The Well-Tempered Ear

Classical music: Why are the Willy Street Chamber Players so successful at presenting neglected and new music?

July 12, 2018
2 Comments

By Jacob Stockinger

Many individuals and groups, large and small, like to program neglected works and new music.

But no one does it better than the Willy Street Chamber Players, who are now in the middle of their fourth annual summer season.

So what is the secret of the Willys?

Some clues were given at the outstanding and thoroughly successful opening concert last Friday night, when the Willys, with guest mezzo-soprano Jazimina MacNeil (below), played new music by Caroline Shaw, Colin Jacobsen and Michael Kelley – all to a very enthusiastic reception from the large audience.

More chances to experience such success and figure out the reasons behind it are coming up.

Tonight from 4 to 7 p.m. – and again on next Thursday, July 19, at the same time and place — at the Art and Literature Laboratory, 2021 Winnebago Street, the Willys will hold an open rehearsal. Admission is FREE, and you can bring something to eat and have a drink, including beer ($5 donation), as you listen and wander around to explore the space.

Then on Friday from noon to 1:30 p.m., during the Community Connect Concert for the whole family at the Goodman Community Center (below top) at 149 Waubesa Street, the Willys will perform “Leyendas: An Andean Walkabout” by the contemporary American composer Gabriela Lena Frank (below bottom) and  the rarely performed “Procession of the Military Night Watch in Madrid” by the Classical-era composer Luigi Boccherini. (Starting at 11 a.m. there is also an instrument “petting zoo.”)

(You can hear an excerpt from the work by Gabriela Lena Frank in the YouTube video at the bottom.)

On this Sunday from 5 to 6 p.m., the Willys will perform the same program — which also features some string quartet selections by Romantic composer Robert Schumann — for FREE on the Union Terrace (below).

Other regular series concerts include the rarely heard String Quintet in A Major by Alexander Glazunov on July 20 and “Light Screens” (2002) by Andrew Norman (below) on July 27.

For times, place and details about series and special concerts, and for other information, go to: http://www.willystreetchamberplayers.org/calendar.html

Anyway, the way The Ear sees it there are several reasons to explain the Willys’ success with new and neglected music.

One can start with the basics: The impressive musicianship of all the Willys, who are remarkable for both technique and interpretation.

Another reason is the players’ unflagging ability to project energy and enthusiasm, suggested by upbeat and exciting tempi and by even such a small gesture as the two violinists and two violists playing while standing up, as was the custom in the Baroque era, rather than seated.

The Willys also introduce the pieces, providing not only information but also some humor, often self-deprecating. They prepare you for liking the music, not just for listening to it.

They often choose shorter and easily digestible pieces, so it is never an ordeal that overwhelms you. Sometimes you want a musical short story, not a musical novel.

But most of all the Willys do what more proponents of new music should do: They seem to keep their listeners in mind when they choose the pieces they will play.

Never do you get the feeling that listening to new or neglected music is some sort of aesthetic obligation imposed on you. It is there to be enjoyed, and you are there to be pleased, not just instructed or preached to.

Too often new music seems chosen as a gesture of R&D – research and development – that feels more important to the performers rather than to the audiences.

Maybe there is more to say? What do others think? The Ear looks forward to hearing what you think.

In the meantime, The Ear suggests you take in as much as you can of the superlative music-making of both classics and new music by the Willy Street Chamber Players.

He doubts you will be disappointed and is pretty sure you will be as pleased and impressed as he is.

Advertisements

Classical music: Tonight’s Concert on the Square features an 11-year-old cello prodigy and the Middleton High School Choir in an all-Russian program. It will be repeated on Wisconsin Public Television this Saturday night at 6 p.m.

July 11, 2018
Leave a Comment

By Jacob Stockinger

Tonight’s Concert on the Square promises to be a special event on several scores.

The “Slavic Dances” concert starts at 7 p.m. on the King Street corner of the Capitol Square.

The Wisconsin Chamber Orchestra, under the baton of music director Andrew Sewell, will perform an appealing all-Russian program.

