ALERT: This week’s FREE Friday Noon Musicale at the First Unitarian Society of Madison features Danielle Breisach and Taya König-Tarasevich playing music for baroque and modern flutes. They will play works by Johann Sebastian Bach, Georg Philipp Telemann, Jacques-Martin Hottetere and Yuko Uebayashi. The concert runs from 12:15 to 1 p.m.
By Jacob Stockinger
“Con Vivo! … music with life,” (below) continues its 15th season with a chamber music concert entitled “Capital Europeans” on this Sunday afternoon, Feb. 12, at 2:30 p.m. at First Congregational United Church of Christ, 1609 University Ave. across from Camp Randall Stadium.
Tickets can be purchased at the door. Admission is $18 for adults and $15 for seniors and students.
The winter concert, called, “Capital Europeans,” features pieces from three distinct European composers, each with his own style.
Representing Paris, the program includes selections from the Organ Preludes by French composer Darius Milhaud.
Audience members are invited to join the musicians after the concert for a free reception to discuss the concert.
Adds Con Vivo’s artistic director Robert Taylor: “With this concert, we are performing a Sunday matinee with three unique composers, each with his own musical language. Our Madison audience will be able to hear our musicians up close and personal playing music of extreme delight and depth.”
Con Vivo is a professional chamber music ensemble comprised of Madison area musicians assembled from the ranks of the Madison Symphony Orchestra, the Wisconsin Chamber Orchestra and various other performing groups familiar to Madison audiences.
For more information about Con Vivo and its upcoming concerts, go to: http://www.convivomusicwithlife.org
By Jacob Stockinger
This is the time of the academic year, the end of a semester, when performers and venues at the University of Wisconsin-Madison School of Music really get a workout.
Take this weekend and especially this coming Sunday, which features seven events.
There will be two popular Winter Choral Concerts at Luther Memorial Church, 1026 University Avenue (below, in 2014) plus performances by the Concert Band and University Bands and a couple of recitals by students. Mills Hall, Morphy Hall and Music Hall will all be in use.
Here is a link to the full Sunday schedule with information about the many concerts, but which, unfortunately, does NOT include programs for the choral concerts and a band concert:
This Friday and Saturday are also busy, though less so.
At 4 p.m. in Room 2441 of the Mosse Humanities Building is a FREE public colloquium about the pioneering Romantic French composer Hector Berlioz (below).
Here is a description by the presenter, Professor Francesca Brittan of Case Western Reserve University:
“Against Melody: Neology, Revolution, and Berliozian Fantasy.”
“Complaints levied against Hector Berlioz’s music during his lifetime (and after) were many: deafening, terrifying, “too literary,” “too imitative.” But by far the most pervasive anxiety voiced by critics revolved around Berlioz’s illegibility. In particular, his music was ungrammatical, failing to adhere to the rules of syntax, the tenets of “proper” melody, and the laws of rhythm.
“These were not just idle or irritated complaints but urgent ones, linked by 19th-century critics to fears of social unraveling and even revolutionary violence. Berlioz’s musico-linguistic perversion, as one reviewer put it, was tantamount to Jacobinism. This strand of the criticism began in earnest with the “Symphonie fantastique,” a work that usually claims our attention for its orchestrational innovations and autobiographical resonances.
“In this talk, I redirect attention to the symphony’s syntax, arguing that melodic-linguistic deformation was at the heart of the work’s radicalism. I link Berlioz’s notions of “natural” grammar (borrowed in part from Victor Hugo) to notions of “natural” sound, and the “natural” rights of man. More broadly, I examine relationships among grammar, revolution, and 19th-century fantasy, between musical neology and the Berliozian imaginary.”
The event is funded by the University Lectures Anonymous Fund.
For more about Francesca Brittan (below) go to:
At 6:30 p.m. in Morphy Recital Hall, a student brass quintet will perform a FREE concert of music by Johann Sebastian Bach, Malcolm Arnold, Kevin McKee and Victor Ewald. Performers are Nicole Gray, Brandi Pease, Kirsten Haukness, Hayden Victor and Michael Madden.
At 8 p.m. in Mills Hall is a FREE public master class with David Wakefield (below), a former member of the American Brass Quintet who now teaches at The Hartt School. Sorry, no program of works to be played.
At 8:30 p.m. in Morphy Recital Hall is a FREE graduate student concert of chamber music by Wolfgang Amadeus Mozart. Rayna Slavova is a second-year Doctor of Musical Arts (DMA) student in collaborative piano, studying with professor Martha Fischer.
The all-Mozart program includes the Violin Sonata in F, K. 376, with Biffa Kwok, violin (an excerpt, played by Hilary Hahn, can be heard in the YouTube video at the bottom); the Piano Duo Sonata in C, K 521, with Alberto Pena, piano; and the Piano Quintet in E flat, K 452, with Juliana Mesa, bassoon, Kai-Ju Ho, clarinet, and Dafydd Bevil, horn.
