The Well-Tempered Ear

Classical music: Today at noon you can hear Japanese marimba music. At the UW-Madison, tonight offers a FREE concert of Eastern European music by the Wingra Wind Quintet. Tomorrow night is a FREE concert of vocal music by UW Chorale

November 8, 2019
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ALERT: TODAY, Nov. 8, from 12:15 to 1 p.m. at the FREE Friday Noon Musicale at the First Unitarian Society of Madison, 900 University Bay Drive, the veteran international marimbist Rebecca Kite (below) — who teaches and concertizes — will perform a program that features music of Handel, herself and contemporary Japanese composers including Keiko Abe and Minoru Miki. Kite recently moved to Madison.

By Jacob Stockinger

Tonight and tomorrow night feature two noteworthy and FREE concerts of chamber music for winds and choral music at the University of Wisconsin-Madison Mead Witter School of Music.

Here are details:

WINGRA WIND QUINTET

TONIGHT, Nov. 8, at 8 p.m. in the Collins Recital Hall of the new Hamel Music Center, 740 University Ave., the UW-Madison’s Wingra Wind Quintet  performs a FREE concert of music from Eastern Europe.

Works by Bela Bartok, Leos Janacek, Gyorgy Kurtag and Endre Szervanszky will be featured.

The guest artist is clarinetist Brian Gnojek (below).

For more information about the concert, the works on the program and background of the Wingra Wind Quintet (below, in 2018, in a photo by Katrin Talbot) as an acclaimed faculty chamber music ensemble, go to: https://www.music.wisc.edu/event/wingra-wind-quintet-2/2019-11-08/

UW CHORALE

This Saturday night, Nov. 9, in the Mead Witter Foundation Concert Hall of the Hamel Music Center, the UW Chorale (below) will perform a FREE concert with an eclectic theme.

The program is called “How to Spice Up Your Life.” Selections include works about music, dance, chat, sports, love, outings and cooking.

The concert includes a performance of PDQ Bach’s The Seasonings, a parody of baroque oratorios, featuring faculty soloists Julia Rottmayer and Paul Rowe with student soloists Angela Peterson and Charles Hancin. (You can hear Part I of “The Seasonings” in the YouTube video at the bottom.)

For more information, go to: https://www.music.wisc.edu/event/uw-chorale-3/

 


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Classical music: Steve Kurr talks about his new work celebrating Middleton that will be premiered Wednesday night by the Middleton Community Orchestra alongside Mozart and Dvorak

October 8, 2019
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By Jacob Stockinger

This Wednesday night, Oct. 9, the mostly amateur but highly praised Middleton Community Orchestra (below) will open its 10th anniversary season, which is dedicated to retired critic John W. Barker for his help in championing the ensemble.

The concert is at 7:30 p.m. in the comfortable and acoustically excellent Middleton Performing Arts Center (below, in a photo by Brian Ruppert), which is attached to Middleton High School, 2100 Bristol Street.

Admission is $15 for the public, free for students. Tickets are available from the Willy Street Coop West and at the door. The box office opens at 6:30 p.m. Auditorium doors open at 7 p.m. 

The appealing program features J.J. Koh (below), principal clarinet of the Madison Symphony Orchestra, as guest soloist in the beautiful and poignant Clarinet Concerto in A Major, K. 622. (In the YouTube video at the bottom, you can hear the sublime slow movement, which may sound familiar from when it was used in the soundtrack to the film “Out of Africa.”)

Also on the program is the popular Symphony No. 9 – “From the New World” – by Antonin Dvorak.

But raising the curtain will be the world premiere of a work that was written specifically for this orchestra on this occasion in its own city.

The piece was composed by Steve Kurr, who teaches at Middleton High School and who is the resident conductor of the MCO.

For more information about the MCO’s season along with critical reviews and information about how to join it or support it and how to enter its new youth concerto competition, go to:

http://middletoncommunityorchestra.org

Kurr, below, will conduct the premiere of his own work, which he recently discussed via email with The Ear:

How much do you compose and why do you compose?

When I do compose, which is not often, it is usually with a specific event in mind. I have written several things for the musicians at Middleton High School, including a four-movement string symphony, a piece for a retiring colleague, and several works we have taken on tour.

In this case, the 10th season of the Middleton Community Orchestra provided a great reason to write. I always enjoy the process, but it can be time-consuming, so I don’t do it as often as I might like.

How does composing fit in with your teaching and conducting?

Most of the composing I do comes in the summer because it is when I can devote larger chunks of time. This new work was germinating in some form for several years, but almost all of the notes-on-the-page work came this past June.

How do you compose?

I approach composition in an analytical way, which will come as no surprise to anyone who knows me. I think about structure early on in the process, both at the full work scale and in the smaller sections.

Most of my work comes on the computer in the notation software Finale, and some comes on the piano or on a string instrument.

I run ideas past my wife Nancy for her input and for this piece I also got a huge amount of advice and help from composer and MCO violist Neb Macura (below). (Thanks, Neb! You were invaluable!) Most of the melodic material came to me in the car on the way to school.

How would you describe your musical or tonal style?

I would say that my style is mostly tonal and not all that adventurous in terms of harmony. The fact that I have spent much of my musical career studying the works of the Classical and Romantic periods shows through. And yet you might find some moments that hint at more recent styles.

Can you briefly tell the public about the new piece to be premiered?

“Good Neighbors” is subtitled “Episodes for Orchestra” and the connected episodes describe various aspects of the Middleton community.

Episode 1 depicts the city of Middleton and its bustling energy within a small town feel. Episode 2 is about all of the water around, including the creeks, ponds and Lake Mendota. Episode 3 is the Good Neighbor Festival, appearing at the end of summer for so many years. Episode 4 describes the land around, including the rolling farmland, the driftless area, and the Ice Age Trail.

The final episode brings together tunes from the previous four, combining them to demonstrate that the Good Neighbor City is more than the sum of its parts. The opening theme shows up in several different versions throughout, including most notably the theme from Episode 4.

Is there anything else you would like to say?

At first I considered the endeavor almost self-indulgent as I set a piece of my own in front of the ensemble. Then I started to feel presumptuous. It is a humbling experience to see my name on a program with Mozart and Dvorak, two of my favorite composers.

It has been a terrific experience working with these fine musicians as we realize this new work together. My thanks go to them for their willingness to help me present this gift to the Middleton community.


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Classical music: The Festival Choir of Madison closes its season TONIGHT with a concert of East Asian music from China, Japan, Korea and Taiwan

May 18, 2019
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ALERT: Today and next Saturday, Wisconsin Public Radio’s “Music in Wisconsin” program, hosted by Lori Skelton, will air recorded performances from the past season by the Madison Opera. Both broadcasts start at 1 p.m. This week’s opera is the double bill of one-acts “Cav/Pag,” as Pietro Mascagni’s “Cavalleria rusticana” and Ruggero Leoncavallo’s “Paglicacci” are known. Next week will see Antonin Dvorak’s “Rusalka,” with the famous soprano aria “Song to the Moon.”   

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By Jacob Stockinger

The Ear has received the following announcement to post:

The Festival Choir of Madison (below) will present the last concert of the season, “Jasmine Flowers,” TONIGHT — Saturday, May 18 — at 7:30 p.m. in the Atrium auditorium of the First Unitarian Society of Madison, 900 University Bay Drive, in Madison.

The choir and its artistic director, Sergei Pavlov (below right in front row), will perform arrangements of famous songs such as the Japanese “Sakura” (Cherry Blossom), arranged by the late Japanese composer Toru Takemitsu (his version is heard in the YouTube video at the bottom); and “Mo-Li-Hua” (Jasmine Flower), a popular Chinese folk song used variously as a national anthem and for the Olympics, arranged by the leading Korean composer Hyo-won Woo.

The choir will also feature other recent compositions sung in Taiwanese, Korean, Chinese, English and French  — including works by Chen Yi, Libby Larsen, Bob Chilcott, Claude Debussy and Maurice Ravel — inspired by the musical traditions of East Asia.

Admission, with general seating, is $10 for students, $15 for senior citizens, and $20 for adults, with tickets available at the door the day of the concert. Tickets can also be purchased online through Brown Paper Tickets at:

https://www.festivalchoirmadison.org/concerts/2019/5/18/jasmine-flowers

The Festival Choir of Madison is an auditioned, mixed-voice volunteer choir of over 50 experienced singers. The choir performs thematic concerts of artistically challenging choral music from around the world for listeners who enjoy traditional, modern and eclectic works, and for singers who enjoy developing their talents with others.

To learn more about the Festival Choir of Madison, go to www.festivalchoirmadison.org.