It features a Concert Waltz by Alexander Glazunov; the beautifully melodic and very accessible “Variations on a Rococo Theme” for cello and orchestra by Peter Ilyich Tchaikovsky (heard with Yo-Yo Ma in the YouTube video at the bottom); and the Intermezzo and Women’s Dance by Sergei Rachmaninoff.

Adding to the appeal is the appearance of Miriam K. Smith (below) in the Tchaikovsky. Smith, who played and was interviewed on Tuesday’s edition of “The Midday” on Wisconsin Public Radio, is an 11-year-old prodigy on the cello who already has an impressive history of concert appearances.

As a kind of preface or program note to read if you are at the concert, here is a link to Smith’s interview and appearance on “The Midday”: https://www.wpr.org/programs/midday

For more biographical information about Smith and about the concert, in general including rules (blankets can go down starting at 3 p.m.), etiquette and food vendors, go to: https://wisconsinchamberorchestra.org/performances/concerts-on-the-square-3-3/

Also joining the WCO is the Middleton High School Choir (below).

NOTE: If you can’t make the concert tonight in person, you can take consolation in the fact that the concert will be videotaped and then broadcast on Wisconsin Public Television on this coming Saturday night at from 6 to 7 p.m. on Channel 21 (Cable Channel 600).


Classical music: You probably know Brahms, but who are Caroline Shaw, Colin Jacobsen and Michael Kelley? The Willy Street Chamber Players will show you this Friday night

July 5, 2018
2 Comments

By Jacob Stockinger

The fourth annual concert series by the Willy Street Chamber Players (below) promises to be one of the high points of the summer season.

For more background about the Willys, go to:

https://welltempered.wordpress.com/2018/06/15/classical-music-the-willy-street-chamber-players-announce-their-five-impressive-july-concerts-three-with-admission-and-two-for-free-as-both-subscription-and-single-tickets-go-on-sale/

Three concerts in July – at 6 p.m. on July 6, 20 and 27 in the Immanuel Lutheran Church (below) at 1021 Spaight Street on the near east side – are all inviting. (A subscription to all three is $40, while admission is $15 for each one separately.)

Each concert lasts about 60 to 90 minutes with no intermission.

That’s something The Ear really likes and would like to see copied by other groups and presenters. Such a format leaves you plenty of time to do other things to start the weekend – including enjoying the post-concert reception (below) with snacks the Willys obtain from east-side providers.

The opening concert seems especially promising to The Ear.

That is because so far the Willys have had a knack for programming new music that The Ear really likes.

This time is no different.

Along with the regular members, who rotate in and out, a guest singer, mezzo-soprano Jazimina MacNeil (below), who sang a new work by John Harbison with the UW-Madison’s Pro Arte String Quartet this past winter, will team up to present new works.

The three contemporary composers and their works are: “Cant voi l’aube (composed in 2015 and heard in the YouTube video at the bottom) by Caroline Shaw (below top), a composer whose work the Willys have performed before with great success; “For Sixty Cents” (2015) by Colin Jacobsen (below middle, in a photo by Erin Baiano); and “Five Animal Stories” for string sextet and “Ashug” (2018) by Michael Kelley (below bottom).

Then to leaven newness with something more classic and familiar, the concert will close with the String Quintet No. 2, Op. 111, by Johannes Brahms. (The Willys have been working their way through the string quintets and sextets of Brahms with terrific performances.)

Other concerts will include:

On July 20, six arias from the opera “Porgy and Bess” by George Gershwin as transcribed and played by UW-Madison soprano saxophonist Les Thimmig (below) and the rarely performed String Quintet in A Major, Op. 39, by the Russian composer Alexander Glazunov ;

And on July 27, a program featuring wind music that includes “Night Music in the Streets of Madrid,” Op. 30, No. 6, by Luigi Boccherini; the Overture on Hebrew Themes by Sergei Prokofiev “Light Screens” (2002) by Andrew Norman (below); and the Kaiser Waltzes of Johann Strauss II, as arranged by Arnold Schoenberg.

