The Well-Tempered Ear

Classical music: New faculty conductor Chad Hutchinson makes an impressive and promising debut with the UW Symphony Orchestra

October 11, 2017
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By Jacob Stockinger

Last Saturday night, Chad Hutchinson (below), the new faculty conductor at the University of Wisconsin-Madison’s Mead Witter School of Music, made an impressive and promising debut with the UW Symphony Orchestra.

The ambitious program that Hutchinson put together says a lot about his priorities and instincts, and about his confidence in himself and the abilities of his student players, who performed superbly.  

The varied works came from the early 19th century, the mid-19th century, the early 20th century and the 21st century. And it seemed that each piece in the ambitious program was chosen to put the spotlight on a different section – percussion, brass, strings and winds.

Curiously, The Ear found the most successful pieces were the most traditional ones.

The Prelude to the opera “Die Meistersinger von Nürnberg” by Richard Wagner received the right mix of horn pomp and string zest. It made The Ear realize again how much more he prefers Wagner’s instrumental music to his vocal music. Let’s hear more Wagner preludes, since we are unlikely to hear more Wagner operas.

The orchestral transcription by Leopold Stokowski (below) of the piano prelude “The Sunken Cathedral” by Claude Debussy was the least successful work of the night. This is the second overblown and bombastic Stokowski transcription that The Ear has heard performed live in a month.

Clearly, Stokowski’s aesthetic was Bigger is Better. This particular transcription strips away the mystery, sensuality and subtlety, the watery softness,  of the original. It works more as an etude for orchestra than as an authentic expression of Impressionism.  The Ear’s objections are to the transcription, not to the performance, which was well voiced, precise and tightly controlled.

“Mothership” by the popular American composer Mason Bates (below), who wrote the recent successful opera based on the life of the late Apple guru Steve Jobs, proved an interesting foray into contemporary music culture. It was also the Madison premiere of the 2011 work.

The electronic music in the pulsating and highly atmospheric score, including the computer-generated disco dance beat, highlighted the percussion section and the UW’s new Electro-Acoustic Research Space (EARS), which collaborated with the symphony orchestra.

The dramatic work, a novelty that is pop-infused and resembles music by John Adams a little too closely, has its pleasing and engaging moments. But overall it seems a triumph of style over substance. (You can judge for yourself from the performance with Michael Tilson Thomas in the YouTube video at the bottom.)

That said, Hutchinson nonetheless held the complex and coordinated score together, and the young audience seemed to take to the new music — a major achievement in itself.

Expect to hear many more contemporary works from Hutchinson, who says he is an unabashed champion of new music. He will include other living composers in many other concerts, including the next one on Nov. 4 and then again on Feb. 22.  

To these ears, the most impressive performance came in the Symphony No. 3 “Eroica” by Ludwig van Beethoven. In its day, the difficult and long work proved revolutionary and perplexing. More recently, more than 100 conductors named it the best symphony ever written. You can’t get more establishment than that.

Yet despite being so mainstream, the “Eroica” remains a difficult and challenging work, both technically and interpretively. And this performance succeeded on both counts. That is no small feat for a new conductor and his young students to pull off in the first six weeks of school.

Especially impressive was Hutchinson’s choice to skip any pause between the third movement and the finale. It worked dramatically to maintain momentum. Such exciting attacks should be a more common practice in performing symphonies and concertos as well as chamber music.

Hutchinson seems a congenial and humorous concert hall host. His pre-concert talk (below), which he is slated to do at all performances, was helpful and informative, even if he repeated some major points when he introduced  the actual performances. Hutchinson, intent on expanding the audience for classical music, is worth listening to.

Hutchinson may not possess an especially graceful or fluid podium presence that is pleasing to watch, but he gets results. Certainly both the student players and the large audience (below) seemed pleased and excited by these performances.

In the end, the concert provided plenty of reasons to look forward to hearing more from Chad Hutchinson and seeing how he develops and leaves his mark on programming and performing at the UW.

Were you there as either a performer or an audience member?

What did you think of the concert and of Chad Hutchinson’s debut?

The Ear wants to hear.

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Classical music: The 150th anniversary of architect Frank Lloyd Wright’s birth will be celebrated with two concerts on this coming Sunday afternoon and Monday night in Spring Green. They feature the world premiere of a work commissioned from Madison-based composer Scott Gendel.

August 2, 2017
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By Jacob Stockinger

Effi Casey, the director of music at Taliesin, the Frank Lloyd Wright compound in Spring Green, writes:

“I am writing to you to let you know about special concerts at Taliesin on Sunday, Aug. 6, at 2:30 p.m. and Monday, Aug. 7, at 7:30 p.m., which I will direct in the Hillside Theater at Taliesin.

“The concerts are a collaboration of Taliesin Preservation and Rural Musicians Forum as part of the year-long celebration of the 150th anniversary of the birth of architect Frank Lloyd Wright (below).