At 4 p.m. in Mills Hall, the University Strings – made up of talented non-music majors — will play a FREE concert. Sorry, no news about the program.
At 4 p.m. in Morphy Recital Hall is a FREE Fall concert by the Flute Studio at the UW-Madison. Sorry, no word about the program or players.
At 8:30 p.m. in Morphy Recital in a FREE recital by Seth Bixler who is a senior violinist studying with Professor Soh-Hyun Altino. He will perform works by Johann Sebastian Bach, Wolfgang Amadeus Mozart, Peter Tchaikovsky and Eugene Ysaye.
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 for 12 years hosted an early music show every other 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.
By John W. Barker
There was a warm welcome back given to the fabled pianist Leon Fleisher (below) on Thursday noon at Mills Hall on the campus of the University of Wisconsin-Madison.
At age 88, Fleisher is still a formidable performer, despite vicissitudes that would have wrecked many a career. Having risen to world-wide acclaim, in 1965 he was stricken with a condition that denied him the use of his right hand.
For decades, he continued performing in left-hand literature, and in conducting and teaching. But by 2003 he had managed to recover his right-hand capacity, and could resume activities as a “two-hander.”
It was in November of 2003, at the beginning of his recovery, that he appeared in Mills Hall with the Pro Arte Quartet (below, in a photo by Rick Langer), playing the Brahms Piano Quintet in F minor, Op. 34, one of the pinnacles of the chamber music literature.
Fleisher recently offered to play here again, and in that very same Brahms work. His offer came when performance scheduling had already tied down regular evening slots, so the choice fell on a one-shot noonday date.
That was no deterrent to the jam-packed audience (below) that attended the free concert.
Fleisher is still a remarkable pianist for his age. He clearly knows this work well, and brings his long experience to it.
To be sure, Fleisher is no longer in the mold of the muscular performer that Brahms’ music requires. His playing in this work was no longer heroic or strongly pointed. There were some slips, and his less aggressive playing now made him go more for nuance than for power.
He was at his best in the slow movement, which emerged as beautifully thoughtful and nostalgic music. Still, the generosity of his presence and his long-standing ties with the quartet players made his appearance more than just an echo of past glories. (You can hear the slow movement in the YouTube video at the bottom.)
The Pro Arte gave a powerful and idiomatic delivery of its role, ready and able to match Fleisher as far as he would go. It was clear that playing with him here once again meant a lot to them. (Fleisher’s teacher, the famous Artur Schnabel, also played and recorded in the 1930s with earlier versions of the Pro Arte Quartet.)
The audience (below) responded with great enthusiasm to a memorable experience with one of the great musical personalities of our time.
By Jacob Stockinger
Who says classical music is dying?
You wouldn’t know it from some of the many world premieres of new music that will take place across the U.S. this season. Such events add a lot of excitement to the new concert season. And many critics and observers think they draw in new and younger audiences.
Quite a few of the premieres feature performers and composers familiar to Madison audiences. They include cellist Alisa Weilerstein (below top, in a photo by Harold Hoffmann for Decca Records), pianist Emanuel Ax (below second), composer Kevin Puts (below third) and composer Jake Heggie (below bottom).
Here is a round-up of the national scene by Tom Huizenga, who writes the Deceptive Cadence blog for National Public Radio or NPR.
It makes one wonder: What about the local scene here in Madison?
True, several seasons ago, the Pro Arte Quartet (below, in a photo by Rick Langer) at the University of Wisconsin-Madison commissioned and premiered six new works to mark its centennial. They included four string quartets, one piano quintet and one clarinet quintet, all of which are now available in terrific recordings from Albany Records.
This summer the Bach Dancing and Dynamite Society featured bass-baritone Timothy Jones (below) in the world premiere of a song cycle it commissioned from American composer Kevin Puts, who is mentioned in the NPR story, to mark its 25th anniversary.
And this fall, at its annual Labor Day concert the Karp family premiered a new work by Joel Hoffman for piano and cello, based on the life of the late pianist and former UW professor Howard Karp and performed by his sons pianist Christopher Karp and cellist Parry Karp (below).
This winter the Madison Opera will stage the new jazz-inspired opera “Charlie Parker’s Yardbird,” although Milwaukee’s Florentine Opera will do a world premiere of a work it commissioned. Could the Madison Opera commission again its own new work, such as it did years ago with Daron Hagen‘s opera “Shining Brow” about Frank Lloyd Wright?
And there are other commissions and premieres by smaller groups, such as the percussion ensemble Clocks in Motion.
But what is the problem with getting new commissions and world premieres at bigger ensembles such as the Madison Symphony Orchestra, the Wisconsin Chamber Orchestra and the UW Symphony Orchestra, which does perform a student work each year? Lack of money? Lack of will? Lack of audience interest?
What do you think?
The Ear wants to hear.
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 for 12 years hosted an early music show every other Sunday morning on WORT-FM 89.9 FM. He serves on the Board of Advisors for the Madison Early Music Festival and frequently gives pre-concert lectures in Madison. He also provided the performance photos for this review.