The three local soloists for the final concert are: flutist Timothy Hagen (below top) and clarinetist Alicia Lee (below middle), who both teach at the UW-Madison and are members of the Wingra Wind Quintet, and pianist Thomas Kasdorf, who is finishing his doctorate at the UW-Madison and has often soloed with the Middleton Community Orchestra.

For more information about the Willy Street Chamber players—including a FREE community concert at the Goodman Community Center on Friday, July 13, at noon (with an instrument “petting zoo” for children at 11 a.m.) and at the Wisconsin Union Terrace — go to:

http://www.willystreetchamberplayers.org


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

Classical music: Today is the Fourth of July. Independence Day is the right time to celebrate American classical composers and patriotic concert music. Here are three ways to do that

July 4, 2018
7 Comments

By Jacob Stockinger

Today is the Fourth of July – Independence Day.

That makes it exactly the right time to think about American composers and American patriotic music – both of which have been receiving well-deserved airplay all week on Wisconsin Public Radio.

Here are three items that seem appropriate because they pertain to American composers and American classical music.

ITEM 1

Tonight at 7 p.m. on the King Street corner of the Capital Square in downtown Madison, guest conductor Huw Edwards (below) will lead the Wisconsin Chamber Orchestra in its Concert on the Square for the Fourth of July.

The “American Salute” program includes: “American Salute” by Morton Gould; the Overture to “Candide” by Leonard Bernstein; “Wisconsin Forward Forever” by march king John Philip Sousa; and, of course, “The 1812 Overture” by Peter Ilyich Tchaikovsky.

Blankets can go down on the ground starting at 3 p.m. For more general information about attending the concert including weather updates, rules and etiquette, and food caterers and vendors, go to:

https://wisconsinchamberorchestra.org/performances/concerts-on-the-square-2-2/

ITEM 2

Can you name 30 American classical composers? The Ear tried and it’s not easy.

But thanks to Capital Public Radio in Sacramento, California – which will also play and stream (click on the Listen tab) such music today — it isn’t hard.

Here is a link:

http://www.capradio.org/music/classical/2018/07/02/the-30-american-composers-were-featuring-on-the-fourth-of-july/

You can click on the link “Playlist for Independence Day” and see the photo of the composers and the titles of compositions that will be played.

You can also click on the composer’s name in the alphabetized list and see a biography in Wikipedia.

Can you think of American composers who didn’t make the list? Leave the name or names – Henry Cowell and Virgil Thomson (below)  come to mind — in the COMMENT section.

The Ear wants to hear.

ITEM 3

Finally, given the controversial political issues of the day surrounding immigration, The Ear offers this take on perhaps the most virtuosic piano transcription of patriotic music ever played.

It was done by someone who immigrated permanently to the U.S. in 1939 and then became a naturalized citizen in 1944. He also raised millions through war bonds during World War II.

He was the Russian-born pianist Vladimir Horowitz, here playing his own celebrated virtuoso arrangement – done in 1945 for a patriotic rally and war bonds concert in Central Park — of ”The Stars and Stripes Forever” by John Philip Sousa.

Here is a link to his biography in Wikipedia:

https://en.wikipedia.org/wiki/Vladimir_Horowitz

And here is the YouTube audio of his own performance of the Sousa piece, with the score, including all the special technical demands, especially lots of Horowitz’s famous octaves, to follow along with. It’s a performance that has become justifiably legendary:


Classical music: How did a reformation in religion and a revolution in printing change music? The 19th annual Madison Early Music Festival (MEMF) offers answers and samples this week. Part 2 of 2

July 3, 2018
4 Comments

By Jacob Stockinger

Starting this Saturday and running through the following Saturday, the 19th annual Madison Early Music Festival will explore the profound effects that the Lutheran Reformation and the invention of printing had on Renaissance and Baroque music of the time.