“I commissioned UW-Madison prize-winning graduate Scott Gendel to write “That Which Is Near,” a piece for choir, string quartet and piano, and we have enjoyed working on it. (NOTE: Gendel will discuss his work in more detail in tomorrow’s posting on this blog.) It will receive its world premiere at these two concerts.

“Other works to be performed include: “Fanfare for the Common Man” by Aaron Copland; “Past Life Melodies” by Sarah Hopkins; the spiritual “Ev’ry Time I Feel de Spirit”; “Hymn to Nature” (from the Wright-inspired opera “Shining Brow,” which is the English translation of the Welsh word “Taliesin” and stands for the hillside location) by UW-Madison graduate Daron Hagen; “Song of Peace” by Jean Sibelius”; and the “Sanctus” and “Dona Nobis Pacem” from the Mass in B Minor) by Johann Sebastian Bach and spoken words.

“The participation and enthusiasm of the singers of the greater Spring Green community are most rewarding already.

TICKETS

“Tickets are available on-line at RuralMusiciansForum.org. Please see the “Purchase Tickets Here” link to Brown Paper Tickets on the right-hand side of the RMF home page.

“Alternatively, tickets can be purchased at the Arcadia Bookstore in downtown Spring Green.

“Ticket prices range from $15 to $30. The $30 tickets for the Sunday Aug. 6 concert include concert admission and a festive champagne post-concert reception with composer Scott Gendel, the musicians and the chorus.

“Tickets for the concert only on Aug. 6 or 7 are $20 or $15 for seniors and students. Children 12 and under are free, but please pick up a free ticket for them to be sure they get a seat at the concert.” (Below is the Hillside Theater.)

WRIGHT AND MUSIC

To The Ear, a special concert seems the perfect way to mark the Wright sesquicentennial.

Just take a look, thanks to research by Effi Casey (below), at what Wright himself said and thought about music:

“… Never miss the idea that architecture and music belong together. They are practically one.” (FLW)

“While Wright claimed architecture as the “mother art,” his experience in music was early, visceral, and eternal. Of his childhood he wrote: “…father taught him (the boy) to play (the piano). His knuckles were rapped by the lead pencil in the impatient hand that would sometimes force his hand into position at practice time on the Steinway Square in the sitting room. But he felt proud of his father too. Everybody listened and seemed happy when father talked on Sundays when he preached, the small son dressed in his home-made Sunday best, looked up at him, absorbed in something of his own making that would have surprised the father and the mother more than a little if they could have known.”(FLW’s Autobiography).

“In his later years, Wright himself preached musical integration in his own Sunday talks to the Fellowship:

“Of all the fine arts, (Wright exclaimed in a Sunday morning talk to his apprentices) music it was that I could not live without – as taught by my father. (I) found in it (a) sympathetic parallel to architecture. Beethoven and Bach were princely architects in my spiritual realm…”

“But more than words, it was in practice where he conveyed music to those in his sphere, from a piano designed into a client’s home (for someone who may or may not have been able to play it!), to his own score of concert grand pianos at the two Taliesins (he claimed “the piano plays me!”).

“In a gesture of delight and exuberance, as it is told by those who experienced it, Wright had a gramophone player installed at the top of his Romeo and Juliet tower (below is the rebuilt tower) at Taliesin to have Bach’s Mass in B Minor resound over the verdant hills and valleys.

Adds Casey: “Architecture is indeed a musical parallel of composition, rhythm, pattern, texture, and color. As Beethoven’s Fifth Symphony is an “edifice of sound” (FLW) built upon the famous first eight notes, so Wright’s overture of verse expresses a singular IDEA, played in stone, wood, and concrete, from superstructure to matching porcelain cup.”

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Classical music: The third and final week of the Bach Dancing and Dynamite Society’s 26th season offers vocal music, four-hand piano music and instrumental chamber music of four centuries plus a Midwest premiere

June 22, 2017
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By Jacob Stockinger

Building on the success of the past two weekends and previous four programs, the Bach Dancing and Dynamite Society chamber music festival, which features top local and guest performers, concludes its season this weekend with a typically eclectic mix of vocal and instrumental music that ranges from the late 18th century up to today, including a Midwest premiere.

As usual, the BDDS venues are suitably intimate for chamber music: The Playhouse (below top) at the Overture Center at 201 State St.; the jewel box historic Stoughton Opera House (below middle) at 381 East Main St.; and Frank Lloyd Wright’s Hillside Theater (below bottom) at Taliesin on County Highway 23 in Spring Green.

Concerts are spiked with stories about the music, mystery guests and even door prizes.

This season’s theme is Alphabet Soup, because it’s BDDS’ 26th year and there are 26 letters in the alphabet. Each program is named after a combination of letters used in everyday language. Sometimes the musical interpretation of those letters is literal and sometimes it’s quite loose.

The final weekend of concerts welcomes back audience favorites Hye-Jin Kim, violin; Ara Gregorian, viola; Randall Hodgkinson, piano (below top); and Timothy Jones, bass-baritone (below bottom).