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Classical music: The Madison Opera stages its first-ever production of Dvorak’s fairy tale opera “Rusalka” next Friday night and Sunday afternoon. A preview roundtable is this Sunday afternoon

April 20, 2019
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By Jacob Stockinger

The Madison Opera will stage its production of Antonin Dvorak’s luxurious masterpiece Rusalka on Friday night, April 26, at 8 p.m. and Sunday afternoon, April 28, at 2:30 p.m. in Overture Hall at the Overture Center, 201 State Street.

Running time is 3 hours with two intermissions, and will feature projected supertitles with English translations of the original Czech that will be sung.

Tickets are $18-$131 with discounts available for students and groups. Go to: https://www.madisonopera.org/tickets/

Inspired by the classic fairy tale The Little Mermaid, the story travels from a mythical forest to a palace and back again. Its lush score includes the famous “Song to the Moon.” (You can hear Renée Fleming sing”Song to the Moon” in the YouTube video at the bottom.)

Set in a mythical realm, Rusalka is about a water nymph who falls in love with a human prince. She tells her father Vodnik that she wishes to become human and live with the Prince on land. Horrified, Vodnik tells her that humans are full of sin, but reluctantly suggests she enlist the help of Jezibaba, a witch. Jezibaba agrees to make her human, but cautions that Rusalka will lose her power of speech. Further, if the Prince betrays her, she will be cursed forever.

The Prince falls in love with Rusalka and plans to marry her, but her silence unnerves him, and a Foreign Princess interrupts the wedding festivities with evil intent. Rusalka returns to the lake as a spirit that lures men to their death – and the Prince follows her.

Rusalka is one of the most gorgeous operas in the repertoire,” says Kathryn Smith, Madison Opera’s general director (below, in a photo by James Gill). “I fell in love with it when I first saw it over 20 years ago, and listening to the score is a pure pleasure. I am so delighted to share this opera with Madison, so that everyone can learn how brilliant an operatic composer Dvorak was, and experience an opera that is justifiably popular around the world.”

Rusalka’s story was inspired by multiple sources, including Slavic mythology and the fairy tales of Karel Jaromir Erben, Hans Christian Andersen, and Friedrich de la Motte Fouqué.

The opera premiered on March 31, 1901 in Prague and quickly became a massive success, hailed as Dvorak’s masterpiece.

But it was not initially widely performed outside of Czech territories; the first U.S. performance was in 1975. But in recent decades, the opera by Dvorak (below) has become a regular part of the opera repertoire, due to its beautiful music and lovely story.

This production is not only a Madison Opera premiere, but also the company’s first-ever opera in Czech.

Madison Opera’s cast features both returning artists and debuts.

Soprano Emily Birsan (below) returns to Madison Opera in the title role, following successes here as Gounod’s Juliet and Musetta in Puccini’s La Bohème. Last month, she sang Violetta in Verdi’s La Traviata at the Lyric Opera of Chicago. The Chicago Tribune has praised her singing for her “amazing clarity of diction, accuracy of intonation and fineness of expression.”

Tenor John Lindsey (below) returns to Madison Opera as The Prince, after singing in last summer’s Opera in the Park.

Making their debuts with Madison Opera are soprano Karin Wolverton as the Foreign Princess, contralto Lindsay Amman as the witch Jezibaba and bass William Meinert as Rusalka’s father, Vodnik. Emily SecorSaira Frank and Kirsten Larson play the three wood sprites; Benjamin Liupaogo sings the Hunter.

The Madison Opera Chorus and Madison Symphony Orchestra round out the musical forces, all under the baton of John DeMain (below, in a photo by Greg Anderson), Madison Opera’s artistic director.

Keturah Stickann (below) directs her first opera for Madison Opera; she has directed both traditional and contemporary repertoire across all of the U.S., most recently for San Francisco Opera and Washington National Opera.

This production originated at Minnesota Opera and features projections (below) by Wendall K. Harrington, who has been described as “the godmother of modern projection design.”

In reviewing the Minnesota production, theTwin Cities Arts Reader praised “the stunning visuals on display, which only serve to enhance and elaborate on the action and the music.”

Madison Opera’s production of “Rusalka” is sponsored by the National Endowment for the Arts, Kay & Martin Barrett, Millie & Marshall Osborn, Sally & Mike Miley, Kato Perlman, Charles & Martha Casey, John Lemke & Pam Oliver, and The Ann Stanke Fund.

