By Jacob Stockinger
The Ear received the following information from Eric Miller to pass along:
Thanks for sharing my recital at the First Unitarian Society of Madison last week. I really appreciate what you do.
I’m repeating the program of unaccompanied music for viola da gamba at the Arts+Literature Lab (below) on this Saturday, March 25, at 8 p.m.
Doors open at 7:30 p.m.
Tickets are $10 in advance, $15 at the door.
I’ll be playing the first suite by Le Sieur de Machy and the Sonata VI by Johannes Schenk from his collection “L’echo du Danube,” (Echo of the Danube), as well as a few other smaller pieces. (Below is Eric Miller, who also performs a Prelude to a suite by Le Seiur de Machy in the YouTube video at bottom.)
In addition to my set, my idea was to juxtapose this music I love with music that is equally intricate and beautiful, but from different sound worlds and traditions.
Milwaukee cellist Patrick Reinholz (below top) will be playing modern pieces by Italian composer Luciano Berio (below middle) and Finnish composer Kaija Saariaho (below bottom) as well as one of his own compositions from a solo recording he is releasing.
Finally, cellist/composer/multi-instrumentalist Brian Grimm (below) will be presenting some of his own compositions and improvisations.
Advanced tickets are available here: http://ericmiller.bpt.me/
The Arts+Literature Lab (A+LL) is at 2021 Winnebago Street, on the east side of Madison. It is really doing exciting things for the community.
ALERT: Tonight’s concert of African-American spirituals and songs has been CANCELLED because guest scholar and singer Emery Stephens is ill. The UW-Madison School of Music hopes to reschedule the event later this spring.
By Jacob Stockinger
Guess who turns 332 on March 21?
This coming Saturday will bring a 12-hour, noon to midnight, marathon party for the Birthday Boy – Johann Sebastian Bach (1685-1750, seen below in a humorous poster for a similar event held several years ago).
The local event – now part of the nationwide “Early Music Month” — is being revived, thanks to Madison violist Marika Fischer Hoyt (below), who performs with the Madison Bach Musicians, the Ancora String Quartet and the Madison Symphony Orchestra, and to many sponsors.
The party will take place at St. Andrew’s Episcopal Church (below) on Regent Street. (Several years ago, the event, when it was sponsored by Wisconsin Public Radio, was held at the Pres House.) There will be live audio-visual streaming and free wi-fi, and the event will be recorded.
Here is a link to the updated schedule of performances:
Here is a link to an earlier post about the upcoming event:
If you love the music of Bach (below) – and The Ear doesn’t know anyone who is into classical music who doesn’t revere Bach — there will be a lot to love and to listen to at this FREE and OPEN TO THE PUBLIC celebration.
The event is modeled after a longtime similar event in New Orleans and those who attend it can come and go and come back again.
Local performers include groups and individuals who are professionals (Madison Bach Musicians and Wisconsin Chamber Choir), amateurs and students (Suzuki Strings of Madison).
The impressive program includes lots of variety.
There will be preludes and fugues.
Cantatas and concertos.
Sonatas and suites.
Obscure works will be performed.
But there will also be popular works such as two Brandenburg Concertos (Nos. 3 and 5), The Well-Tempered Clavier (Books I and II), the Magnificat, a Violin Concerto, “Jesu, Joy of Man’s Desiring” and some of The Art of Fugue. (You can hear Fugue No. 1 from “The Art of Fugue,” which will be performed at BATC, in the YouTube video at the bottom.)
There will be music played on period instruments and on modern instruments, including the harpsichord and the piano; the baroque violin and the modern violin; older recorders and newer flutes, the viola da gamba and the cello. And of course there will be lots and lots of singing and organ music.
Given such a marathon undertaking, you should know that there will be refreshments (coffee, tea, bottled water and snacks), comfortable seating and special birthday cakes — served at midnight — provided by Clausen’s Eurpean Bakery in Middleton.
NOTE: You can find out more when several organizers and performers from Bach Around the Clock are Norman Gilliland’s guests on Wisconsin Public Radio’s “The Midday” this coming Thursday from noon to 12:30 p.m.
For more information –including how to support the event with a donation and how to participate in it as a performer – go to the event’s homepage:
Here are some links to previous posts on this blog about attending earlier versions of Bach Around the Clock. Read them and look at the pictures, and you will see how enjoyable they are and how informative they are.
See you there!
ALERT: Just a reminder that UW-Madison professor and Pro Arte Quartet cellist Parry Karp will repeat his recent program with pianist Eli Kalman this Sunday afternoon during “Sunday Afternoon Live From the Chazen.” The FREE concert starts at 12:30 p.m. in the Brittingham Gallery 3. The program includes sonatas by Ludwig van Beethoven and Cesar Franck plus preludes by Sulkan Tsintsadze. The recital can also be streamed LIVE.
Here is a link to more information about the performances and program:
And here is a link to the Chazen streaming site:
By Jacob Stockinger
The Ear has been sent the following information to post:
Madison Bach Musicians is excited to offer a Summer Chamber Music Workshop from July 25 to July 28, 2017, focusing on historically informed performances of baroque and classical music.
This workshop is open to intermediate and advanced players who are high school age and older. Participants will be assigned to an ensemble group, and music will be sent in advance to allow musicians to learn their parts beforehand. (Below is a group photo from last summer’s workshop that was taken by Mary Gordon.)
The workshop will include personalized ensemble coaching, master classes, a faculty concert, community lunches and a final closing concert for a supportive and appreciative audience.
Keyboard player Trevor Stephenson (below top), who founded and directs the Madison Bach Musicians, and violinist Kangwon Kim (below bottom) are the co-directors of the summer session.
Other faculty members include flutist Linda Pereksta (below top) and cellist Martha Vallon (below bottom).
All of this will take place in the beautiful and acoustically rich spaces of the First Unitarian Society of Madison.
Applications will be accepted on a first-come, first-served basis beginning Jan. 15, 2017. (Early application discount will be given until March 20.)
Instruments covered include the violin, viola, cello, harpsichord, fortepiano, piano, flute, recorder, oboe and bassoon.
For more information and full details as well as a schedule of classes, faculty and performances – which will include the Brandenburg Concerto No. 3 by Johann Sebastian Bach (see the YouTube video at bottom) as well as music by Antonio Vivaldi and Arcangelo Corelli — go to:
For information about being an auditor and a schedule of concerts, go to:
By Jacob Stockinger
Cellist Parry Karp (below) will perform a FREE recital this Friday night, Feb. 24, at 8 p.m. in Mills Hall.
Their program features two well-known works.
Karp will perform his own transcription of the Sonata in A minor for Violin and Piano (1801) by Ludwig van Beethoven. It is the eighth of the 10 violin sonatas by Beethoven that Karp has transcribed, keeping the violin works in their original key on the cello.
Here are some remarks about these works by Karp, who likes to explore neglected composers and repertoire:
“The 24 Preludes (1980) by Sulkhan Tsintsadze are a wonderful find. Tsintsadze was a composer and cellist from Georgia in the USSR, and was very taken by the 24 prelude format.
“The piece goes through all of the major and minor Keys in the same order as the do the preludes for solo piano by Chopin.”
“Each Prelude is similar to a short story or vignette, and the emotional range of the entire set is compelling.”
Here is more information about the composer:
And here is a YouTube video – the first of four parts – with samples of the 24 Preludes for Cello and Piano:
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
This coming weekend, the Madison Symphony Orchestra (below) offers one of the best must-hear programs of the season – or so thinks The Ear.
Pianist Stephen Hough (below, in a photo by Sim Canetty-Clarke) returns for his fourth appearance with the Madison Symphony Orchestra (MSO), led by music director and conductor John DeMain.
The concert will open with Samuel Barber’s Second Essay, a dramatic piece written in the midst of World War II, followed by a performance of the exotic Saint-Saëns Piano Concerto No. 5 (“Egyptian”) featuring soloist Stephen Hough, who won major awards for his recordings of the complete works for piano and orchestra by Saint-Saëns. The concert will close with a performance of Tchaikovsky’s emotional Symphony No. 6 (“Pathétique”).
The concerts are Friday, Feb. 17, at 7:30 p.m.; Saturday, Feb. 18, at 8 p.m.; and Sunday, Feb. 19, at 2:30 p.m. in Overture Hall of the Overture Center, 201 State Street. (Ticket information is below.)
Samuel Barber (below) was one of the new generation of mid-20th century American composers with contemporaries Howard Hanson, Aaron Copland, David Diamond and, later, Leonard Bernstein.
His Second Essay was written in 1942, in the middle of the Second World War. Barber once wrote: “Although it has no program, one perhaps hears that it was written in a war-time.” This will be the first time this piece is performed by the Madison Symphony Orchestra.
The Piano Concerto No. 5 (“Egyptian”) by Camille Saint-Saëns (below) was composed while he was on a winter vacation in the Egyptian temple city of Luxor, in 1895-96. The location of this piece is important because it helped give the piece its nickname, and also influenced the sound of the score. This will be the first time this piece is performed by the Madison Symphony Orchestra.
Peter Ilyich Tchaikovsky (below) wrote his final piece between February and August 1893. The Symphony No. 6 (Pathétique) was then performed in Oct. 1893 and was conducted by Tchaikovsky himself. Nine days later he was dead.
Tchaikovsky’s late symphonies are autobiographical, and the sixth being “the best, and certainly the most open-hearted,” according to Tchaikovsky himself. Seeing that he was a troubled man, dealing with a dark depression, Symphony No. 6 (Pathétique) is filled with poignancy and deep sorrow, as you can hear in the finale in the YouTube video at the bottom.
One hour before each performance, Randal Swiggum (below), artistic director of the Elgin Youth Symphony Orchestra Artistic Director and the newly appointed Interim Music Director of the Wisconsin Youth Symphony Orchestras, will lead a 30-minute Prelude Discussion in Overture Hall to enhance concertgoers’ understanding and listening experience.
For more background on the music, read the program notes by MSO trombonist and UW-Whitewater professor Michael Allsen (below, in a photo by Katrin Talbot) at: http://www.allsenmusic.com/NOTES/1617/5.Feb17.html
Single Tickets are $16 to $87 each, and are available at madisonsymphony.org/hough and through the Overture Center Box Office at 201 State Street or by calling the Box Office at (608) 258-4141.
Groups of 15 or more can save 25% by calling the MSO office at (608) 257-3734. For more information visit, madisonsymphony.org/groups
Student rush tickets can be purchased in person on the day of the concert at the Overture Center Box Office at 201 State Street. Students must show a valid student ID and can receive up to two $12 or $15 tickets. More information is at: madisonsymphony.org/studentrush. Students can receive 20% savings on seats in select areas of the hall on advance ticket purchases.
Seniors age 62 and up receive 20% savings on advance and day-of-concert ticket purchases in select areas of the hall.
Discounted seats are subject to availability, and discounts may not be combined.
Find more information at madisonsymphony.org
Major funding for the February concerts is provided by: Irving and Dorothy Levy Family Foundation, Inc., Stephen Morton, and BMO Wealth Management. Additional funding is provided by: Boardman & Clark LLP, Forte Research Systems & Nimblify, James and Joan Johnston, and the Wisconsin Arts Board with funds from the State of Wisconsin and the National Endowment for the Arts.
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