They are joined by the acclaimed local violinist Soh-Hyun Park Altino (below top), a new member of the UW-Madison music faculty, and by Madison Symphony Orchestra cellist Madeleine Kabat (below bottom, in a photo by Christian Steiner), who is filling in for UW-Madison professor and Pro Arte Quartet cellist Parry Karp, who has sustained a finger injury.

“Cs the Day” includes the Midwest premiere of “Cool Fire” for flute, string quartet and piano by Paul Moravec (below), and Mozart’s  “Coronation Piano Concerto” arranged for the entire ensemble.

Timothy Jones will be featured in the song cycle, “Let Us Garlands Bring” by Gerald Finzi. These are settings of carpe diem poems of Shakespeare. (Carpe diem is Latin for “seize the day” = “Cs the Day”— get it?) You can hear the songs in the YouTube video at the bottom.

At the center of this program is Carl Czerny’s Sonata in C minor for piano four-hands. BDDS will suspend a camera over the keyboard so the audience can see how the hands of the pianists cross and interlock throughout this virtuosic masterpiece. (Below is a view of a similar set up six seasons ago.)

Cs the Day will be performed at The Playhouse, Overture Center for the Arts on Friday, June 23, at 7:30 p.m.; and Spring Green at the Hillside Theater, Sunday, June 25, at 2:30 p.m. 

The final program of the season, “R&B,” features “Rounds for Robin, a short work by Kevin Puts (below top) for flute and piano written in memory of comedian Robin Williams, and the Flute Quintet in G minor by Luigi Boccherini (below bottom).

The “Santa Fe Songs” for baritone and piano quartet by Ned Rorem (below, in a photo by Christian Steiner) features the mesmerizing voice of Timothy Jones in one of the great American song cycles.

The 26th season concludes with Johannes Brahms’ towering Piano Quintet in F minor.

R&B will be performed at The Playhouse, Overture Center, Madison, on Saturday, June 24, at 7:30 p.m.; and Spring Green at the Hillside Theater, Sunday, June 25, and 6:30 p.m. 

Photos by Dick Ainsworth of BDDS performances and behind-the-scenes will be on exhibit in The Playhouse through Sunday, July 9.

Single general admission tickets are $43. Student tickets are always $10.

For tickets visit: http://www.overture.org/events/bach-dancing

For more information about the programs, performers, performances and background, visit www.bachdancinganddynamite.org or call (608) 255-9866.

Tickets can also be purchased at Overture Center for the Arts, (608) 258-4141, www.overturecenter.org (additional fees apply).

Tickets are also available at the door at all locations.


Classical music: The second week of programs by the Bach Dancing and Dynamite Society offers vocal and instrumental music that spans four centuries and includes a world premiere

June 15, 2017
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By Jacob Stockinger

Last weekend, the Bach Dancing and Dynamite Society opened its 26th season with two programs in three venues that all proved highly successful.

Building on that success, the chamber music festival with top local and guest performers, now turns to vocal and instrumental music that ranges from the late 18th century up to today, including a world premiere.

As usual, the BDDS venues are suitably intimate for chamber music: The Playhouse (below top) at the Overture Center at 201 State St.; the jewel box historic Stoughton Opera House (below middle) at 381 East Main St.; and Frank Lloyd Wright’s Hillside Theater (below bottom) at Taliesin on County Highway 23 in Spring Green.

Concerts are spiked with stories about the music, mystery guests and even door prizes.

This season’s theme is Alphabet Soup, because it’s BDDS’ 26th year and there are 26 letters in the alphabet. Each program is named after a combination of letters used in everyday language. Sometimes the musical interpretation of those letters is literal and sometimes it’s quite loose.

The second weekend of concerts features the San Francisco Piano Trio (below) Axel Strauss, violin; Jean-Michel Fonteneau, cello; and Jeffrey Sykes, piano).

They are joined by UW-Madison’s pianist Christopher Taylor, soprano Emily Birsan (another Madison favorite and a graduate of the UW-Madison and Lyric Opera of Chicago) and internationally acclaimed clarinetist Alan Kay.

TWO PROGRAMS

Two Bs or not Two Bs includes evocative songs by Maurice Ravel for soprano, flute, cello and piano and an entertaining bouquet of earthy cabaret songs by composers Benjamin Britten, William Bolcom and Arnold Schoenberg, sung by Emily Birsan.

The program also features Bela Bartok’s “Contrasts” for clarinet, violin and piano, a work commissioned by the legendary jazz clarinetist Benny Goodman (below), and Johannes Brahms’ epic Piano Trio in C Major, Op. 87. (You can hear a historic recording of Benny Goodman performing the Bartok work, with the composer playing the piano, in the YouTube video at the bottom.)

Two Bs or not Two Bs will be performed at The Playhouse, Overture Center for the Arts, on Friday, June 16, 7:30 p.m., and at the Hillside Theater, Taliesin, Spring Green, on Sunday, June 18, 2:30 p.m.


Special K is a showcase for Alan Kay, principal clarinetist of the renowned Orpheus Chamber Ensemble.