By John W. Barker
The context of this year’s Token Creek Chamber Music Festival has been the reconstitution of a neglected trout stream on the property of John and Rose Mary Harbison, the festival directors.
With an overall festival title of “Water Music,” its final program is called “Water Colors,” and is devoted exclusively to music by this year’s featured composer, Franz Schubert (below).
This program, first performed on Friday evening, contained just two major works.
The first was Schubert’s song cycle, “Die schöne Müllerian (The Lovely Miller Maid).
Setting a cycle of 20 poems by Wilhelm Müller (almost a pun!), Schubert has us follow episodically the story of a mill worker who falls in love with his boss’s daughter. She first encourages him and then betrays him, abandoning him to a hopeless death. Through all this, his guide, sustainer and, finally, consoler, is the mill brook, itself effectively a character in the saga.
Occupying the first half of the concert, this cycle was sung from memory by the highly acclaimed tenor William Hite (below). His voice is somewhat more of a dramatic than a lyric tenor, and some of his delivery had a vehemence that was almost too big for the intimate setting of “the barn” on the Harbison estate.
But, in truth, Hite (below) could muster up delicacy and nuance as well as earthy strength. Above all, he became a story teller—at once narrator and protagonist—a singing actor who drew us into the tragic story.
He was also powerfully supported by pianist Kayo Iwama (below). Her playing was not subtle, but it struck just the right tone of assertiveness and caught the bucolic evocations.
As their performance proceeded, I found I was no longer in “the barn” but transported into the world of nature and hopeless love. The poignance and humanity of Schubert’s cycle was thus truly realized.
In the second half, another of Schubert’s “nature” evocations was fittingly offered: the beloved Quintet in A for piano and an adjusted string quartet (D.667). This bears the nickname of “the Trout,” because the fourth of its five movements is a set of variations on his own song, Die Forelle (The Trout). (You can hear that fourth movement in the YouTube video at the bottom.)
Performers (below) were Rose Mary Harbison, violin; Jennifer Paulson, viola; Karl Lavine; cello, and Ross Gilliland, bass; with pianist Molly Morkoski.
It was given a lively performance, and made me pay particular attention to the role of the piano in the scoring. Aside from the two piano trios, this is Schubert’s only full-scale chamber work in which he matches the piano with a string ensemble. It’s not a quasi-concerto, but there is a clear understanding of the sonic distinctions between the piano and the strings as they contrast and collaborate.
The piano’s role was indeed the backbone of this performance, thanks to the work of Morkoski (below), who again—as in the opening concert program last weekend—showed herself a born Schubert pianist of great flair.
NOTE: This program is to be repeated this afternoon at 4 p.m., and will conclude this year’s festival.
For more information, here is a link:
By Jacob Stockinger
He had forgotten quite how quietly and intimately sensual, even sexy, it is.
The Ear has never heard the work in a live performance because, unfortunately, it isn’t programmed often – a fate it shares with most of Fauré’s music save his Requiem. But Fauré also wrote beautiful chamber music, songs and solo piano music.
Just listen to the opening watery sounds of the piano and the luscious string sounds. Just listen to the melodies and harmonies. It is such seductive music, filled with yearning and softly stated passion.
See if you don’t agree when you listen to the first movement in the YouTube video at the bottom. (You can also find a complete performance of the work in YouTube.)
It offers more proof that Faure (1845-1924, below), who taught Maurice Ravel, is severely underestimated and underperformed in the non-French music world.
In The COMMENT section, tell The Ear if you agree and what other sexy pieces of chamber music you want others to listen to.
By Jacob Stockinger
In yesterday’s blog about afternoon concerts this weekend, The Ear mentioned the FREE concert by the Perlman Piano Trio this Saturday afternoon at 3:30 p.m. in Morphy Recital Hall.
The all-masterpiece program is an appealing one: The late Piano Trio in E-flat Major, K. 542, by Wolfgang Amadeus Mozart; the Piano Quintet in E-flat Major, Op. 44, by Robert Schumann; and the Piano Trio No. 3 in C Minor, Op. 101, by Johannes Brahms.
Members of the graduate student ensemble (below, from left, in a photo by Katherine Esposito) are: violinist Adam Dorn; pianist SeungWha Baek; and cellist Micah Cheng.
Additional members for the Schumann Piano Quintet are violinist Keisuke Yamamoto and violist Luke Carmichael Valmadrid.
But the concert by the Perlman Trio is also an occasion to recognize an important donor to the University of Wisconsin-Madison School of Music.
Her name is Kato (Katherine) Perlman. The Ear knows her as a congenial, amiable and modest person.
Perlman’s generosity has made possible this scholarship trio for distinguished graduate students. Its membership usually changes every school year.
Perlman (below), a retired chemist, has also contributed to other events and programs at the UW-Madison and to other music events around town.
Now, Perlman is not alone. There are many important donors and patrons and underwriters of musical events in Madison.
One of the most distinguished and largest recent gifts was the late Karen Bishop, whose gift of $500,000 made possible hiring a new director of University Opera outside the punitive budget cuts by Gov. Scott Walker and the Republican Legislature.
Another is Irving Shain(below), the retired chemistry professor and Chancellor of the UW-Madison, who decades ago started the ongoing Beethoven Sonata Competition and who also underwrites the wind and piano duet competition.
Kato Perlman has an interesting, compelling and moving personal history, and the upcoming concert in Saturday is a good occasion to share it.
Here it is:
These are challenging times for classical music. Those of us who appreciate it should be especially grateful to Perlman and other sponsors and donors for allowing it to exist for our pleasure and enlightenment.
So The Ear says:
Thank you, Kato.
Thank you, Irv.
Thank you, Karen Bishop and family.
And thank you to all donors and sponsors – individuals, groups, corporations and businesses — including those whose philanthropy supports the Madison Symphony Orchestra, the Wisconsin Chamber Orchestra, the Madison Opera, the Madison Early Music Festival, the Bach Dancing and Dynamite Society and so many of the wonderful music groups in the areas.
You were never needed more.
In their honor, here in a YouTube video is a song of dedication, “Widmung,” composed by Robert Schumann and sung by baritone Thomas Quasthoff:
By Jacob Stockinger
You might remember that at holiday time, The Ear offered a series of roundups of the best recordings and classical music gifts of the past year. The idea is to use them as holiday gift guides.
One of those days was Grammy Day.
This past Monday night, the winners of the 58th annual Grammy were announced.
The Ear notes that there were a few items of special local and regional interest.
The late Twin Cities composer Stephen Paulus, whose works were often commissioned and premiered in Madison by the Festival Choir of Madison, the Wisconsin Chamber Choir and groups at the University of Wisconsin-Madison School of Music, was nominated for several works. And he won in two categories.
In addition, producer Judith Sherman, who already has several Grammys to her credit, was nominated again and won again. She is also the producer to the two recordings of the six centennial commissions by the Pro Arte Quartet at the University of Wisconsin-Madison. The last one – with the String Quartet No. 3 by Belgian composer Benoit Mernier and a Clarinet Quintet by Canadian composer Pierre Jalbert – will be released this spring.
In addition, violinist Augustin Hadelich (below), who has turned in outstanding and memorable performances with the Madison Symphony Orchestra, received his first Grammy for a recording of the late French composer Henri Dutilleux.
Plus, the critically acclaimed Chicago-based record company Çedille (below top), which has celebrated its 25th anniversary and which specializes in Midwest artists as well as unusual repertoire of both old and new music, had several nominations and won a Grammy for a recording of the new music group Eighth Blackbird. Two other superb artists who record for Çedille and have performed in Madison with the Wisconsin Chamber Orchestra are violinists Rachel Barton Pine and Jennifer Koh.
Here are all the winners in classical music for the 2016 Grammys. All the nominees are listed and the winners are noted with three asterisks (***):
***Ask Your Mama (below): Leslie Ann Jones, John Kilgore, Nora Kroll-Rosenbaum & Justin Merrill, engineers; Patricia Sullivan, mastering engineer (George Manahan & San Francisco Ballet Orchestra) Label: Avie Records
Dutilleux: Métaboles; L’Arbre Des Songes (Tree of Dreams); Symphony No. 2, ‘Le Double’: Dmitriy Lipay, engineer; Alexander Lipay, mastering engineer (Ludovic Morlot, Augustin Hadelich & Seattle Symphony) Label: Seattle Symphony Media
Rachmaninoff: All-Night Vigil: Beyong Joon Hwang & John Newton, engineers; Mark Donahue, mastering engineer (Charles Bruffy, Phoenix Chorale and Kansas City Chorale) Label: Chandos
Saint-Saëns: Symphony No. 3, ‘Organ’: Keith O. Johnson and Sean Royce Martin, engineers; Keith O. Johnson, mastering engineer (Michael Stern and Kansas City Symphony) Label: Reference Recordings
73. PRODUCER OF THE YEAR, CLASSICAL
Blanton Alspaugh: • Hill: Symphony No. 4; Concertino Nos. 1 & 2; Divertimento (Peter Bay, Anton Nel & Austin Symphony Orchestra) • Rachmaninoff: All-Night Vigil (Charles Bruffy, Phoenix Chorale & Kansas City Chorale) • Sacred Songs Of Life & Love (Brian A. Schmidt & South Dakota Chorale) • Spirit Of The American Range (Carlos Kalmar & The Oregon Symphony) • Tower: Violin Concerto; Stroke; Chamber Dance (Giancarlo Guerrero, Cho-Liang Lin & Nashville Symphony)
Manfred Eicher: • Franz Schubert (András Schiff) • Galina Ustvolskaya (Patricia Kopatchinskaja, Markus Hinterhäuser & Reto Bieri) • Moore: Dances & Canons (Saskia Lankhoorn) • Rihm: Et Lux (Paul Van Nevel, Minguet Quartet & Huelgas Ensemble) • Visions Fugitives (Anna Gourari)
Marina A. Ledin, Victor Ledin: • Dances For Piano & Orchestra (Joel Fan, Christophe Chagnard & Northwest Sinfonietta) • Tempo Do Brasil (Marc Regnier) • Woman At The New Piano (Nadia Shpachenko)
Dan Merceruio: • Chapí: String Quartets 1 & 2 (Cuarteto Latinoamericano) • From Whence We Came (Ensemble Galilei) • Gregson: Touch (Peter Gregson) • In The Light Of Air – ICE Performs Anna Thorvaldsdottir (International Contemporary Ensemble) • Schumann (Ying Quartet) • Scrapyard Exotica (Del Sol String Quartet) • Stravinsky: Petrushka (Richard Scerbo & Inscape Chamber Orchestra) • What Artemisia Heard (El Mundo) • ZOFO Plays Terry Riley (ZOFO)
***Judith Sherman: • Ask Your Mama (George Manahan & San Francisco Ballet Orchestra) • Fields: Double Cluster; Space Sciences (Jan Kučera, Gloria Chuang & Moravian Philharmonic Orchestra) • Liaisons – Re-Imagining Sondheim From The Piano (Anthony de Mare) • Montage – Great Film Composers & The Piano (Gloria Cheng) • Multitude, Solitude (Momenta Quartet) • Of Color Braided All Desire – Music Of Eric Moe (Christine Brandes, Brentano String Quartet, Dominic Donato, Jessica Meyer, Karen Ouzounian, Manhattan String Quartet & Talujon) • Rzewski: The People United Will Never Be Defeated! (Ursula Oppens) • Sirota: Parting The Veil – Works For Violin & Piano (David Friend, Hyeyung Julie Yoon, Laurie Carney & Soyeon Kate Lee) • Turina: Chamber Music For Strings & Piano (Lincoln Trio)
Bruckner: Symphony No. 4: Manfred Honeck, conductor (Pittsburgh Symphony Orchestra) Label: Reference Recordings
Dutilleux: Métaboles; L’Arbre Des Songes; Symphony No. 2, ‘Le Double’: Ludovic Morlot, conductor (Seattle Symphony) Label: Seattle Symphony Media
***Shostakovich: Under Stalin’s Shadow – Symphony No. 10 (below): Andris Nelsons, conductor (Boston Symphony Orchestra) Label: Deutsche Grammophon
Spirit Of The American Range: Carlos Kalmar, conductor (The Oregon Symphony) Label: Pentatone
Zhou Long and Chen Yi: Symphony ‘Humen 1839’: Darrell Ang, conductor (New Zealand Symphony Orchestra) Label: Naxos
Janáček: Jenůfa: Donald Runnicles, conductor; Will Hartmann, Michaela Kaune & Jennifer Larmore; Magdalena Herbst, producer (Orchestra Of The Deutsche Oper Berlin; Chorus Of The Deutsche Oper Berlin) Label: Arthaus
Monteverdi: Il Ritorno D’Ulisse In Patria: Martin Pearlman, conductor; Fernando Guimarães & Jennifer Rivera; Thomas C. Moore, producer (Boston Baroque) Label: Linn Records
Mozart: Die Entführung Aus Dem Serail: Yannick Nézet-Séguin, conductor; Diana Damrau, Paul Schweinester & Rolando Villazón; Sid McLauchlan, producer (Chamber Orchestra Of Europe) Label: Deutsche Grammophon
***Ravel: L’Enfant Et Les Sortilèges; Shéhérazade (belw): Seiji Ozawa, conductor; Isabel Leonard; Dominic Fyfe, producer (Saito Kinen Orchestra; SKF Matsumoto Chorus & SKF Matsumoto Children’s Chorus) Label: Decca
Steffani: Niobe, Regina Di Tebe: Paul O’Dette & Stephen Stubbs, conductors; Karina Gauvin & Philippe Jaroussky; Renate Wolter-Seevers, producer (Boston Early Music Festival Orchestra) Label: Erato
Beethoven: Missa Solemnis: Bernard Haitink, conductor; Peter Dijkstra, chorus master (Anton Barachovsky, Genia Kühmeier, Elisabeth Kulman, Hanno Müller-Brachmann & Mark Padmore; Symphonieorchester Des Bayerischen Rundfunks; Chor Des Bayerischen Rundfunks) Label: BR Klassik
Monteverdi: Vespers Of 1610: Harry Christophers, conductor (Jeremy Budd, Grace Davidson, Ben Davies, Mark Dobell, Eamonn Dougan & Charlotte Mobbs; The Sixteen) Label: Coro
Pablo Neruda – The Poet Sings: Craig Hella Johnson, conductor (James K. Bass, Laura Mercado-Wright, Eric Neuville & Lauren Snouffer; Faith DeBow & Stephen Redfield; Conspirare) Label: Harmonia Mundi
Paulus: Far In The Heavens: Eric Holtan, conductor (Sara Fraker, Matthew Goinz, Thea Lobo, Owen McIntosh, Kathryn Mueller & Christine Vivona; True Concord Orchestra; True Concord Voices) Label: Reference Recordings
***Rachmaninoff: All-Night Vigil (below): Charles Bruffy, conductor (Paul Davidson, Frank Fleschner, Toby Vaughn Kidd, Bryan Pinkall, Julia Scozzafava, Bryan Taylor & Joseph Warner; Kansas City Chorale & Phoenix Chorale) Label: Chandos
Brahms: The Piano Trios: Tanja Tetzlaff, Christian Tetzlaff & Lars Vogt. Label: Ondine
***Filament (below and in a YouTube video at the bottom): Eighth Blackbird. Label: Cedille Records
Flaherty: Airdancing For Toy Piano, Piano & Electronics: Nadia Shpachenko & Genevieve Feiwen Lee. Track from: Woman At The New Piano. Label: Reference Recordings
Render: Brad Wells & Roomful Of Teeth. Label: New Amsterdam Records
Shostakovich: Piano Quintet & String Quartet No. 2: Takács Quartet & Marc-André Hamelin. Label: Hyperion
***Dutilleux: Violin Concerto, L’Arbre Des Songes (below): Augustin Hadelich; Ludovic Morlot, conductor (Seattle Symphony) Track from: Dutilleux: Métaboles; L’Arbre Des Songes; Symphony No. 2, ‘Le Double’ Label: Seattle Symphony Media
Grieg & Moszkowski: Piano Concertos: Joseph Moog; Nicholas Milton, conductor (Deutsche Radio Philharmonie Saarbrücken Kaiserslautern) Label: Onyx Classics
Mozart: Keyboard Music, Vol. 7: Kristian Bezuidenhout. Label: Harmonia Mundi
Rachmaninov Variations: Daniil Trifonov (The Philadelphia Orchestra) Label: Deutsche Grammophon
Rzewski: The People United Will Never Be Defeated! Ursula Oppens (Jerome Lowenthal). Label: Cedille Records
Beethoven: An Die Ferne Geliebte; Haydn: English Songs; Mozart: Masonic Cantata: Mark Padmore; Kristian Bezuidenhout, accompanist. Label: Harmonia Mundi
***Joyce & Tony – Live From Wigmore Hall: Joyce DiDonato; Antonio Pappano, accompanist. Label: Erato
Nessun Dorma – The Puccini Album. Jonas Kaufmann; Antonio Pappano, conductor (Kristīne Opolais, Antonio Pirozzi & Massimo Simeoli; Coro Dell’Accademia Nazionale Di Santa Cecilia; Orchestra Dell’Accademia Nazionale Di Santa Cecilia) Label: Sony Classical
Rouse: Seeing; Kabir Padavali: Talise Trevigne; David Alan Miller, conductor (Orion Weiss; Albany Symphony) Label: Naxos
St. Petersburg: Cecilia Bartoli; Diego Fasolis, conductor (I Barocchisti) Label: Decca
As Dreams Fall Apart – The Golden Age Of Jewish Stage And Film Music (1925-1955): New Budapest Orpheum Society; Jim Ginsburg, producer. Label: Cedille Records
Ask Your Mama: George Manahan, conductor; Judith Sherman, producer. Label: Avie Records
Handel: L’Allegro, Il Penseroso Ed Il Moderato, 1740: Paul McCreesh, conductor; Nicholas Parker, producer. Label: Signum Classics
***Paulus: Three Places Of Enlightenment; Veil Of Tears & Grand Concerto (below): Giancarlo Guerrero, conductor; Tim Handley, producer. Label: Naxos
Woman At The New Piano: Nadia Shpachenko; Marina A. Ledin & Victor Ledin, producers. Label: Reference Recordings
Barry: The Importance Of Being Earnest: Gerald Barry, composer (Thomas Adès, Barbara Hannigan, Katalin Károlyi, Hilary Summers, Peter Tantsits & Birmingham Contemporary Music Group) Label: NMC Recordings
Norman: Play: Andrew Norman, composer (Gil Rose & Boston Modern Orchestra Project) Track from: Norman: Play. Label: BMOP/Sound
***Paulus: Prayers & Remembrances (below): Stephen Paulus, composer (Eric Holtan, True Concord Voices & Orchestra). Track from: Paulus: Far In The Heavens. Label: Reference Recordings
Tower: Stroke: Joan Tower, composer (Giancarlo Guerrero, Cho-Liang Lin & Nashville Symphony). Track from: Tower: Violin Concerto; Stroke; Chamber Dance. Label: Naxos
Wolfe: Anthracite Fields: Julia Wolfe, composer (Julian Wachner, The Choir Of Trinity Wall Street & Bang On A Can All-Stars) Label: Cantaloupe Music
By Jacob Stockinger
Here is a special posting, a review written by frequent guest critic and writer for this blog, John W. Barker, who also provided performance photos. 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 for 12 years hosted an early music show every other Sunday morning on WORT FM 89.9 FM. He serves on the Board of Advisors for the Madison Early Music Festival and frequently gives pre-concert lectures in Madison.
By John W. Barker
For its final concert of the season, the Mosaic Chamber Players (below) gave a program Saturday night at the First Unitarian Society of Madison. It combined two of the great quintets for piano and strings: the second of that type, in C minor, Op. 115, by Gabriel Fauré (1847-1924); and the only one if its kind, in F minor, Op. 34, by Johannes Brahms (1833-1897).
So close together, one would think, and yet, so far apart. Contrasts result from distinct differences between the two composers in both nationality and personality — between Gallic eloquence and German burliness.
The work by Fauré (below) was completed in 1921, by which time Debussy was dead and Ravel, who was Faure’s student, was in his prime. It is one of a half-dozen chamber pieces with which the composer rounded out his final years — almost, one might think, as an extension of his long output of piano writing.
Its expansive four-movement format is conventional in scope and with a range of expression. But its heart is a long and rapturous slow movement that flows with the unfolding elegance of one of Fauré’s piano nocturnes. (You can hear the slow movement in a YouTube video at the bottom.)
By contrast, the quintet by Brahms (below) is one of the masterpieces of his early chamber-music writing. It dates from 1862, when Richard Wagner was between the composition of “Tristan und Isolde” and “Die Meistersinger von Nürnberg.”
Starting as some ideas for a symphony, it exists also in Brahms’s own adaptation of it as a sonata for two pianos. Its four movements are more conventionally conceived than Fauré’s, combining masterful Classical craftsmanship with powerful Romantic urgency.
The performances involved five players from the group. The two violinists alternated in the first chair: Laura Burns for the Fauré, Wes Luke for the Brahms. Micah Behr and Michael Allen played viola and cello, respectively, while pianist Jess Salek (below) was the anchor as pianist, just as he is as the group’s guiding spirit.
These players have worked together before, but not as a consistent ensemble, although they suggested a close collegiality that more established groups might envy. They fully captured the moods, nuances and strengths of the two works.
If there were problems, it had to do with some balances, above all disadvantaging the viola. Some of the explanation could be in the choice of the cavernous Atrium Hall (below, in a photo by Zane Williams) as performing venue, rather then the more intimate Landmark auditorium, the original meeting house of the First Unitarian Society, designed by Frank Lloyd Wright. The Atrium’s highly reverberant acoustics overwhelmed the players’ sound, and, at the same time, prompted over-exertions in volume output, to the detriment of carefully calculated ensemble.
The size of the hall also pointed up the painfully small size of the audience. There are always weekend competitions for attention, especially in the spring. Still, the Mosaic group is only beginning to develop sufficient promotion and publicity for its activities. Potential audience members need to be made aware of what the group offers.
What it does offer is one of the high-quality sources of chamber music performance in Madison’s very rich spectrum of events in that category.
The next Mosaic season should win the wider attention it greatly deserves.
By Jacob Stockinger
You always know when we are coming down to the end of a semester or the end of the school year. The music events start stacking up over the University of Wisconsin-Madison School of Music likes planes stacked up over O’Hare.
Talk about Train Wreck Weekends! And this is just the UW. There is plenty more to come, as you will see here over the course of this week.
In a way, it is a testament to the vitality of the music scene here in the Madison area.
But it is also too bad to the degree that so many events almost guarantee that some audiences will be smaller than they might otherwise be because people just can’t keep up with so many things that are so closely scheduled that they compete with each other for listeners’ free time. And we are not even talking about big draws like the three performances of the annual concert and show by the UW-Madison Varsity Band.
Guest artists the Elaris Duo (below) will give master classes Tuesday night, April 14. The violin class with Larisa Elisha will be from 6-7:30 p.m. in Mills Hall, and the cello class will be with Steven Elisha from 8-9:30 p.m. They perform a concert Wednesday night at 8 in Mills Hall. See below.
A FREE concert will be given by the UW-Madison Guitar Ensemble at 7:30 p.m. in Morphy Recital Hall under the direction of Javier Calderon (below top). Sorry, The Ear has received no word about the program. For more information, go to: http://www.music.wisc.edu/events/uw-guitar-ensemble-2/
$2 Broom, a FREE concert of electro-acoustic improvised music by students will be held in Music Hall, under the direction of UW-Madison horn professor Daniel Grabois (below bottom, in a photo by James Gill). For more information when it is posted, go to: http://www.music.wisc.edu/events/2-dollar-broom-2015/
A FREE concert by guest artists the Elaris Duo — husband-and-wife cellist and violinist — in Mills Hall at 8 p.m. The program includes works by Wolfgang Amadeus Mozart, Zoltan Kodaly and Erwin Schulhoff. For more information, visit: http://www.music.wisc.edu/events/elaris-duo-guest-artists/
The Pro Arte Quartet (below, in a photo by Rick Langer) will perform a FREE concert at 7:30 p.m. in Mills Hall. The program includes the String Quartet in A Major, K. 464, by Wolfgang Amadeus Mozart; the String Quartet No. 4 by Leon Kirchner; and the early String Quartet in C Minor by Ludwig van Beethoven, Op. 18, No. 4. For more information about the concert and the Pro Arte Quartet, go to: http://www.music.wisc.edu/events/pro-arte-quartet_4_16/
At 2 p.m. in Room 1629 of the Humanities Building, Brazilian percussionist Ney Rosauro (below) will give a master class that is open to the public. For information about the artist, go to: http://www.music.wisc.edu/events/master-class-with-brazilian-percussionist-ney-rosauro/
At 7:30 p.m. in Music Hall, the Mad City Brass Quintet, made up of UW-Madison students, will perform a FREE concert of music by UW-Madison professor emeritus of tuba and euphonium John Stevens (below) as well as by Billy Joel, Michael Kamen and Andre Lafosse. For more information, visit: http://www.music.wisc.edu/events/mad-city-brass-quintet/
At 7:30 p.m. in Luther Memorial Church, 1021 University Avenue, the UW-Madison Concert Choir, Chorale, and Madrigal Singers will perform. Bruce Gladstone will conduct. The joint concert of the three choirs is themed “O Beauty” but each ensemble will have its own section. (Below is the Concert Choir performing.)
