Seniors age 62 and up receive 20% savings on advance and day-of-concert ticket purchases in select areas of the hall.
  • Flex-ticket booklets of 10 vouchers for 19-20 symphony subscription concerts are available. Learn more at: https://madisonsymphony.org/flex
  • Subscriptions for the 2019-2020 season are available now. Learn more at: https://madisonsymphony.org/19-20

Discounted seats are subject to availability, and discounts may not be combined.

Major funding provided by NBC15, Larry and Jan Phelps, Diane Ballweg, Carla and Fernando Alvarado, Johnson Financial Group, and University Research Park. Additional funding provided by DeWitt LLP, Kennedy Gilchrist and Heidi Wilde, Thomas E. Terry, Fred A. Wileman, Helen L. Wineke, and the Wisconsin Arts Board with funds from the State of Wisconsin and the National Endowment for the Arts.


Posted in Classical music
Tags: , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

Classical music: Sonata à Quattro does justice to the spiritual piety and beautiful music in Haydn’s “Seven Last Words of Christ”

April 28, 2019
1 Comment

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

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 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.

By John W. Barker

Marika Fischer Hoyt’s newest ensemble is called Sonata à Quattro (below), using the Italian Baroque expression for instrumental works scored for three upper parts and basso continuo. That idiom was the background to the more integrated balance of the string quartet.

It was Franz Joseph Haydn (below) who really consolidated that transformation, and so it was appropriate that the new group should at this early point in its development pay a major tribute to that composer.

Responding to a commission from a Spanish prelate, in 1786-87 Haydn composed a set of seven orchestral adagios  — plus opening and closing pieces — to be played in a Good Friday ceremony celebrating the seven final statements by Christ from the cross (below, in a painting by Diego Velazquez) that are cumulatively reported by the Gospel writers.

At the same time, Haydn made a reduction of those orchestral movements into the string quartet format. That version he published outside his regular sets of string quartets, which had opus numbers.

Especially in the quartet form, this music achieved wide circulation, so much so that several attempts were made by others to create an oratorio out of this music, prompting Haydn himself to make his own oratorio version in 1795-96. Along the way, someone else made a keyboard transcription of the music that Haydn sanctioned.

It was, of course, the string quartet version — The Seven Last Words of Christ — that the Sonata à Quattro performed. It did so, first as part of a Good Friday church service in Milwaukee on April 19, and then as an independent one-hour free and public concert at the Oakwood Village West auditorium last Thursday night.

Fischer Hoyt (below), the group’s founder and violist, gave an introductory talk about the group’s name and about its decisions as to instrumentation.  (It usually plays on period instruments, but chose this time to use modern ones with period bows.) Cellist Charlie Rasmussen added some comments about the music and its history. Violinists  Kangwon Kim and Nathan Giglierano were happy just to play.

Haydn’s music was written in the deepest piety and sincerity, and that comes through in the individual components, which cost him much effort. (You can hear the second half of the work in the YouTube video at the bottom.)

The seven Sonatas are framed by a solemn Introduction and a furious evocation of the “earthquake” that we are told followed the death of Jesus. Each successive Sonata is cast in very tight and concentrated sonata form. Haydn makes the Latin form of each statement or “word” the theme of each sonata. In all, the cycle makes the most deeply absorbing combination of spirituality and ingenuity.

The players brought out both those dimensions in a performance of rapt beauty. This score has quite a few recordings, but it is not heard in concert all that often, so it was a treasure to be given this wonderful presentation.

And now we know that Sonata à Quattro has great possibilities to develop.


Posted in Classical music
Tags: , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

Classical music: What music would you choose to honor Notre Dame de Paris and the loss from the fire that engulfed the historic cathedral on Monday

April 16, 2019
22 Comments

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

By Jacob Stockinger

You’ve seen the heart-rending photos of the raging flames, the collapsed spire and the billowing smoke.

We have yet to learn a lot of details about the interior of the historic cathedral Notre Dame de Paris (below in a photo by Agence France-Presse and Getty Images) and how it fared.

But surely music is a fine way to honor such a world treasure.

Like many of you, The Ear has been to Notre Dame in Paris, several times in fact, both inside and outside. I have seen it and heard it.

While we wait for more news of what survived and what didn’t, here is a moving YouTube video of people in the cathedral listening to an improvisation on the mighty organ that is joined by singers.

One wonders: Did the organ survive? Is it usable?

When will services resume?

When will music once again shake the monumental interior?

Please leave a comment about what music you would play to honor Notre Dame de Paris. It doesn’t have to be French or religious – just suitable to the occasion.


Classical music: Sunday brings the winners’ concert of the UW Concerto and Composition Competition plus a harpsichord recital

March 9, 2019
1 Comment

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

By Jacob Stockinger

Two more noteworthy concerts will take place this coming Sunday, March 10.