It includes “The Shepherd on the Rock” for soprano, clarinet and piano by Franz Schubert; the hip tour-de-force “Techno Parade” by Guillaume Conneson (below) for flute, clarinet and piano; and the Midwest premiere of “Living Frescoes” for clarinet, violin, cello and piano by American composer Kevin Puts.

Many will remember that Kevin Puts (below) was the Pulitzer Prize-winning composer BDDS commissioned for the song cycle “In At The Eye” in its 25th season last summer.

The program is rounded out with Mozart’s Piano Trio in E Major and three songs by Erich Wolfgang Korngold (below) sung by Emily Birsan, accompanied by Jeffrey Sykes.

Special K will be performed at The Playhouse, Overture Center for the Arts, on Saturday, June 17, 7:30 p.m., and at the Hillside Theater, Taliesin, in Spring Green, on Sunday, June 18, 6:30 p.m.

Photos by Dick Ainsworth of BDDS performances and behind-the-scenes will be on exhibit in The Playhouse through Sunday, July 9.

Single general admission tickets are $43. Student tickets are always $10.

For tickets visit: http://www.overture.org/events/bach-dancing

For more information about the programs, performers, performances and background, visit www.bachdancinganddynamite.org or call (608) 255-9866.

Tickets can also be purchased at Overture Center for the Arts, (608) 258-4141, www.overturecenter.org (additional fees apply).

Tickets are also available at the door at all locations.


Classical music: Madison Symphony Orchestra closes its season with the German Requiem by Brahms and the American premiere of Charles Villiers Stanford’s 1921 Concert Piece for Organ and Orchestra

May 1, 2017
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By Jacob Stockinger 

The Madison Symphony Orchestra (below, in a photo by Greg Anderson), led by music director John DeMain, will close out its current season this coming weekend.

For the season-closing concert, soprano Devon Guthrie and bass-baritone Timothy Jones will make their MSO debuts when they join the orchestra for Brahms’ A German Requiem.

The concert will open with the American premiere of Charles Villier Stanford’s Concert Piece for Organ and Orchestra featuring Nathan Laube (below top), who is returning to the MSO.

The finishing touch to the 2016-17 season happens in the second half of the concert, when more than 100 members of the Madison Symphony Chorus (below) take the stage with the orchestra and organ to perform Johannes BrahmsA German Requiem.

Featured vocal soloists in the Brahms German Requiem are soprano Devon Guthrie (below top) and bass-baritone Timothy Jones (below bottom), who is familiar from multiple appearances with the Madison-based Bach Dancing and Dynamite Society.

The concerts in Overture Hall of the Overture Center, 201 State St., are on this Friday, May 5, at 7:30 p.m.; this Saturday, May 6, at 8 p.m.; and this Sunday, May 7, at 2:30 p.m.

Tickets are $16-$87. For more information, go to: http://www.madisonsymphony.org/brahms

Charles Villiers Stanford’s Concert Piece for Organ and Orchestra was completed on April 15, 1921. Stanford (below) is one of the leading figures in what is sometimes called the “Second English Musical Renaissance” — which was a movement in the late 19th century, led by British composers.

Stanford (below) believed in more conservative English contemporary music, rather than the music of Wagner, for example. He composed in all genres but had a great commitment to the organ.

His Concert Piece for Organ and Orchestra was never performed or published during his lifetime. This is the piece’s debut performance with the Madison Symphony Orchestra, and the American premiere of the work.

Johannes Brahms’ A German Requiem was completed between 1857 and 1868. The word “Requiem” is Latin for “rest” or “repose” and in the Catholic faith the Requiem is the funeral Mass or Mass of the Dead. (You can hear the opening movement in the YouTube video at the bottom.)

While usually filled with “terrifying visions of the Last Judgment and pleas for intercession on behalf of the souls of the dead and the living,” Brahms however puts death in a different light. He took sections of the Bible that are religious, but not necessarily Christian, and tells a story of salvation for all.

Although upon its completion, Brahms (below) called this piece, “Ein deutsches Requiem, nach Worten der Heiligen Schrift” (which translates to; “A German Requiem, from Words of the Holy Scripture”), he was quoted saying that his piece should really be called “A ‘Human’ Requiem.” It is believed to be dedicated to Brahms’ mother, and his musical father and mentor, Robert Schumann.

One hour before each performance, Beverly Taylor (below), MSO assistant conductor and chorus director, as well as director of choral activities at the UW-Madison, will lead a 30-minute Prelude Discussion in Overture Hall to enhance concertgoers’ understanding and listening experience.

For more background on the music, visit the Program Notes by MSO trombonist and UW-Whitewater professor Michael Allsen (below) at: http://www.allsenmusic.com/NOTES/1617/8.May17.html

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 May concerts is provided by: Kenneth A. Lattman Foundation, Inc., Larry and Jan Phelps, University Research Park, and BMO Wealth Management. Additional funding is provided by: WPS Health Solutions, Carla and Fernando Alvarado, and Wisconsin Arts Board with funds from the State of Wisconsin and the National Endowment for the Arts.