The festival is called “A Cabinet of Curiosities: A Journey to Lübeck.” For a complete listing of programs, lectures, concerts and workshops, with information about tickets, go to: https://memf.wisc.edu

Soprano Cheryl Bensman Rowe — who directs the festival with UW Arts Institute’s Sarah Marty and her husband and UW-Madison baritone Paul Rowe — recently agreed to do a Q&A with The Ear about the upcoming festival. Here is Part 2 of 2. And, if you missed the beginning, here is a link to Part 1:

https://welltempered.wordpress.com/2018/07/02/classical-music-this-saturday-the-19th-annual-madison-early-music-festival-memf-starts-a-week-long-exploration-how-the-500thanniversary-of-the-lutheran-reformation-in-changed-western-music-part-1/

How does early north German music differ from its counterparts in, say, Italy, France, Germany and England. What is the historical origin and aesthetic importance of the music from that era in that part of the world?

One of the biggest changes during the Reformation in Germany began with sacred music and the far-reaching changes in the way it served the church. The music of mass, motet, psalm and hymn heard in the great urban cathedrals, cloistered chapels and royal palace churches of Catholicism represented the “otherness” of the divine, a God unreachable by the untutored masses.

Written in an intellectual language which required years of rigorous training to learn and understand, it was only the disciplined, practiced choir boys and men who could perform this sacred polyphony in all its wonder and glory.

Luther sought to traverse this divide. Though he held the existing music of sacred polyphony in high esteem, he felt that music could be used to even greater effect in furthering the education and religious commitment of the people.

Luther (below) chose the hymn form as the principle means to his musical aims. A prolific hymnodist himself, he authored hymns such as the famous “Ein feste Burg ist unser Gott” (“A Mighty Fortress Is Our God“) several settings of which begin the All-Festival concert, attempted to connect existing high art with folk music in a style that would appeal to all classes, clergy and laity, men, women and children. His texts were in the German vernacular in order to convey messages that would be understood by all in a way that the Latin of preexisting hymns were not.

The culmination of those first 100 years of reformed musical development and the composers whose works will be performed throughout the week at MEMF, launched the reformed hymnody of Luther (below) and his followers into the stratosphere of such giants as Heinrich Schütz, Dietrich Buxtehude, Johann Sebastian Bach (all the Bachs for that matter) and on, a trail that continues to the present day.

What music and composers of that era have been most neglected and least neglected by historians and performers? Does rediscovery of works and composers play a special role this year?

Throughout the week we will be featuring compositions from the Choir Library from the Marienkirche in Lübeck (below) is a collection of music that Lübeck scholar and Buxtehude biographer Kerala Snyder catalogued and reconstructed.

The collection ended up in Vienna in the 19th century, and is a comprehensive data base that includes compositions by German and Italian composers, including Heinrich Schütz, Hermann Schein, Palestrina – the list starts with Agazzari and ends with Zucchini.

Besides the Choir Library compositions, audiences will have an opportunity to hear works of Buxtehude that have never been performed in Madison.

Can you tell us about the program and performers for the All-Festival concert on Saturday, July 14?

The All-Festival Concert (below)  includes all of our workshop participants and faculty. We work together to prepare the concert all week and it is truly a MEMF community project.  The music will be drawn from settings and compositions based on Lutheran chorales such as Ein Feste Burg and from the Choir Library of the Marienkirche.

The concert concludes with Buxtehude’s Missa Brevis and concludes with his grand motet, Benedicam Dominum in omne tempore, written for six contrasting choirs, which Buxtehude surely composed to match the structural design of the Marienkirche. (You can hear the Kyrie from Buxtehude’s “Missa Brevis” in the YouTube video at the bottom.)

Are there other sessions — guest lectures, certain performers, particular works — that you especially recommend for the general public?

All the planning that goes into each festival leads me to encourage the general public to attend everything. The concert series, lectures and workshop have so much to offer.

Special events include a dance with a live band drawn from the MEMF Faculty with dance instruction by Peggy Murray, Tanzen und Springen,at Memorial Union in the Grand Hall on Thursday night.

The lecture series features some well-known Madison scholars — John W. Barker and J. Michael Allsen, plus Michael Alan Anderson (below top), director of Schola Antiqua and professor of musicology, and Jost Hermand (below bottom), Professor Emeritus at the UW-Madison.

There will be a special exhibit created for MEMF in the lobby of Memorial Library by Jeanette Casey, the Head of the Mills Music Library and Lisa Wettleson of Special Collections at Memorial Library.

This curated display reflects the celebration of the 500th anniversary of the Reformation. The exhibit will be in the lobby of Memorial Library and open to the public through Thursday, July 19, 2018, with a special talk about the exhibit during the festival on Monday, July 9, at 11:30 a.m.  This wonderful partnership allows the library to display rarely seen original and facsimile publications, some dating back to the 15th and 16th centuries within the context of the MEMF theme.

Is there anything else you would like to add?

Martin Luther, who was a great lover of music, said: “The riches of music are so excellent and so precious that words fail me whenever I attempt to discuss and describe them…. In summa, next to the Word of God, the noble art of music is the greatest treasure in the world. It controls our thoughts, minds, hearts, and spirits…”

Join us to hear what Luther was talking about! Get your tickets for the concert series! Attend the lectures! Take some classes! You’ll find a link for all the information about MEMF at www.madisonearlymusic.org


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

Classical music: This Saturday, the 19th annual Madison Early Music Festival (MEMF) starts a week-long exploration of how the Lutheran Reformation and the invention of printing changed Western music 500 years ago. Part 1 of 2

July 2, 2018
1 Comment

By Jacob Stockinger

Starting this Saturday and running through the following Saturday, the 19th annual Madison Early Music Festival will explore the profound effects that the Lutheran Reformation had on Renaissance and Baroque music of the time.

The festival, to be held at the UW-Madison’s Mead Witter School of Music, is called “A Cabinet of Curiosities: A Journey to Lübeck.” For a complete listing of programs, lectures, concerts and workshops, with information about tickets, go to the website: https://memf.wisc.edu

Soprano Cheryl Bensman Rowe — who co-directs the festival with UW Arts Institute’s Sarah Marty and with her husband and UW-Madison baritone Paul Rowe — recently agreed to do a Q&A with The Ear about the upcoming festival. Here is Part 1 of 2. The second part will appear tomorrow.

How successful is this year’s festival compared to others in terms of enrollment, budgets, performers, etc.? How does MEMF’s reach nationally or even internationally compare to previous years?

Each year enrollment in the workshop averages 100 students. As of June 15, we have 110 students enrolled. MEMF attracts students of all ages, from 18–91, amateurs and professionals, from all over the country and Canada.

What is new and what is the same in terms of format, students, faculty members and performers?

The ensemble Quicksilver (below, in a photo by Ian Douglas, and located at quicksilverbaroque.com) is returning to Madison after several years to open the MEMF Concert Series.

This will be an incredible virtuosic display of chamber music played at the highest level, and includes violinist Julie Andrijeski, sackbut player Greg Ingles and gambist Lisa Terry; harpsichordist Avi Stein and violinist Robert Mealy are on the faculty at the Juilliard 415 program, which is creating a fantastic opportunity for instrumentalists to study Baroque music with some of the finest early music professionals in the country.

Piffaro, The Renaissance Band, will return to play a live concert of the CD they just released, Back to Bach. For more information, go topiffaro.org

The Tuesday concert is at Luther Memorial Church. Abendmusik (Evening Music) features organists John Chappell Stowe (below top, in a photo by Katrin Talbot), of the UW-Madison, and James Kennerley (below bottom) joined by the MEMF Faculty.

Abendmusik, refers to a series of performances at the Marienkirche in Lübeck, Germany. In the 17th century through 1810, a series of concerts were paid for by local business owners to provide admission for the public. Organists Franz Tunder and his successor Dietrich Buxtehude, organized the Abendmusiken with performances of organ, instrumental and vocal music. For more, go to: https://www.jameskennerley.com/

New to MEMF, Schola Antiqua of Chicago — see schola-antiqua.org — will perform on Friday, July 13, at 7:30 p.m. in Mills Hall. They will sing musical treasures from a program prepared last fall for The Newberry Library’s exhibit “Religious Change 1450-1700” on the occasion of the quincentennial of the Lutheran Reformation.