UW-MADISON CONCERTO AND COMPOSITION COMPETITION

On Sunday night at 7:30 p.m. in Mills Hall, the annual winners’ concert of the UW-Madison Concerto and Composition Competition will take place.

The concert features the UW Symphony Orchestra (below top) under conductor Chad Hutchinson (below bottom) with four instrumentalists, one singer and one composer. All are current students at the University of Wisconsin-Madison’s Mead Witter School of Music.

Admission is $12, but free to students, children, music majors, faculty and staff.

Well-know works on the program include: Adalia Hernandez Abrego and Jiawan Zhang playing the Concerto for Two Pianos in D minor by Francis Poulenc; Richard Silvers playing the first two movements of the Violin Concerto in A minor by Antonin Dvorak; soprano Cayla Rosché singing the first and third songs of the “Four Last Songs” by Richard Strauss; and Chia-Yu Hsu playing the Concertino for Bassoon and Orchestra by Marcel Bitsch. In addition, there will be the world premiere of “Fanfare for Orchestra” by student composer Anne McAninch.

To learn more about the concert, and to see photos and videos of the performers who discuss themselves and the works they will play, see the YouTube video below and go to:

https://www.music.wisc.edu/event/symphony-showcase-concerto-winners-solo-with-the-uw-madison-symphony-orchestra/

HARPSICHORD RECITAL

Earlier on Sunday afternoon is a concert that should appeal to early music fans: At 3 p.m. the First Unitarian Society of Madison, 900 University Bay Drive, will present the fifth Annual Mark Rosa Harpsichord Recital.

The performance features harpsichordist Jason J. Moy (below), with special guests bass violist Katherine Shuldiner and baroque violinist Kangwon Lee Kim.

The all-French baroque program is called “The Angel, The Devil and The Sun King: Music and Rivalry in the Court of Louis XIV” and features works by Marin Marais, Antoine Forqueray, Jacques Duphly and Jean-Philippe Rameau.

Tickets will be available at the door: $20 for general admission, $12 for seniors, students and veterans.

Moy is director of the Baroque Ensemble and a harpsichord instructor at the DePaul University School of Music. He has performed across the United States, Canada and Europe, including every Boston Early Music Festival since 2013.

One of Chicago’s most sought-after early keyboard specialists, Moy was recently named artistic director of Ars Musica Chicago. He also plays as part of the Dame Myra Hess International Concert Series at the Chicago Cultural Center. Madisonians may be familiar with his playing from his appearances with the Wisconsin Chamber Orchestra.

You can hear him discuss playing the harpsichord and talk about its modern history in the YouTube video below. For more information, go to: www.jjmoy.com

Kangwon Lee Kim (below) is a versatile violinist on both baroque and modern violins. She is familiar to Madisonians as the concertmaster and assistant artistic director of Madison Bach Musicians. She has also given recitals throughout the U.S. and in Korea, Canada, Puerto Rico, Switzerland, Norway and the Czech Republic.

Katherine Shuldiner (below) graduated from the Oberlin Conservatory in viola da gamba. She performs regularly with other early music specialists, and ensembles such as the Bach and Beethoven Experience, VOX3 Collective and the Newberry Consort. She has taught at the Whitewater and Madison Early Music Festivals. www.kateshuldiner.com


Posted in Classical music
Tags: , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

Classical music: The Middleton Community Orchestra and solo trumpeter Jessica Jensen score big with an unusual program

March 2, 2019
1 Comment

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

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.

By John W. Barker

The concert by the largely amateur Middleton Community Orchestra (below, in a photo by Margaret Barker) on Wednesday night presented a novel program at the Middleton Performing Arts Center.

In the relatively brief first part, it presented two unusual items.

The first was by Nebojsa “Neb” Macura (b. 1982, below right with conductor Steve Kurr), a local musician of Serbian background, who has been particularly identified with Russian folk music and ensembles. But he also plays viola in the MCO, which gave him this opportunity in the spotlight.

His piece, Polar Night, is quite brief, but in this version for full orchestra (with piano), it is grounded with secure melodic flow, and it unfolds into a tonal picture full of beautiful colors. My only reservation was that I wanted more of it — either more music in this piece or other sections around it.

Macura is obviously talented, and he has a confident sense of orchestral writing. I really look forward to hearing more of him. Indeed, the MCO might well serve as exactly the laboratory in which he can develop new creations.

The second item was only a bit longer, a Trumpet Concerto by Russian composer Aleksandra Pakhmutova (b. 1929, below). Her long career has involved her in jazz, and also in extensive scoring for films. But she has a feeling for Russian traditional song, and that could be heard in this concerto.

It is cast in only a single movement, but it proceeds episodically.  There is certainly much flashy writing for the solo instrument, and local trumpeter Jessica Jensen (below) brought off her role dashingly.

The longer second part of the concert was devoted to the Symphony No. 3, the “Rhenish,” by Robert Schumann. This splendid work was inspired by observation of life along the Rhine River.