Classical music: The UW Concert Choir, Choral Union and Symphony Orchestra will perform world premieres, local premieres and new music in three concerts this weekend

April 26, 2017
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By Jacob Stockinger

The Ear has received the following messages from UW composer Laura Schwendinger and from Beverly Taylor, the director of choral activities at the University of Wisconsin-Madison School of Music who is also the assistant conductor and chorus director of the Madison Symphony Orchestra:

Writes conductor Beverly Taylor: This is a busy and musically fascinating weekend for me coming up.

On Friday night at 8 p.m. in Mills Hall, there is a special concert by the Concert Choir (below) on the subject of Art Born of Tragedy, with the acclaimed guest cellist Matt Haimovitz.

Tickets are $15, $5 for students. For more information about tickets as well as the performers and the program, go to:

http://www.music.wisc.edu/event/uw-concert-choir-4-matt-haimovitz/

Then in Mills Hall at 8 p.m. on Saturday night and at 7:30 p.m. on Sunday night, there are two performances of When Lilacs Last in the Dooryard Bloomed by the 20th-century composer Paul Hindemith by the UW Choral Union and the UW Symphony Orchestra (below). It is a work that to my knowledge has never been performed in Madison.

Tickets are $15, $8 for students. For more information about obtaining tickets and about the concert, visit:

http://www.music.wisc.edu/event/uw-choral-union-uw-symphony-orchestra/

Here is more information about the events:

CONCERT CHOIR

The Concert Choir performance explores in music of several centuries the theme of “Art Born of Tragedy” — how outside events can be the spark that causes the creation of works of substance that range from the gentle and comforting to rage and despair.

We will sing music from the Renaissance: part of the Thomas Tallis’ “Lamentations of Jeremiah (on the ancient destruction of Jerusalem),” and a John Wilbye madrigal “Draw on Sweet Night for a Broken Heart.”

We will present three works from modern composers: one is a world premiere by the prize-winning composer Laura Schwendinger (below top), my colleague at the UW-Madison, for viola — played by Sally Chisholm (below bottom) of the UW Pro Arte Quartet — and wordless chorus. It is called “For Paris” in memory of those killed in the Paris terrorist bombings of 2015.

(Adds composer Laura Schwendinger: “The viola starts this short work by referencing only for a moment the merest idea of a ‘musette song,’ one that might be heard on an evening in a Paris cafe. The choir enters with a simple refrain that repeats again and again, each time with a little more material, as an unanswered question of sorts. Each time the viola reenters the texture, the music becomes more pressing in a poignant manner, until it arrives in its highest register, only to resolve with the choir as it quietly acquiesces in the knowledge that the answer may not be known.”)

We will present a short “O vos omnes” (O you who pass by) written by Pennsylvania composer Joseph Gregorio (below), composed in memory of a Chinese girl hit by a car and left to die.

The third piece is a reprise of “Après moi, le deluge” by Luna Pearl Woolf (below top), which we premiered and recorded 11 years ago. We are lucky to have back the wonderful internationally known cellist Matt Haimovitz (below bottom), who premiered this work with it. The text, written by poet Eleanor Wilner, mixes the Noah story with the Hurricane Katrina disaster.

The term “Après moi, le deluge” is a term attributed to Louis XV or his mistress Madame Pompadour, and means “after me the flood” — referring either to the chaos after his reign, or that what happens afterword bears no importance for him.

The work has four different moods like a symphony — with strong themes at the start and cries for help, followed by the slow movement despair, a scherzo-like depiction of havoc, and a final movement that is like a New Orleans funeral, upbeat and Dixieland.

Throughout the program we also present spirituals that depict loneliness or salvation from trouble.

UW CHORAL UNION

In certain ways, When Lilacs Last in the Dooryard Bloomed resembles the Concert Choir concert in that it contains a number of moods and styles as well, under a dark title. The subtitle of the work is “a Requiem for Those We Love.”

It was commissioned by the great choral and orchestral conductor Robert Shaw as a tribute to President Franklin Delano Roosevelt on his death and the train ride that carried him from Warm Springs, Georgia, to Washington, D.C.

The text that Paul Hindemith (below top) chose is by Walt Whitman (below bottom), who wrote his poem on the death of Abraham Lincoln, and the funeral train from Washington, D.C., to Springfield, Illinois.

Whitman’s grief is combined with pride and joy in the countryside that the train traverses, and his feelings find an outlet in the thrush that sings out its song. His sense of a sustaining universe is a contrast to his depiction of the despair and ravages of the Civil War.

Hindemith’s calling the work a “Requiem for Those We Love,” puts it, like the Brahms’ “German” Requiem, into a class of non-liturgical requiems — that is, the texts are not those that are part of the Catholic Mass for the Dead, but are other selected texts of joy or remembrance.

Hindemith’s style can loosely be described as tonal that veers away into dissonance and returns again to the home key. The Prelude and opening movement are dark; the solo songs of baritone (James Held, below top) and mezzo-soprano (Jennifer D’Agostino, below bottom) are marvelous; the fugue on the glories of America is glorious and other sections are soft and tender. (NOTE: You can hear the orchestral prelude of the work, with composer Paul Hindemith conducting the New York Philharmonic, in the YouTube video at the bottom.)