RELATED EVENTS

You can learn more about “Rusalka” at the events leading up to the performances.

Opera Up Close will take place this Sunday, April 21, 1-3 p.m. at the Margaret C. Winston Opera Center (below) 335 West Mifflin Street, $20 general admission; free for full-season subscribers; $10 for two-show subscribers.

This event features a multimedia behind-the-scenes preview of Rusalka. General director Kathryn Smith will discuss Antonin Dvorak and the history of his fairy-tale opera. Principal artists, stage director Keturah Stickann and conductor John DeMain will participate in a roundtable discussion about Madison’s production and their own takes on this masterpiece.

Pre-Show Talks by Kathryn Smith take place on Friday, April 26, at 7 p.m. and Sunday, April 28, at 1:30 p.m. at Wisconsin Studio at Overture Center, and are free to ticket holders.

Post-Opera Q&A’s are on Friday, April 26, and Sunday, April 28, immediately following the opera in the Wisconsin Studio at Overture Center, and are free to ticket holders.

More information — including cast biographies and a blog with Q&A interviews with some cast members — is available at https://www.madisonopera.org and https://www.madisonopera.org/2018-2019-season/rusalka/.


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Classical music: The Middleton Community Orchestra and conductor Kyle Knox brightened a soggy spring with early Beethoven and Elgar. On Tuesday night, an organ and cello concert takes place in Overture Hall.

April 15, 2019
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ALERT: On  this Tuesday night, April 16, at 7:30 p.m. in Overture Hall, organist Greg Zelek and guest cellist Thomas Mesa will close out the season of Concert Organ performances sponsored by the Madison Symphony Orchestra. The program includes music by Johann Sebastian Bach, Franz Joseph Haydn, Ludwig van Beethoven, Franz Schubert, Peter Ilyich Tchaikovsky, Claude Debussy and Charles-Marie Widor. For tickets ($20) and more information about the program with detailed biographies of the performers, go to:  https://madisonsymphony.org/event/thoms-mesa-greg-zelek/

By Jacob Stockinger

Here is a special posting, a review written by frequent guest critic and writer for this blog, John W. Barker. Barker (below) is an emeritus professor of Medieval history at the University of Wisconsin-Madison. He also is a veteran and well-known classical music critic who writes for Isthmus and the American Record Guide, and who hosts an early music show once a month on Sunday morning on WORT FM 89.9 FM. For years, he served on the Board of Advisors for the Madison Early Music Festival and frequently gives pre-concert lectures in Madison.

By John W. Barker

The early spring concert on last Wednesday night by the Middleton Community Orchestra (below, in a photo by Brian Ruppert) at the Middleton Performing Arts Center that is attached to Middleton High School was comparatively short – it had no intermission — and was devoted to only two composers.

The first was Edward Elgar (below, in 1910), whose early orchestral works included a good deal of music drawn from his youthful sketchbooks. Notable in that category were two suites, given the joint title of The Wand of Youth.

From the eight sections of the First Suite (1907), six were played, and from the six sections comprising the Second Suite (1908), four were given. All these movements are colorful and evocative little miniatures, reflecting early imagination, often touching, but many quite boisterous.

The other composer was Ludwig van Beethoven (below), as represented by his Symphony No. 2. This shows the young composer moving quite distinctly beyond the stylistic world of Haydn and Mozart into the rambunctious new symphonic idiom he would go on to create. (You can hear Leonard Bernstein and the Vienna Philharmonic play the opening of Beethoven’s Symphony No. 2 in the YouTube video at the bottom.)

The guest conductor this time, Kyle Knox – the recent University of Wisconsin-Madison graduate who is the music director of Wisconsin Youth Symphony Orchestras and the associate conductor of the Madison Symphony Orchestra — chose to give the music a “big orchestra” approach.

For both the suites and the symphony, the lighter and cleaner textures of a chamber orchestra would seem best. But with an orchestra totaling some 91 players, Knox chose to go for volume and sonority.

His tempos, especially in the Beethoven were notably fast. As the largely amateur orchestra followed loyally, there was some raw playing at times.

Still, the MCO asserted strong character, which made a very happy impression on the audience and brightened an evening of soggy weather.


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Classical music: The talented new director of the Isthmus Vocal Ensemble sets the acclaimed and still impressive group on a new path with mixed results and hopeful expectations

August 9, 2018
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By Jacob Stockinger

Here is a special posting, a review written by frequent guest critic and writer for this blog, John W. Barker. Barker (below) is an emeritus professor of Medieval history at the University of Wisconsin-Madison. He also is a well-known classical music critic who writes for Isthmus and the American Record Guide, and who hosts an early music show once a month on Sunday morning on WORT-FM 89.9 FM. For years, he served on the Board of Advisors for the Madison Early Music Festival and frequently gives pre-concert lectures in Madison. He also took the performance photos.

By John W. Barker

The Isthmus Vocal Ensemble (IVE, below) is a well-established part of Madison’s musical summers. It offers dedicated choral singers a chance for intensive rehearsal preparation of highly accomplished choral music, and has delivered some truly memorable events over the years.

Of its concerts this year, I caught the second performance on Sunday afternoon. The choir itself doesn’t need to be shown off by now, but it was the choir’s chance to show off its new conductor in his first appearance here.

Michael McGaghie (below) is that new conductor. He is very plainly a brilliant choral technician who knows how to make a choir sound wonderful. (For more about McGaghie, who is the Director of Choral Activities at Macalester Collge in St. Paul and who leads the Harvard Glee Club Alumni Chorus in Cambridge, Mass., go to: https://www.isthmusvocalensemble.org/artisticdirector/)

That he did throughout the program. The IVE — 69 singers strong — certainly responded with an infectious enthusiasm that was also communicated to the large audience that filled the Christ Presbyterian Church.  The concert was certainly a feast of great choral singing.

But what about the music?

To begin with, the actual music amounted to no more than about an hour’s worth. McGaghie planned the program as a progress of emotional moods, and he introduced each piece himself.

But what were the contents? McGaghie largely turned his back on the centuries of great choral music, the kind that his predecessor Scott MacPherson explored so ambitiously.

There were, at the beginning, two examples of that, motets by Thomas Tallis of the 16th century and Heinrich Schütz of the 17th century.

There was also an interesting nugget from the Russian composer and conductor Nikolai Golovanov (below), an early work of his (1917), setting the Lord’s Prayer (Otche naš) In a style departing from the previous two centuries of great Russian Orthodox choral writing.

Beyond those, however, the remaining nine items in the program — and the encore — were entirely by recent composers, mostly living and mostly American. These were his introductory calling cards, and so they invite scrutiny.

Ours is not an age of great, idiomatic choral writing, and composers go their own ways variously. Many of them rely upon a kind of chordal declamation with little sense of line or full-bodied texture.

Some pieces I don’t think I would want to hear again, and a couple I would not have wanted to hear even the first time.

An example of the latter is a piece about sirens and sailors by Chinese-American Chen Yi (below top), a collage of weird choral sounds but no musical content recognizable to any but Chinese ears.

Another was a loudly trashy adaptation of a Civil Rights “freedom song” by Jeffrey Douma (below bottom), plus the gesture to multicultural triviality in a Philippine folksong arrangement.

Three of the items came with piano accompaniment. In The Whole Sea in Motion by Dale Trumbore (below top) — which uses a text from Anne Brontë — the piano gave an underlying ripple to support declamatory, non-linear writing.

In Eternity by Donald Martino (below), the pleasantly lyrical choral writing really didn’t need the piano at all.  And that part was much too prominent against Morten Lauridsen’s nicely polyphonic, and quite self-sufficient, choral texture in “Sure on This Shining Night” that treated James Agee’s famous poem. (You can hear the Lauridsen work in the YouTube video at the bottom.)

There were certainly some among these contemporary items that I found quite enjoyable.

In Ophelia, a setting the account of that woman’s death in Hamlet, Jocelyn Hagen (below top) was overly concerned with story-telling, but the work certainly contained some lovely writing. O Radiant Dawn by Scottish master James MacMillan (below bottom) was a beautifully sonorous tribute to Catholic liturgical tradition.

What does this conducting debut point to for the future?

McGaghie can create the most splendid choral beauty — though often at the sacrifice of clear diction. On the basis of this program, it looks like he could now focus the IVE on lots of short contemporary pieces, rather than on the vast traditional literature.

We will have to see.


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Classical music: A curmudgeon vents his complaints concerning the music scene in Madison, Plus, this Sunday Afternoon the Pro Arte Quartet plays Haydn and Dvorak in a FREE concert at the Chazen Museum of Art that will be streamed live

November 4, 2017
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ALERT: The UW’s acclaimed Pro Arte Quartet will perform a FREE concert tomorrow, Sunday, Nov. 5, at 12:30 p.m., at the Chazen Museum of Art in Brittingham Gallery No. 3. The program features the String Quartet in E Major, Op. 53, No 3, by Franz Joseph Haydn and the String Quartet in A Minor, Op. 16, by Antonin Dvorak. The “Sunday Afternoon Live at the Chazen” concert will also be streamed live. Here is a link:

https://www.chazen.wisc.edu/about/news/in-the-news/sunday-afternoon-live-with-pro-arte-quartet-november-5/

By Jacob Stockinger

Here is an essay by Larry Wells, a guest reviewer and a frequent concertgoer. He writes:

“As I have aged, I have become more of a curmudgeon. (My friends and family will readily attest to this.) It is in that spirit that I address some annoyances I have been experiencing over the past few years while attending musical events in Madison.

“I will start with a recent experience, attending University Opera’s performances of “A Kurt Weill Cabaret” at Music Hall (below). The two arms of any seat in the hall have two different numbers. Unless the guest was paying attention as he entered the row, it is unclear which number belongs to which seat. After attending a few shows there, I have figured it out. But I don’t believe I have ever been to a performance there when there hasn’t been confusion about which seat is which. I have routinely heard people asking others (who are generally equally clueless), and I have routinely seen blocks of people shift over one seat. You would think that someone at a great educational institution could figure out a way to make the seating less baffling.

“An equally annoying phenomenon occurs regularly at Mills Hall, also on campus. I discovered that, for choral concerts particularly, the sound in the balcony is far better than the sound on the main floor. However, the doors of the balcony are often locked and the ushers regularly say that the balcony is not open. Upon making further insistent inquiries, I usually manage to get someone to unlock the balcony, but I wonder why it is felt that unlocking it routinely is such an onerous task.

“I will also mention that, regardless of one’s seat location in Mills Hall, it is difficult not to notice that the sound clouds over the stage are in sore need of a dusting and cleaning.

Stephen Sondheim wrote a wonderfully amusing song for “The Frogs” called “Invocation and Instructions to the Audience.” In it the audience is reminded not to talk, cough, fart and so on. (You can hear the piece in the YouTube video at the bottom.)

“At the aforementioned performances in the Music Hall (I went twice), I saw people texting and video recording the performance even though the program has, in very small print, an admonishment not to photograph or film. At a recent choral concert in Mills Hall, texting was rampant during the performance, and there was no mention about turning off cell phones in the program. The bright screens immediately draw the eye away from the stage. I find it extremely distracting.

“At performances given by the UW Dance Department, a loud and forceful announcement at the beginning of each performance instructs the audience to turn off cell phones, no texting, no photos, etc. A similar announcement takes place not only at the beginning of the concert but also at the end of intermissions for performances at Overture Center. I think it is time for the UW Music Department to address the issue in a similar way.

“Another criticism of the way that things are done by the Music Department: Why is it so hard to find out what is being performed at a recital or concert? The Music Department has a good website with a calendar that lists the performances being given on any day, but many times the program is not included in that information. I am disinclined to go to a concert when I don’t know what the program is, and I often will go to a performance just to hear one work if it’s one I am anxious to hear. Thus, I often have to go roaming around the Music Building looking for posters or sometimes even going to the person sponsoring the performance to ask what the program is. It shouldn’t be that hard.

“An issue at Overture Center is whispering. I do not understand how people have lived to the ripe old ages that most of the audience members have and not come to realize that whispering is still audible.

“Two seats away from me at Overture Hall for my symphony subscription is a woman who, at every single performance, starts to cough as soon as the music begins, noisily unzips her purse, reaches in and fumbles around until she finds her cough drop, and then noisily unwraps its cellophane cover. Every time. It is a wonderment to me that she has not discovered that she could unwrap the cough drops in advance and have them at the ready.

“When I subscribed to the San Francisco Symphony, there were bowls of wax paper wrapped cough drops at every entrance. Not a bad idea.

“And then there is the seemingly obligatory standing ovation syndrome that has become a standard feature of every performance in Madison. In the rest of the world a standing ovation is reserved for an extraordinary performance deserving special recognition. Here I think of Pavlov’s dog and sheep. The performance ends, one person leaps to his feet (that’s the Pavlov part) and everyone else stands (that’s the sheep). At the same time the sentiment has been lost, and it all seems rather provincial to me.