It is unusual in being written in five movements, not the conventional four. (Oddly, their individual markings were not printed in the program, but conductor Steve Kurr (below) gave a clever spoken introduction that outlined the score for the audience.)

This is a very extroverted work, calling for a lot of orchestral sonority. I suspect that a little more rehearsal time would have helped the avoidance of some blemishes: rapid passages, especially in the first movement, were roughly articulated, and there were some tiny gaffes all along.

But the players were devoted in responding to maestro Kurr’s rather propulsive tempos. This score gives a lot to do particularly to the horn section, which played with ardent splendor.

As always, then, the MCO earned further laurels for presenting this very adventurous program.


Posted in Classical music
Tags: , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

Classical music: “Into the Woods” proved a complete, first-rate theatrical experience

February 26, 2019
Leave a Comment

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

By Jacob Stockinger

Larry Wells – the very experienced Opera Guy for The Well-Tempered Ear blog  – attended two performances of “Into the Woods” at the Wisconsin Union Theater, and filed this review. (Photos are by Beau Meyer for the UW-Madison Department of Theatre and Drama.)

By Larry Wells

The University Theatre and University Opera’s recent joint production of “Into the Woods” was a feast for fans of Stephen Sondheim (below). It was a complete theatrical experience with excellent singing, a nuanced orchestral accompaniment, skilled acting and enchanting staging.

The nearly three-hour work is an amalgamation of several well-known fairy tales exploring themes such as parent-child relationships, loss of innocence, self-discovery, the consequences of wishes being fulfilled, and death – but all in an amusing, literate, fast-paced kaleidoscope of witty dialogue, catchy music and sophisticated lyrics.

The production employed an attractive, ever-changing set, designed by John Drescher, that was vaguely reminiscent of Maurice Sendak.

Stage director David Ronis (below, in a photo by Luke DeLalio) utilized the large cast and what had to be an equally large number of backstage crew members in a captivating succession of ensemble pieces and solo numbers. I was never aware of the passing of time. Not looking at my watch is my acid test of a production’s success.

Among the many standout performances, Bryanna Plaisir (below) as the Witch was comical in her delivery and quite amazing in the physicality of her performance. There were a number of times when she flew, and each time I was taken by surprise at her effortlessness. Her initial song, accompanied mostly by percussion, was mesmerizing.

There were two roles that were double cast: Elisheva Pront and Miranda Kettlewell (below) as the Cinderellas; and Meghan Stecker and Zoe Bockhorst as the two Little Red Riding Hoods.

Both Pront and Kettlewell possess excellent voices.

Stecker was the more girlish of the two Red Riding Hoods, whereas Bockhorst (below left) portrayed a slightly more canny character.  Both were very funny in their encounter with Cobi Tappa’s Wolf (below right).

Tappa is a physical actor whose tall lankiness conveyed the Wolf’s lupine nature flawlessly. He also portrayed the Steward, and I was completely captivated by his performance, as was the appreciative audience.

Joshua Kelly (below) was the narrator and also played the baker’s father.  His was a professional quality performance from beginning to end – enunciating so clearly that he was completely understandable throughout.

Jack was played by Christian Michael Brenny. His portrayal of a simple-minded boy was touching, and his singing was outstanding.

Emily Vandenberg (below left) as the wife of the baker (played by Michael Kelley, below right) was another outstanding performer – an excellent comic actress and an accomplished vocalist.

Mention must also be made of Rapunzel and Cinderella’s princes, Tanner Zocher  and Jacob Eliot Elfner. Their two duets, “Agony” and “Agony Reprise,” were enthusiastically received by the audience not only for their delivery but also for such lyrics as “…you know nothing of madness ‘til you’re climbing her hair…”.

Sondheim’s way with words continues to amaze me. In describing a decrepit cow, Jack’s mother gets to sing “…while her withers wither with her…”.  The Wolf gets to sing the line “…there’s no possible way to describe what you feel when you’re talking to your meal…”

Chad Hutchinson (below) conducted the orchestra in a finely shaded performance – never overpowering and always supportive.

There were many other excellent performances and memorable moments. Suffice it to say that altogether cast, crew, artistic and production staff created a show that I enjoyed on two consecutive evenings. In fact I was completely entranced both times.

Postscript: The first evening I sat in front of a person who coughed more or less continually the entire first act.  Mercifully she left at the intermission. Next to me was a woman who alternated between audibly clearing her throat and blowing her nose — when she wasn’t applying moisturizer to her hands — throughout the entire show. Stay home if you’re sick. And remember that you are not at home watching your television.  You are in a theater.


Posted in Classical music
Tags: , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,
Next Page »

    Enter your email address to subscribe to this blog and receive notifications of new posts by email.

    Join 1,190 other followers

    Blog Stats

    • 2,044,393 hits
    June 2019
    M T W T F S S
    « May    
     12
    3456789
    10111213141516
    17181920212223
    24252627282930
%d bloggers like this: