By Jacob Stockinger
The Ear doesn’t see a unifying theme to this week’s events at the University of Wisconsin-Madison Mead Witter School of Music. But there is a lot of varied and appealing music and events — by acclaimed faculty members, guest performers and prize-winning students — on tap.
All concerts are FREE and OPEN TO THE PUBLIC.
Here is the lineup by day:
At 7:30 p.m. in Mills Hall, oboist Aaron Hill (below) will give a recital featuring “Oboe Music From the Big 10.” The program includes works by three contemporary composers: Theresa Martin, Teddy Niedermaier and Daniel Black. Also performing are his UW colleagues bassoonist Marc Vallon and pianist Christopher Taylor.
For more information about the performers, the composers and the music, go to:
From 11:30 to 1:30 in Music Hall, guest conductor Gary Thor Wedow (below), who will conduct the Madison Opera’s upcoming production of “The Magic Flute” by Wolfgang Amadeus Mozart, will give a public master class. Singers from the University Opera and the UW opera program will be featured.
For more information, go to:
At 7:30 in Mills Hall, clarinetist Amy McCann (below) will perform a recital featuring two works: the Sonata for Clarinet and Piano by Argentinean composer Carlos Guastavino; and the Clarinet Trio by Johannes Brahms. Pianist Martha Fischer and pianist Parry Karp will perform with McCann.
At 3:30 p.m. in Morphy Recital Hall, the all-student Perlman Trio will perform its annual recital.
The program includes the Piano Trio in D Major, Hob. XV/7 by Franz Joseph Haydn; the Piano Trio N. 4 in E Minor (“Dumky”), Op. 90, by Antonin Dvorak; and the Piano Trio No. 2 in C Major, Op. 87, by Johannes Brahms.
Members of the Perlman Trio, which is funded by a gift from Dr. Kato Perlman, are (below, from left, in a photo by Katherine Esposito): cellist Michael Cheng, pianist Chan Mi Jean and violinist Adam Dorn.
For more information about the performers, go to:
At 3:30 in Morphy Recital Hall, the winners of the 32nd annual Beethoven Sonata Competition will perform. The program is: Kangwoo Jin playing the Sonata in C Major, Op. 53 (“Waldstein”); Leah Kang playing the Sonata in E Major, Op. 109; and Alberto Peña-Cortes playing the Sonata in A Major, Op. 101.
For more information, go to:
At 7:30 in Mills Hall, the UW Symphony Orchestra will perform its last concert under professor of conducting James Smith (below), who is retiring after 34 years at the UW-Madison.
The program includes the Overture to “Romeo and Juliet” by Peter Tchaikovsky; the Sinfonia Concertante for Violin and Viola by Wolfgang Amadeus Mozart; and the music from “Fancy Free” by Leonard Bernstein.
For more information go to:
For information about the many student degree recitals that were scheduled, go to:
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.
By John W. Barker
The Mosaic Chamber Players closed their season on Saturday night at the First Unitarian Society of Madison with a program of three trios for piano and strings.
Rather than bypassing the fact that the date was April 1, the three players—violinist Wes Luke (below top), cellist Kyle Price (below middle), and pianist-director Jess Salek (below bottom) — embraced it as a chance for an “April Fool’s” offering, in the form of the trio composed by Charles Ives.
This is a prime example of the patriotic nose thumbing and iconoclasm in which Ives (below) delighted.
As Luke pointed out in his enthusiastic introduction, the second of its three movements is a Presto bearing the title of “TSIAJ,” an anagram for “This Scherzo Is a Joke.” (You can hear the Scherzo movement, played by the Beaux Arts Trio, in the YouTube video at the bottom.)
The three players dug into it with gusto and almost made its complexities and deliberate off-putting sound plausible—but, fortunately, not quite.
The first half of the program was devoted to the “Elegaic” Trio in D Minor, Op. 9, by Sergei Rachmaninoff. This work was modeled self-consciously on Tchaikovsky’s Piano Trio, Op. 50. Each was written in memory of an admired elder colleague.
Rachmaninoff (below) was well aware of the footsteps in which he was walking—and which he could not quite fill. Cast in three movements with a lot of variations on themes, Rachmaninoff’s Trio runs to almost an hour, and sometimes suggests that the composer’s ambition outran his ideas.
As a pianist himself, Rachmaninoff made the keyboard part very much the dominant one, especially in its latter parts, with the two string players often just along for the ride. Nevertheless, it is an impressive work, and the three Mosaic musicians were quite heroic in allowing us a chance to hear it.
The program concluded with the better known of Felix Mendelssohn’s two trios, the first one in D minor, Op. 49. This is intensely serious yet beautifully melodious music, and proved just the thing to restore a sense of stability and balance.
In all of these works, the three players gave performances that would be rated as first-class anywhere. In that, they upheld the tradition that Jess Salek has created with his colleagues of making Mosaic concerts outstanding events in Madison’s chamber music life.
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
The time for announcing new seasons has arrived.
Pretty soon, over the next several weeks and months, The Ear will hear from larger and smaller presenters and ensembles in the Madison area, and post their new seasons.
First out of the gate is the critically acclaimed and popular summer group, the Madison-based Bach Dancing and Dynamite Society. (You can see a short promo video about BDDS on the YouTube video at the bottom.)
It has just announced its upcoming summer season this June, and sent out brochures with the season’s details.
This will be the 26th annual summer season and it has the theme of “Alphabet Soup.”
The concept is explained online and in a brochure newsletter (also online) in an editorial essay by BDDS co-founder and co-artistic director flutist Stephanie Jutt (seen below with co-founder and co-director pianist Jeffrey Sykes).
In many ways it will be a typical season of the eclectic group. It will feature local and imported artists. Many of both are favorites of The Ear.
His local favorites include UW-Madison pianist Christopher Taylor; violist Sally Chisholm of the UW-Madison’s Pro Arte Quartet; UW violinist Soh-Hyun Park Altino (below top, in a photo by Caroline Bittencourt); and Pro Arte cellist Parry Karp (below bottom).
Among The Ear’s favorite guest artists are violinist Carmit Zori, clarinetist Alan Kay, the San Francisco Piano Trio (below top); UW alumna soprano Emily Birsan; pianist Randall Hodgkinson; and baritone Timothy Jones (below bottom).
As usual, the season features 12 concerts of six programs over three weeks (June 9-25) in three venues – the Playhouse in the Overture Center (below top), the Hillside Theater (below middle) at Frank Lloyd Wright’s Taliesin compound in Spring Green and the Stoughton Opera House (below bottom).
In addition, there is a FREE family concert in the Overture Playhouse on June 10.
What does seem somewhat new is the number of unknown composers and an edgier, more adventurous choice of pieces, including more new music and more neglected composers.
Oh, there will be classics by such composers as Joseph Haydn, Wolfgang Amadeus Mozart, Luigi Boccherini, Franz Schubert, Johannes Brahms, Peter Tchaikovsky, Sergei Prokofiev, Maurice Ravel, Bela Bartok, Arnold Schoenberg, Benjamin Britten and others. These are the ABC’s of the alphabet soup, according to BDDS.
But also represented are composers such as Philippe Gaubert, Czech Holocaust victim Gideon Klein (below), Guillaume Conneson, Carl Czerny, Paul Moravec and Franz Doppler. These are the XYZ’s of the alphabet soup.
In between come others. Contemporary American composer, and Pulitzer Prize winner, Kevin Puts (below) is a BDDS favorite and is well represented. You will also find less performed works by Ned Rorem, Erich Wolfgang Korngold and Gerald Finzi.
For the complete programs and schedules as well as the list of performers, some YouTube videos and ticket prices, both for season tickets ($109.50, $146, $182 and $219) and for individual concerts ($43), and other information, go to:
By Jacob Stockinger
What makes for great Chopin playing?
It is an especially germane question since the critically acclaimed pianist Adam Neiman (below) will perform an all-Chopin recital this coming Sunday at 4 p.m. at Farley’s House of Pianos, 6522 Seybold Road, on Madison’s far west side near West Towne Mall.
Tickets are $45. For more information, go to:
Neiman –pronounced KNEE-man — has appeared here as a soloist with the Wisconsin Chamber Orchestra and recorded piano concertos by Mozart with the WCO. He is a critically acclaimed prize-winning pianist with a major concertizing and recording career. He also teaches at Roosevelt University in Chicago and is a member of the Trio Solisti, a piano trio that has been hailed as the successor to the famous Beaux Arts Trio.
Here is a link to Neiman’s website with information about him and his recordings, including upcoming releases of Beethoven, Liszt and Rachmaninoff:
Adam Neiman also recently did an email Q&A interview with The Ear:
There are some exceptional players of Beethoven and other German composers who sound completely out of their element in Chopin. What qualities do you think make for great Chopin playing and what makes Chopin difficult to interpret?
Chopin’s music incorporates a narrative language and an emphasis on very “first person” points-of-view; in other words, it is highly personalized, expressing emotion from the perspective of the individual, including nationalistic sentiments. Often, Germanic music aims for “objective” viewpoints, with extremely stringent instructions by the composer.
For players who struggle with the open-ended idiomatic flavor in Chopin’s music, the lack of objective instruction by the composer can make it difficult for them to know what to do. (You can hear Adam Neiman discussing much more about Chopin’s personality and artistic achievement in the YouTube video at the bottom)
To play Chopin (below) at a very high level requires imagination and freedom, as well as a poetic and introspective musical tendency. The fluidity of rubato, the contrapuntal interaction between the hands and the frequent use of widely spread textures requires a nimble master of the instrument, one with the ability to emphasize the piano’s specific virtuosic abilities.
In addition, Chopin’s music is centered around a bel canto operatic style of melody, whereas Germanic melody tends to be more motivic in nature, and therefore developmental.
A composer like Beethoven will emphasize motivic metamorphosis as a means of augmenting a form to create large structures, whereas Chopin will glide from one melodic area to another, using harmonic exploration as the central means of formal expansion.
This compositional difference outlines different strengths in the pianists, as the skill set to play reams of melody lines in succession can often be very different from those skills required to highlight motivic development in a work.
Can you place the 24 Preludes that you will be playing within the context of Chopin’s entire body of works. What would you like the public to know about the preludes and how you see them individually and as a group?
The 24 Preludes were composed while Chopin was on holiday in Mallorca, Spain, which proved to be Chopin’s first palpable bout with tuberculosis, the disease that eventually killed him. (Below is an 1849 photo of Chopin on his deathbed.)
Many of these works were written in a fever-state, in haste, and during a stressful time period in which Chopin was not only facing his own mortality, but also dealing with the myriad challenges of integrating with the children of his lover, the French writer Aurora Dudevant who is better known as George Sand.
These Preludes are like snapshots into the mind of the composer at a moment in time, often without regard for cohesion or development. They exist in a timeless place, where the music expresses the extremely personal sentiments roiling through Chopin’s consciousness.
In many ways, these works capture his spirit in the most distilled possible way, giving the player and listener an opportunity to view the mind and heart of Chopin without filter or refinement, hallmarks of his larger works.
Despite the widely varied emotional content of these Preludes, as a set they hold together as a marvelous and surprisingly cogent musical journey. They exemplify the 19th-century “Romantic” ideals of fantasy, freedom, individuality and raw emotion.
You will also perform all four Ballades. How they do they rank within Chopin’s output? What would you like listeners to know about each of the four ballades, about what they share in common and what distinguishes each one? Do you have favorites and why?
If the Preludes represent the pinnacle of Chopin’s ability to express poetic ideals within miniature forms, the Ballades represent the apex of his more grandiose musical philosophy.
The Ballade, as a form, emanates from epic poetry, often portraying a heroic protagonist overcoming seemingly inescapable challenges. Ballades can also be tied to nationalistic notions, and for Chopin, all four Ballades are truly Polish in their expression.
As Chopin’s native Poland was invaded and he was cut off permanently from re-entry, Chopin became an orphan of the world, whose adopted home of France revered and celebrated him without equal.
His musical mission — exemplified by the Ballades, Mazurkas and Polonaises in particular — was to heighten awareness of Poland’s cultural contributions to a European audience totally unaware of the goings-on in the east.
As a result of the immense conflicts suffered by Chopin’s homeland, and in keeping with the deep pride and identification Chopin felt as a Pole, these Ballades express the emotional rollercoaster of a lone Polish hero — perhaps Chopin himself, autobiographically — battling the world.
All four of these works make an enormous impression on the listener. From the despair and anger of the first Ballade, the bi-polar conflicts of the second (below is the opening of the second Ballade in Chopin’s manuscript), the pastoral hopefulness of the third, and the desolate introspection of the fourth, these Ballades speak to the soul and require the most intensely personal voice of the performer.
They require the possession of immense physical power and emotional maturity, which renders these works as being among Chopin’s most challenging.
I love all four of them equally. They are true masterworks of the highest order.
In there anything else you would like to say?
I am deeply honored and extremely delighted to return to Madison to perform this recital. I look forward to seeing many familiar faces, as well as new friends. Thank you!
By Jacob Stockinger
The Mosaic Chamber Players (below) will begin their 2016-2017 season with an all-Beethoven program this Saturday, Oct. 15, at 7:30 p.m. in the Landmark Auditorium of First Unitarian Society at 900 University Bay Drive.
The performance will be the fourth concert of five in a cycle featuring the complete string sonatas of Ludwig van Beethoven (below).
On this program are: the Violin Sonata in A Minor, Op. 23, a favorite of The Ear, which can be heard in the YouTube video at the bottom; the Violin Sonata in G Major Op. 30, No. 3; and the Cello Sonata in F Major, Op. 5, No. 1.
Admission is $15 for adults; $10 for seniors; and $5 for students. Tickets are available at the door. Cash and checks only will be accepted – no credit cards.
Members of the Mosaic Chamber Players are founder and pianist Jess Salek (above left); violinists Wes Luke and Laura Burns (above center); and cellist Michael Allen (above right).
For more information, including the programs for this upcoming season, which feature piano trios by Felix Mendelssohn, Sergei Rachmaninoff and Charles Ives) and violin sonatas by Aaron Copland and John Corigliano, go to:
By Jacob Stockinger
Two FREE and appealing but very different concerts are on tap this week at the University of Wisconsin-Madison School of Music:
PRO ARTE QUARTET
On Wednesday night at 7:30 p.m. in Mills Hall, the acclaimed Pro Arte Quartet (below in a photo by Rick Langer) will perform a program that features standard works as well as new music.
The quartet will play the String Quartet in B-flat Major (1790), Op. 64, No. 3, by Franz Joseph Haydn; and the String Quartet No, 10 (1809), Op. 74, called the “Harp” Quartet, by Ludwig van Beethoven.
Less well is the contemporary work “Fantasies on the Name of Sacher” (2012) by French composer Philippe Hersant.
Here are program notes from Pro Arte cellist Parry Karp (below):
“The Haydn and Hersant are new pieces for the Pro Arte and it has been a great pleasure to learn them.
“The Haydn was written at the time that Haydn’s job as the court composer of the court of Esterhazy had come to an end. It is one of the “Tost” Quartets, named for the Hungarian violinist Johann Tost. Haydn dedicated the quartets to him to thank him for his performances and for helping Haydn get a publisher for the quartets.
“The next piece on the program is the “Fantasies for String Quartet” by the French composer Philippe Versant (b. 1948, below). Here are the composer’s notes on this piece:
“This piece has been in the works for years. First performed in 2008, the first version for string trio included six fantasies. I added two the following year, then an additional instrument (second violin). This version for string quartet was commissioned for the Cully Classique Festival, where it was premiered in 2012. Finally, for the Grand Prix Lycéen for Composers, I imagined a version for string orchestra, commissioned by Musique Nouvelle en Liberté (2013).
“The initial challenge was to write a series of pieces that were as different as possible, from a basic material that was very narrow. That common material is a short motif of 6 notes, which correspond (in Germanic notation) to the letters of Sacher’s name (with a few twists): S (E-flat) A C H(B) E R(D).
“This motif has already been used by a number of composers (Henri Dutilleux, Pierre Boulez and Benjamin Britten) in their homages to Paul Sacher, the great patron and conductor.
“Joined together by the omnipresence of these six notes, the eight fantasies offer strong contrasts in character and style:the first has a high-pitched, rarefied atmosphere a la Shostakovich; the second has a taunting and obsessional tone; there is a dramatic, tense ambience in the fourth …. Two others showcase the voices of the soloists: viola (lyrical) in the third and the cello (stormy) in the seventh.
“Some quotations pepper the discourse: In the third fantasy an altered version of a passage from Beethoven’s String Quartet No. 13, Op. 130, and the sixth combines motifs borrowed from Gustav Mahler’s Symphony No. 4, Igor Stravinsky’s “Symphony of Psalms” and Dmitri Shostakovich. A falsely naive, short children’s song closes the set.
The last piece on the program, the String Quartet in E-flat Major, Op. 74, by Beethoven, was named the “Harp” Quartet by the first publisher of the work. It was so named because of the the unique use of pizzicato in the first movement of the piece.
This string quartet is one of the great masterpieces of the quartet repertoire with a brilliant first movement, a profound slow movement which foreshadows Beethoven’s late period, a brilliant scherzo, and a classical style variation movement as the finale.
On Thursday night at 7:30 p.m. in Mills Hall, the Trio Unprepared will perform a FREE concert of improvised music.
Here is the blurb from the UW-Madison School of Music’s website:
Drawing from the vast resources of contemporary, jazz, classical and global music, the Trio Unprepared presents an evening of IMPROVISED music for piano and percussion. Ensemble members are Andre Gribou, piano, and Roger Braun and Anthony DiSanza on percussion. (DiSanza teaches at the UW-Madison and is a member of the Madison Symphony Orchestra.)
Trio Unprepared has performed globally in extraordinarily diverse musical settings and worked together in various configurations for many years.
This concert — and the subsequent tour of Wisconsin — brings the trio back together for the first time since performing in Switzerland in July 2015.
A master class will follow this concert, from 9 to 10:30 p.m.
By Jacob Stockinger
The Oakwood Chamber Players will kick off their 2016-2017 season with a concert entitled “Looking Across the Table: Can We Find Common Ground?” on this coming Saturday night, Sept. 10, at 7 p.m. and Sunday afternoon, Sept. 11, at 2 p.m.
The concerts will both be held in the Oakwood Village University Woods Center for Arts and Education, 6209 Mineral Point Road, on Madison’s far west side.
Tickets can be purchased with cash or personal checks at the door: $20 for general admission, $15 for seniors and $5 for students.
Visit www.oakwoodchamberplayers.com or call (608) 230-4316 for more information.
The season’s theme of “Perspective” is full of interesting viewpoints on life and relationships; the blended use of diverse musical styles with film and theater will help the audience see things from another’s point of view.
Here is a link to a preview of the entire season:
This weekend’s program concert will begin Cafe Music for piano trio by the Michigan-based composer Paul Schoenfield. The work draws inspiration from a range of styles including 20th-century American, Viennese, gypsy and Broadway. (You can hear the catchy music in the YouTube video at the bottom.)
Cuban composer Paul Colina’s “Stairway to Midnight Café” has a delightful current of dance influence and is dedicated to his friends in the First Coast Chamber Ensemble.
The Oakwood Chamber Players will welcome guests to the stage for the charming Dixtuor by French composer Jean Françaix (below). The engaging interplay of strings and winds creates an atmosphere of instrumental commentary parallel to an upbeat social gathering.
Guest musicians include Maureen McCarty, violin; Katrin Talbot, viola; Brad Townsend, string bass; Jennifer Morgan, oboe; and Juliana Mesa-Jaramillo, bassoon.
Famed British composer Sir Edward Elgar (below) wrote Elegy, a poignant adagio, when processing the untimely loss of a friend and colleague. He created a piece that tugs at the heartstrings of both listeners and performers.
This is the first of five concerts in the Oakwood Chamber Players’ 2016-2017 concert season. Remaining concerts include “Looking Back and Forward” on Nov. 27; “Looking Within” on Jan. 21 and 22”: “Looking Through the Lens” on March 18 and 19; and “Looking Closely at the Score” on May 13 and 14.
The Oakwood Chamber Players are a group of Madison-area professional musicians who have rehearsed and performed at Oakwood Village for over 30 years. They have experience with the Madison Symphony Orchestra, the Wisconsin Chamber Orchestra, the University of Wisconsin-Madison School of Music and other groups and institutions.
The Oakwood Chamber Players are a professional music ensemble proudly supported by Oakwood Lutheran Senior Ministries and the Oakwood Foundation.
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
The Oakwood Chamber Players (below) have long been known for programming new music as well as neglected old music or neglected composers that they perform with top-quality music-making – often with a unifying theme to the programs.
Just look at the details of the following announcement of the new season:
The Oakwood Chamber Players are excited to announce their 2016-2017 concert series, “Perspective.”
Full of interesting viewpoints on life and relationships, the blended use of diverse musical styles with film and theater will help concertgoers see things from another’s point of view.
All concerts will be held in the auditorium (below) at Oakwood’s Center for Arts and Education, 6002 Mineral Point Road, on the far west side of Madison.
Tickets can be purchased at the door: $20 for general admission, $15 for seniors, and $5 for students. More information can be found at www.oakwoodchamberplayers.com
LOOKING ACROSS THE TABLE: CAN WE FIND COMMON GROUND?
Saturday, September 10, at 7 p.m. and Sunday, September 11, at 2 p.m.
Paul Schoenfield (below) – Café Music for piano trio
Michael Colina – Stairway to Midnight Café for mixed instruments
Jean Françaix – Dixtuor for woodwind quintet and string quintet
Edward Elgar – Elegy for string quintet
LOOKING BACK AND FORWARD: CAN THE PAST, PRESENT, AND FUTURE CHANGE US?
Sunday, November 27, 2016 at 1 p.m. and 3:30 p.m.
Frank Bridge (below) – Sir Roger de Coverly Christmas Dance for strings
Jon Deak – “Passion of Scrooge” for large mixed ensemble with baritone voice
LOOKING WITHIN: CAN WE SEE WITHIN OURSELVES THOSE WHO HAVE GONE BEFORE?
Saturday, January 21, 2017 at 7 p.m. and Sunday, January 22, 2017 at 2 p.m.
Byron Adams (below) – Serenade (Homage de Husa) for large mixed ensemble
Arnold Schoenberg – Notturno (Nocturne) for strings and harp (in the YouTube video at the bottom)
Francis Poulenc – Sextet for woodwind quintet and piano
Maurice Ravel/David Bruce – Kaddish for large mixed ensemble
LOOKING THROUGH THE LENS: CAN WE SPEAK WHEN THERE ARE NO WORDS?
Saturday, March 18, 2017 at 7 p.m. and Sunday, March 19, 2017 at 2 p.m.
Paul Bowles (below) – Music for a Farce (Movie – The Fireman) for clarinet, trumpet, piano and percussion
Dan Visconti – Low Country Haze with film for large mixed ensemble
Gaetano Donizetti – Trio for flute, bassoon and piano
LOOKING CLOSELY AT THE SCORE: CAN WE GET INSIDE THE MINDS OF THE COMPOSERS?
Saturday, May 13, 2017 at 7 p.m. and Sunday, May 14, 2017 at 2 p.m.
Joan Trimble (below) – Phantasy Trio for piano trio
Vincent d’Indy – Chanson et Danses (Song and Dances) for winds
Joachim Raff – Sinfonietta for double woodwind quintet
The Oakwood Chamber Players is a professional music ensemble proudly supported by Oakwood Lutheran Senior Ministries and the Oakwood Foundation.