“I realize that these are all first-world problems of little importance. They are minor annoyances, but that is what a curmudgeon dwells on. And it feels great to vent.”

Do you agree with any of these complaints?

Do you have any major or minor complaints to add?

The Ear wants to hear.


Posted in Classical music
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Classical music: UW oboist Aaron Hill performs world premieres and little known composers in a FREE recital Sunday afternoon

October 20, 2017
1 Comment

By Jacob Stockinger

This is Homecoming weekend at the University of Wisconsin-Madison, and it is busy on many counts, including several classical music concerts in the city on Sunday afternoon.

But one of the more intriguing is a FREE recital at 3 p.m. in Mills Hall by UW-Madison Professor Aaron Hill (below), who teaches oboe and also performs in the Wingra Woodwind Quintet.

Hill will be joined by collaborative pianist Daniel Fung (below), who is also a vocal coach at the Mead Witter School of Music at the UW-Madison.

Particularly noteworthy is the number of world premieres and relatively unknown contemporary composers on the program.

Here is the program:

“Poem,” for oboe and piano (1953) by Marina Dranishnikova (1929-1994, below). (You can hear it in the YouTube video at the bottom.)

Oboe Sonata (1947) by Jean Coulthard (1908-2000)

  1. Gently Flowing
  2. Sicilienne
  3. Allegro

Intermission

* Soliloquies (2013) by Andre Myers (b. 1973)

  1. To be or not to be
  2. There’s Rosemary, that’s for remembrance
  3. In the Month of May
  4. Spring Discourse

   * world premiere performance

* After Manchester (2017) Aaron Hill and Michael Slon (b. 1982 and 1970, respectively) * world premiere performance

Four Personalities (2007) Alyssa Morris (b. 1984)

  1. Yellow
  2. White
  3. Blue
  4. Red

Here are some program notes by Aaron Hill:

“This program highlights five different ways to program previously unfamiliar music, as explained below.

“Poem” by Marina Dranishnikova came to me through our local community. Oliver Cardona, currently a junior music major at UW-Madison, initially brought it to my attention. The work was discovered and edited by my predecessor, Professor Marc Fink (below), during his travels in Russia.

I first heard the Oboe Sonata by Jean Coulthard (below) at the 2017 International Double Reed Society conference at Lawrence University  in Appleton, Wis.

Charles Hamann, the principal oboist of the National Arts Centre Orchestra in Ottawa, edited and recorded it as part of a large project to bring international attention to masterpieces by Canadian composers.

Andre Myers (below) attended the University of Michigan with me and we first became acquainted when I performed one of his orchestral works. His beautiful writing for English horn started our friendship and 15 years later, he wrote his Soliloquies for me.

The first two are based on famous scenes from Shakespeare’s “Hamlet.” The third is based on a poem by Minnesota’s first poet laureate, Robert Bly, which will be read aloud from the stage. The final movement is inspired by a dream vision he had of centaurs playing in a meadow.

“After Manchester” was originally a free improvisation I recorded and posted to social media in the wake of the terror attack at Ariana Grande’s concert on June 4, 2017.

Later in the summer, Professor Michael Slon (below), the Director of Choral Activities at the University of Virginia, transcribed my improvisation and wrote a piano part to transform it into a piece of chamber music. The work was completed just days before the violent events in Charlottesville.

Professor Alyssa Morris (below) currently teaches oboe at Kansas State University and her compositions have become widely performed as standard literature for oboists in recent years.

She wrote “Four Personalities” to perform in her own undergraduate recital at Brigham Young University and I first heard it while searching for oboe music on YouTube. The piece is based on the Hartmann Personality Test.

In her words, the colors correspond to the following types:

Yellow: Yellow is fun-loving. The joy that comes from doing something just for the sake of doing it is what motivates and drives yellow.

White: White is a peacekeeper. White is kind, adaptable, and a good listener. Though motivated by peace, white struggles with indecisiveness. 

Blue: Blue brings great gifts of service, loyalty, sincerity, and thoughtfulness. Intimacy, creating relationships, and having purpose is what motivates and drives blue.

Red: Motivated by power. Red is aggressive and assertive. Red is visionary, confident, and proactive. 


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

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