The work is hard for both chorus and orchestra, but well worth the effort. The piece is about 80 minutes long and will be performed without interruption. It’s a work I’ve always wanted to do, having heard it performed at Tanglewood many years ago. I’m delighted to have the chance now.


Classical music: Mozart masterfully melds the emotional and the intellectual, says maestro Gary Thor Wedow, who will conduct two performances of “The Magic Flute” this weekend for the Madison Opera. Here is Part 1 of his two-part interview with The Ear

April 18, 2017
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By Jacob Stockinger

The Madison Opera will stage Wolfgang Amadeus Mozart’s The Magic Flute this Friday night, April 21 at 8 p.m. and Sunday afternoon, April 23, at 2:30 p.m. in Overture Hall. (Production photos are courtesy of the Arizona Opera, from which the Madison Opera got its sets and costumes.)

Here are an introduction and some details, courtesy of the Madison Opera:

Written in the last year of his life, Mozart’s opera is part fairy tale, part adventure story, and is filled with enchantment.

Set in a fairy-tale world of day and night, the opera follows Prince Tamino and the bird-catcher Papageno as they embark on a mission to rescue Pamina, the daughter of the Queen of the Night. Pamina had been kidnapped by Sarastro, the leader of a religious order. But it turns out that exactly who is “good” and who is “evil” is not always what it appears.

Along the way to happily-ever-after, Pamina, Tamino and Papageno face many challenges, but are assisted by a magic flute, magic bells, a trio of guiding spirits and their own clear-eyed sense of right and wrong.

“The Magic Flute has been beloved around the world since its 1791 premiere,” says Kathryn Smith (below in a photo by James Gill), Madison Opera’s general director. “It has been called a fairy tale for both adults and children, with a story that works on many levels, all set to Mozart’s glorious music. I’m so delighted to be sharing it again with Madison, with an incredible cast, director and conductor.”

The opera runs about 2 hours and 45 minutes with one intermission.

Tickets are $18 to $130.

“The Magic Flute” will be sung in German with English supertitles.

For more about the production and cast, go to:

http://www.madisonopera.org/performances-2016-2017/the-magic-flute/

And also go to:

http://www.madisonopera.org/performances-2016-2017/the-magic-flute/cast/

Dan Rigazzi, who has been on the directing staff at the Metropolitan Opera for 10 years, makes his Madison Opera debut with this beautiful production that incorporates some steampunk elements into its fairy-tale setting.

Gary Thor Wedow, a renowned Mozart conductor, makes his mainstage debut with this opera, after having conducted Opera in the Park in 2016 and 2012.

Conductor Wedow (below) recently agreed to do an email Q&A with The Ear:

Could you briefly introduce yourself to readers?

Hello! I’m an American conductor, born in LaPorte, Indiana. A faculty member at The Juilliard School, I spend a lot of time with music of the 18th century — Handel and Mozart and often earlier, like Monteverdi, Purcell and Cavalli. But I conduct everything and grew up in love with the Romantics. I’ve also always done a lot of contemporary music. I love it all.

Mozart’s music sounds so clear and easy or simple, but the reality is quite different, musicians say. What do you strive for and what qualities do you think make for great Mozart playing?

Mozart engages both the brain and the heart. He challenges your intellect with amazing feats of counterpoint, orchestration and structure while tugging at your heart, all the time pulling you along in a deep drama.

Mozart was an Italian melodist with a German contrapuntal, harmonic engine – like an incredible automobile with an Italian slick body and a German motor.

Do you share the view that opera is central to Mozart’s music, even to his solo, chamber and ensemble instrumental music? How so? What is special or unique to Mozart’s operas, and to this opera in particular?

From all accounts, Mozart (below, in his final year) was a huge personality who was full of life and a keen observer of the human condition; his letters are full of astute, often merciless and sometimes loving evaluations of family, colleagues and patrons.

Mozart’s music speaks of the human condition: its passions, loves and hopes— no matter what genre. His music is innately dramatic and primal, going immediately to the most basic and universal human emotions with breathtaking nuance, variety and depth. (You can hear the Overture to “The Magic Flute,” performed by the Metropolitan Opera orchestra under James Levine, in the YouTube video at the bottom.)

Tomorrow: Tricks to conducting Mozart and what to pay special attention to in this production of The Magic Flute.


Classical music: Should the Madison Symphony Orchestra program more 20th-century music?

April 14, 2017
21 Comments

By Jacob Stockinger

A friend and reviewer for this blog – his specialty is opera but he also is very experienced with the symphonic repertoire — sent in the following opinion piece.

It is being posted in the wake of the announcement by the Madison Symphony Orchestra of its 2017-18 season.

For reference, here is a link to the lineup of the next season’s concerts that was posted yesterday:

https://welltempered.wordpress.com/2017/04/13/classical-music-the-madison-symphony-orchestra-announces-its-2017-2018-season-of-nine-concerts-of-favorites-combined-with-firsts/

By Larry Wells

I received my subscription renewal package for the Madison Symphony Orchestra (below, in a  photo by Greg Anderson) a couple of weeks ago, and I was struck then by how conservative and prosaic most of the offerings are.

I’ve mentioned my feelings to acquaintances, and one of the prevailing arguments is that they have to fill the seats.

The assumption seems to be that the patrons will only tolerate music written before 1850.

I’m 70 and I grew up with Stravinsky. I can recall the world premieres of Shostakovich’s final three symphonies. I once eagerly awaited recordings of Britten’s latest works. And I heard the first performances of several works by John Adams (below) while living in San Francisco in the 1980s.

If the assumption is that most reliable patrons are in their 70s and 80s, this seems like a dead-end (pardon the pun). There will be no audience in 20 years.

I believe that audiences can tolerate music of the 20th century — look at the glowing reviews of and enthusiastic ovations for last week’s performances of Witold Lutoslawski’s “Concerto for Orchestra’’ — and attracting younger patrons with bolder musical choices seems an economic necessity.

How can the MSO not be commemorating the centenary of Leonard Bernstein (below, in a photo by Jack Mitchell)? The Milwaukee Symphony Orchestra is performing several of his pieces in its upcoming season.

Why do we have to endure another Brahms symphony when we could hear Dmitri Shostakovich’s 11th or 15th or Jean Sibelius’ Fourth or Fifth or even Anton Bruckner’s 8th?

On a positive note, I was heartened to see that Benjamin Britten’s “Sinfonia da Requiem” is scheduled next season since that has been on my wish list for years. Likewise, Leos Janacek’s “Glagolitic Mass” is a nice surprise.

However, when will we hear Britten’s “War Requiem,” Bernstein’s “Mass” or “‘Songfest,” a symphony by Walter Piston (below top) or William Schuman (below middle) or Alan Hovhannes (below bottom)?

I’m really tired of going to concerts where only one of the works is of interest to me and the others are historic artifacts. I’d like to see a reversal wherein Brahms, Mozart and Beethoven are brought out occasionally, but the bulk of the music performed comes from the rich source of the 20th century.

What do you think?

Leave word in the COMMENT section.


Classical music: Here are this week’s FREE events at the UW-Madison where the spotlight falls on new music

March 27, 2017
3 Comments

By Jacob Stockinger

This will be a busy week at the UW-Madison.

Here are the events, concerts and master classes, at the UW-Madison this week. All events are FREE and OPEN TO THE PUBLIC.

As you can see, a lot of new music will be featured.

TUESDAY

At noon in Morphy Recital Hall, oboist Courtney Miller (below), of the University of Iowa, will give a master class. 

At 7:30 p.m.in Mills Hall, Mike Leckrone (below top) will lead the UW Concert Band (below bottom) in a FREE concert. Sorry, no word on the program.


WEDNESDAY

At 7:30 p.m. in Morphy Recital Hall, pianist Emile Naoumoff (below), from Indiana University, will give a recital.

Sorry, no word about the program. But there is a lot of background about the acclaimed French pianist who once studied at age 10 with the legendary teacher Nadia Boulanger and then later took over for her. (You can see him and Boulanger in the YouTube video at the bottom.) For information, go to http://www.music.wisc.edu/event/guest-artist-emile-naoumoff-pianist/

Naoumoff will also give a master class on Thursday from 10 a.m. to noon in Morphy Recital Hall.

THURSDAY

From 10 a.m. to noon in Morphy Recital Hall, guest pianist Emile Naoumoff will give a master class. See Wednesday’s listings for information about him and his recital.

FRIDAY

At 7 p.m. in Morphy Recital Hall, a concert of new music will be performed by Sound Out Loud (below) in conjunction with a two-day conference. For the complete program and more information, go to:

http://www.music.wisc.edu/event/midwest-graduate-music-consortium-presenting-original-research-and-new-compositions/

At 7:30 in Mills Hall, the UW Wind Ensemble (below top) will give a FREE concert under conductor Scott Teeple (below bottom).

The program includes “The Leaves Are Falling” by Warren Benson as well as two Wisconsin premieres: “Across the Graining Continent” by Jonathan Newman; and Suite in E-Flat by Gustav Holst, edited by Matthews.

SATURDAY

At 1:30 p.m. in Morphy Recital Hall, the UW-Madison Trombone Quartet performs music by Tchaikovsky,Webern, Shostakovich, Tull and Bozza among others. Members of the quartet are Thomas Macaluso, Kevin Schoeller, Matthew Bragstad and Nicolas Lawrence.

At 8 p.m. the wife-and husband piano-percussion duo Sole Nero (below), consisting of Jessica Johnson (piano) and Anthony DiSanza (percussion), will perform a faculty concert of new music.

For the complete program and program notes, plus biographies, go to:

http://www.music.wisc.edu/event/sole-nero-with-jessica-johnson-and-anthony-disanza/

It is also that time of the academic year when there are a lot of student recitals and lecture-recitals, especially ones by graduate students, that might interest the public. This week, The Ear sees at least half a dozen listed including those by a cellist, violinist, hornist, trumpeter and flutist.

For more information, go to: http://www.music.wisc.edu/events/


Classical music: Madison Opera scores a big artistic and commercial success with the Midwest premiere of “Charlie Parker’s Yardbird.” How about seeing and hearing more new music and new operas?

February 15, 2017
2 Comments

By Jacob Stockinger

Here is a guest review by The Opera Guy, who is himself a senior and who has followed opera for many decades and across several continents, including North America, Europe and Asia. Performance photos are by James Gill for the Madison Opera.

By Larry Wells

On Sunday afternoon I attended the second, and final, of two sold-out performances of Daniel Schnyder’s “Charlie Parker’s Yardbird,” presented by Madison Opera, which gave the Midwest premiere of the new work.

Although it is a chamber opera featuring only 16 instrumentalists and running a little over 90 minutes, it was an engaging, satisfying and often hypnotic operatic experience.

The orchestral and vocal music were readily accessible.  As a compliment to the composer, I was reminded of the later work of the great British composer Michael Tippett.

The plot features Charlie Parker’s mother, three of his wives, his friend Dizzy Gillespie and his current patroness, the fascinating Baroness Nica de Koenigswarter, as they confront Parker’s spirit after his death but before his removal from the morgue and burial.

madison-opera-charlie-parker-body-cr-james-gill

(Below, standing in front of the photo-portrait set of the Birdland jazz club, are the major cast members, many of whom were in the original world premiere productions at Opera Philadelphia and the Apollo Theater of Harlem in New York City. From the left, they are: Angela Brown as Addie Parker; Will Liverman as Dizzy Gillespie; Rachel Sterrenberg as Chan Parker; Angela Montellaro as Doris Parker; Joshua Stewart as Charlie Parker; and Krysty Swann as Rebecca Parker.)

madison-opera-angela-brown-as-addie-parker-will-liverman-as-dizzy-gillespie-rachel-sterrenberg-as-chan-parker-angela-montellaro-as-doris-parker-joshua-stewart-as-charlie-parker-krysty-swann

A pioneer and innovator of bebop in the world of jazz, saxophonist Parker died young and dissolute, destroyed by drugs and alcohol. Portrayed by Joshua Stewart (below), Parker is unsympathetic and weak, desperate to create but distracted. Stewart is a fine, convincing actor. His singing was often compelling, but his voice was too thin in the higher reaches demanded by the score.

madison-opera-joshua-stewart-as-charlie-parker-cr-james-gill

The other characters were ably portrayed and consistently strong vocally. Will Liverman’s Dizzy Gillespie was a standout – lyrical and touching.

Likewise, Krysty Swann (below center with a baby) was solid vocally and emotionally convincing as Parker’s abandoned first wife Rebecca Parker.

madison-opera-joshua-stewart-as-charlie-parker-krysty-swann-and-rebecca-parker-angela-brown-as-addie-parker-cr-james-gill

Rachel Sterrenberg was moving and gripping vocally as Parker’s final wife Chan.

Julie Miller as Baronness Nica commanded the stage whenever she appeared, perhaps because of her bright red dress in a sea of black garments but also because of her powerful portrayal and expressive singing.

Whenever Angela Brown (below right, with Joshua Stewart as Charlie Parker) was onstage as Parker’s mother, Addie, she was the focus. She owned the role, she sang beautifully, and she had some of the best material to sing.

(You can hear Angela Brown, who has appeared here before with the Madison Symphony Orchestra and the Madison Opera, in the world premiere production in the YouTube video at the bottom.)

madison-opera-joshua-stewart-as-charlie-parker-angela-brown-as-addie-parker-cr-james-gill

One of the finest moments in the opera was an orchestral interlude followed by a vocalise by another of Parker’s wives, Doris, sung by Angela Mortellaro (below). I was totally captivated, as I was by the quintet toward the end with Dizzy, the three wives and Parker’s mother.

madison-opera-angela-mortellaro-as-doris-parker-joshua-stewart-as-charlie-parker-cr-james-gill

Such are the moments for which an opera aficionado waits – several minutes of total aural delight.

Maestro John DeMain was, as always, in full command of the score as he led members of the Madison Symphony Orchestra. I was in a position to watch him conduct, and he was always totally involved in the moment. I repeat what I have said before: Maestro DeMain (below, in a photo by Prasad) is a treasure for which Madison should be constantly grateful.

John DeMain full face by Prasad

I personally like newer music and always welcome the chance to hear something other than the tired Brahms overtures, Tchaikovsky symphonies and Mozart piano concertos.

The argument in Madison seems to be that to fill seats, you have to give the audience what it wants; and the belief is that it wants music that is tried, true and safe.

The fact that this new work sold out both performances in the Capitol Theater of the Overture Center and that the audience was not entirely made up of seniors seems to suggest that the halls can be filled if the programming is more adventurous.

I say let’s hear more music of the 20th and 21st centuries, draw in a new audience and give the seniors a little thrill.

What do you think?


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