The choirs will perform together on the following large works: Blest Pair of Sirens by C.H.H. Parry and Missa “O Pulchritudo” by Gian-Carlo Menotti.
These will be performed with UW-Madison Professor John Chappell Stowe on organ.
For information, visit: http://www.music.wisc.edu/events/uw-concert-choir-chorale-and-madrigal-singers/
At 3:30 in Morphy Recital Hall, the Perlman Trio (funded by local philanthropist Kato Perlman) and two guest artists (below in a photo by Tori Rogers) will perform a FREE concert. The piano trio members (three in the front) are SeungWha Baek, piano; Valerie Sanders, violin; and Daniel Ma, cello. Guests are Keisuke Yamamoto, violin, and Jeremy Kienbaum, viola.
The program includes: Piano Trio in E-flat Major, Hoboken XV: 29, by Franz Joseph Haydn; the Piano Quintet in D Major, Op. 51, by Anton Arensky; and the Piano Trio in B Major, Op. 8 (original version) by Johannes Brahms. For information, go to: http://www.music.wisc.edu/events/perlman-trio-recital/
At 4 p.m. in Mills Hall, the Low Brass Ensemble will offer a FREE concert. Sorry, no other details are available. When they are, go to: http://www.music.wisc.edu/events/low-brass-ensemble/
At 6 p.m. in Morphy Recital Hall. UW-Madison bassoonist-conductor Marc Vallon (below top, in a photo by James Gill) and Madison Bach Musicians founder, director and keyboard player Trevor Stephenson (below bottom) will host a demonstration of early music practices and period instruments, featuring performers from the Madison Bach Musicians. The event is part of the year-long “Rediscovering Rameau” music festival.
Later this week there will be two semi-staged performances of Rameau’s 1748 ballet-opera “Pygmalion” that Stephenson and the Madison Bach Musicians will give at the First Unitarian Society of Madison this Friday night at 6:45 p.m. and Sunday afternoon at 2:45 p.m. Go to: http://www.music.wisc.edu/events/pygmalion-madison-bach-musicians/
At 6:30 p.m. in Mills Hall, the gala concert of the 12th annual Madison Flute Festival, “Flutes Down Under,” will take place. Admission is $5 for those not taking part in the day-long festival. It is held by the Wisconsin Flute Club and the flute studio of UW Professor Stephanie Jutt, who is Principal Flute of the Madison Symphony Orchestra and also a co-founder and co-director of the Bach Dancing and Dynamite Society.
The Madison Flute Club is winding up a fund-raising drive — nearly $15,000 — for the purchase of a contra bass flute. This instrument was made by Eva Kingma in the Netherlands, and is in transit now. This instrument will be the first contra bass flute in Wisconsin.
The Madison Flute Club also recently sponsored a composition contest for the contra bass flute, and the winning piece will be performed at the Flute Club’s Spring Recital May 9 at Midvale Lutheran Church.
At the conclusion of the Flute Festival this week, the public is invited to hear a performance featuring the family of low flutes. This concert will present pieces by Gary Shocker, Vaughan McAlley and many other composers writing for the low flutes. Attendees will hear performances on alto, bass, contra bass and subcontrabass flute –an extremely rare instrument.
Other festival events take place at the UW-Madison Pyle Center. The festival features guest artist Peter Sheridan (below), low flutes specialist visiting from Australia. Activities include flute choir reading sessions, master class, performances, presentations, vendors and competitions featuring monetary prizes. For more information, go to: http://www.madisonfluteclub.org/FluteFestival.html
At 3:30 p.m., the winners of UW-Madison’s annual Beethoven Piano Sonata Competition will perform. A reception will follow. The event is made possible by the generosity of former UW-Madison Chancellor Irving Shain (below bottom). For word on the winners and the sonatas to be performed, go to: http://www.music.wisc.edu/events/beethoven-competition-recital/