Printed musical artifacts from the multidisciplinary exhibit testify to a period filled with religious dynamism and struggle with both theological and musical traditions. Their director, Michael Alan Anderson, will give a pre-concert lecture at 6:30 p.m. with projections of the printed music from The Newberry Library.

Why was the theme of “A Cabinet of Curiosities: Journey to Lübeck” chosen for the festival? What composers and works will be highlighted?

We chose the 2018 theme to explore the 500th anniversary of the Reformation, and how the shifts in religion and 16th-century printed materials, including music, changed the world.

The Marienkirche (St. Mary’s Church) in Lübeck was an important musical center at this time. Built with Catholic ritual in mind, it easily was turned into a Lutheran church in the early 16th century as Lübeck changed into a Protestant town due to the Reformation that was inspired by Martin Luther.

The composer Dieterich Buxtehude (below) was the organist at the Marienkirche and was an improvisational genius. He attracted many musicians throughout Europe to come and visit, including Johann Sebastian Bach, Georg Philipp Telemann and George Frideric Handel.

Around this same time collectors were sorting their wide-ranging collections of objects into “cabinets of curiosities,” and sometimes the categorical boundaries were not defined. With new-found compositional freedom, 17th-century composers similarly created many musical wonders and curiosities, stretching the boundaries of musical conversation.

We will be featuring works of Buxtehude, Tunder and Matthias Weckmann, and there will even be a bit of Bach on Sunday night’s concert by Piffaro.

Tomorrow: Part 2 – How did a Reformation in religion and printing technology change music?


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

Classical music: The 35th annual summer Concerts on the Square start this Wednesday night and will feature a lot of classical music

June 25, 2018
3 Comments

By Jacob Stockinger

Maestro Andrew Sewell usually makes sure the Wisconsin Chamber Orchestra programs a fair amount of classical music for its annual summer Concerts on the Square (below).

The FREE popular outdoor concerts — billed as “The Biggest Picnic of  Summer” — usually draw up to at least 20,000 people for each performance on the King Street corner of the State Capitol.

They start this Wednesday night at 7 p.m. – blankets can go down at 3 p.m. — and run for six consecutive Wednesday nights through Aug. 1.

But this year Sewell (below) seems especially generous with the classical fare he is serving up. In fact, four of the six concerts are all classical – a much higher percentage than in most past years, if The Ear recalls correctly.

For the complete lineup of the concerts – and to compare this year’s offerings with those of past years — go to the website: https://wisconsinchamberorchestra.org/performance-listing/category/concerts-on-the-square

Then you can click on “More Info” for each individual concert date to get the full program and information about the performers.You can also find what you need to know about following rules, parking, reserving tables, listening etiquette, volunteering, donating and support, and finding menus for food providers.

For this opening concert “Carnival” on Wednesday, the WCO will showcase 18-year-old Kenosha high school senior Matthew Udry (below), a cellist who won this year’s Young Artist Concerto Competition. Udry will perform the Cello Concerto No. 1 by Dmitri Shostakovich.

Also on the all-Slavic program are two Czech compositions:  the “Carnival” Overture by Antonin Dvorak (heard in the YouTube video at the bottom); and “Three Dances” from the opera “The Bartered Bride” by Bedrich Smetana.

An all-Russian concert is slated for July 11 with another student cellist, Miriam K. Smith (below top), and the Middleton High School Choir (below bottom). The program includes the Concert Waltz No. 2 by Alexander Glazunov, the “Rococo” Variations by Peter Tchaikovsky and the Intermezzo and Women’s Dance by Sergei Rachmaninoff.

The July 25 concert features the up-and-coming guitarist Colin Davin (below) in a programs of Spanish and Hispanic music including Joaquin Rodrigo’s “Concierto de Aranjuez,” Alberto Ginastera’s “Estancia: Four Dances,” and Roberto Sierra’s “Fandango.”

Finally, on Aug. 1, baritone Jubilant Sykes (below) is featured in a program that includes: the “Norwegian Rhapsody No. 1” by Johan Halvorsen; Aaron Copland’s “Old American Songs,” including “Simple Gifts” and “I Bought Me a Cat” as well as two spirituals, “Were You There?” and “Sometimes I Feel Like a Motherless Child”;  the Interlude from the symphonic ode, “La Nuit et l’Amour” (Night and Love), from the cantata “Ludus pro Patria,” by the French composer Augusta Holmes; and the Symphony No. 9 “From the New World” by Antonin Dvorak.

Of course other programs include pops and rock music, plus patriotic music for the Fourth of July concert — only fitting for the occasion.

But The Ear still thinks the classical fare is generous and noteworthy.

Of course, loud chitchat, eating and other neighborly noise could interfere with your ability to listen closely to the music.

But Andrew Sewell and the WCO still deserve a big shout out!

Bravo, all!


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

Classical music: The first-rate and listener-friendly Willy Street Chamber Players announce their five impressive July concerts – three with admission and two for FREE — as both subscription and single tickets go on sale

June 15, 2018
1 Comment

By Jacob Stockinger

The Willy Street Chamber Players (below) remains one of The Ear’s favorite chamber music ensembles, which his why he named it “Musicians of the Year” in 2016.

Here is a link to that posting:

https://welltempered.wordpress.com/2016/12/30/classical-music-the-ear-names-the-willy-street-chamber-players-as-musicians-of-the-year-for-2016/

Nothing has changed, although some programs hold more appeal than others, as you would expect for anyone.

What’s not to like about the Willys?

The Willys emphasize friendliness and informality, putting a premium on accessible communication with the audience. You never get that snobby or exclusive feeling that some classical music concerts exude.

The price is right — $15 for each concert, $40 for the series of three — plus a FREE community concerts at the Goodman Center (below) and another FREE community concert at the Union Terrace.

The playing is always first-rate by both group members and guest artists. Many of both groups are local and come from the UW-Madison’s Mead Witter School of Music or play with the Madison Symphony Orchestra, the Wisconsin Chamber Orchestra, the Middleton Community Orchestra and other groups.

The programming is always inventive and eclectic. The music the Willys play includes both old and new works, familiar and unfamiliar composers, classic and contemporary music.

The Friday night concerts start at 6 p.m. and  last 60 to 90 minutes, giving you plenty of time to do something else to kick off the weekend. (See the YouTube video by Paul Baker at there bottom.) 

True to their name, at the post-concert receptions the Willys serve snacks that promote businesses on the east side. And trust The Ear, the food is very good. 

Here is a link to the new season, the group’s third:

http://www.willystreetchamberplayers.org/calendar.html

And here is a link to the Willys’ outstanding, informative and well organized website where you can find much more, including the full programs; the names of the core players; how to order tickets; how to donate and support The Willys; the names and location of the food providers; the rave reviews by several critics; favorite east side restaurants; frequently asked questions; and more (don’t ignore the heading FAQ on the home page).

http://www.willystreetchamberplayers.org

You can order season tickets and, if you go to the home page and look at each concert under Summer Series, individual tickets. You can also click on the box “Tickets Available.”

It all starts Friday, July 6, at 6 p.m. in the usually well attended Immanuel Lutheran Church (below), 1021 Spaight Street.

The Ear can hardly wait.


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

Classical music: The impressive second weekend of four concerts by the Bach Dancing and Dynamite Society adds elements of theater and dance to chamber music

June 14, 2018
1 Comment

By Jacob Stockinger

The second weekend of the three-weekend summer series of concerts by the Bach Dancing and Dynamite Society features two performances each of two programs.

The programs in this 27th season with its “Toy Stories” theme – “Play-Do(h)” and “GI Joe” – will be performed at The Playhouse (below) of the Overture Center on Friday and Saturday night at 7:30 p.m.

Sunday performances are at the Hillside Theater (below) at Taliesin, at the Frank Lloyd Wright compound in Spring Green, at 2:30 and 6:30 p.m.

Each program introduces elements of drama, using a narrator, and of dance.

The works include “The Kitchen Revue” by Bohuslav Martinu and “The Masked Ball” by Francis Poulenc as well as “Einstein on Mercer Street” by American composer Kevin Puts and “The Solder’s Tale” by Igor Stravinsky. (You can hear the first part of the Stravinsky work — “The Soldier’s March”  — with Jeremy Irons narrating and the composer conducting in the YouTube video at the bottom.)

The baritone singer is Timothy Jones (below top), a longtime favorite of BDDS audiences, and Milwaukee-based hip-hop dancer and choreographer Blake Washington (below bottom), who is returning for his second season with BDDS.

Here is a link to the introduction and complete schedule to the entire summer season, including a FREE concert of “American Haiku: for violin and cello this coming Wednesday night:

https://welltempered.wordpress.com/2018/06/07/classical-music-this-weekend-kicks-of-the-27th-season-of-bach-dancing-and-dynamite-concerts-with-the-theme-of-musical-works-as-toys-to-be-played-with-for-serious-fun/

Also included this weekend are various works for bassoon, flute, oboe, clarinet, trumpet, double bass and percussion by Alexandre Tansman; Georg Philipp Telemann, Gabriel Pierné and Robert Schumann.

A bonus to notice: This year for the first time, at the Hillside Theater at Taliesin, Enos Farms is offering picnic dinners that can be ordered, then picked up and eaten outside or in the Taliesin dining room. For food reservations, go to Tickets at http://bachdancing.org


Classical music: Thanks to the Bach Dancing and Dynamite Society celebrating women, you can hear this beautiful Romance for violin and piano LIVE tonight in Madison and Sunday night in Spring Green

June 9, 2018
3 Comments

By Jacob Stockinger

Tonight and Sunday night bring the second of six programs on the 27th annual summer series by the Bach Dancing and Dynamite Society.

The theme of the whole series, along with the number 27, is “Toy Stories” and this particular program is called “American Girls” because it features so much music written by women composers — something in keeping with the timeliness and relevance of the #MeToo movement.

The first performance is TONIGHT, Saturday, June 9, at 7:30 p.m. in The Playhouse at the Overture Center. The second performance is tomorrow, Sunday, June 10, at 6:30 p.m. in the Hillside Theater of Taliesin, the Frank Lloyd Wright compound in Spring Green.

For more information about the BDDS season and about buying tickets ($43 and $48), go to http://bachdancing.org or to: https://welltempered.wordpress.com/2018/06/07/classical-music-this-weekend-kicks-of-the-27th-season-of-bach-dancing-and-dynamite-concerts-with-the-theme-of-musical-works-as-toys-to-be-played-with-for-serious-fun/

Included in the “American Girls” program is the very lyrical and beautiful Romance for Violin and Piano, Op. 23, by American composer Amy Beach (below).

If you want a taste of what awaits you if you go, at the bottom is a YouTube video of Chicago violinist Rachel Barton Pine, who has appeared in Madison with the Wisconsin Chamber Orchestra, performing the Romance by Beach at the Dame Myra Hess Memorial Concert.

Pine also explains the context that includes a very famous American woman violin virtuoso, Maud Powell, whom The Ear — and probably most others –had never heard of before.

The Romance will be performed tonight and Sunday night by BDDS veteran Yura Lee (below). She is an outstanding violinist and violist who hails from New York City and performs with the prestigious Chamber Music Society of Lincoln Center.

The rest of the program includes: “Chambi’s Dreams: Snapshots for an Andean Album” for flute, violin and piano by living composer Gabriela Lena Frank (below top); “Qi” for flute, cello, piano and percussion by Chen Yi (below middle); the Piano Trio in C Major, Hob. XV:27 by Franz Joseph Haydn; and the Piano Trio by American composer Rebecca Clarke (below bottom, above the YouTube video).


Next Page »

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

    Join 1,140 other followers

    Blog Stats

    • 1,879,939 hits
%d bloggers like this: