The Well-Tempered Ear
Bach Around the Clock 2021 will incorporate many new aspects – including more audiences and artists of color — into the 10-day free virtual festival that runs March 17-26
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By Jacob Stockinger
The Ear has received the following update about Bach Around the Clock (BATC), the annual March free event to celebrate the birthday of Johann Sebastian Bach (below). Like last year, the year’s will be virtual and online and spread out over 10 days, from March 17 to March 26.
The BATC 2021 Festival is shaping up brilliantly. We have about 50 participants signed up so far, with musical selections totaling more than eight hours.
As always, it has a nice mix of ages and levels of performers, from young students to seasoned professionals. It also runs from traditional instruments like the violin, viola, cello, oboe, bassoon, piano and organ as well as the human voice to more unusual instruments like the clavichord, 6-string electric bass and a saxophone quartet.
We are so grateful to all the participants who have volunteered to share their talents. (Below is the Webb Trio playing last year from home.)
Last year’s virtual format forms the basis of this year’s festival, but we’ve expanded on that in some very exciting ways.
BATC board member Melanie de Jesus (below) is producing two mini-films aimed at making the festival more accessible to participants. For the tech-challenged among us, the “How to Film Yourself” video will make it easier for musicians to participate virtually.
This film will be available this THURSDAY, Feb. 25, in time to help participants film and submit their performances by the March 5 deadline. Would you like to perform? For information about signing up for slots. Click here to let us know!
Make your own recording or request a time slot at a BATC venue where a professional videographer will create a recording for you to keep. Harpsichord, piano and organ are available.
Melanie’s “Bach for Kids” film will be published during the festival, and will introduce basic musical concepts to the youngest participants. It will culminate in a sing-along, play-along, dance-along performance of some simple Bach tunes, as demonstrated by some (very) young students at the Madison Conservatory, where de Jesus is the director.
Another significant new element of this year’s festival will be our evening Zoom events, including receptions with performers, and guest artists giving special performances, lecture/demos, master classes and panel discussions.
In keeping with this year’s theme of “Building Bridges Through Bach,” we will celebrate and feature musicians and guest artists of color.
We are thrilled to announce Wisconsin Public Radio music host Jonathan Overby (below) as our keynote speaker. Overby’s work to research and demonstrate how music, especially sacred music, serves as a cultural bridge, has taken him all over the planet. His core values are in close alignment with the theme of this year’s festival, and his address will set the tone for the rest of the festival.
The virtual format enables us to bring in guest artists from afar. Lawrence Quinnett (below), on the piano faculty of Livingstone College, a private, historically black college in Salisbury, North Carolina, will perform all six French Suites, and give a brief talk on his approach to ornamentation. (You can hear Quinnett performing French Suite No. 1 by Bach in the YouTube video at the bottom.)
Clifton Harrison (below, in photo by Stephen Wright), violist in the Kreutzer String Quartet, in residence at Oxford University in England, will give a master class for interested BATC participants. Information on how to audition for this opportunity will be shared very soon.
We are extremely pleased that Trevor Stephenson (below), artistic director of the Madison Bach Musicians, will give an evening lecture and demonstration on the Goldberg Variations.
Through his performances, interviews and extremely popular pre-concert lectures, Trevor has served as a very important builder of bridges to the music of J.S. Bach in Madison and beyond. It would be hard to overstate the impact of Trevor’s work to make Bach’s music accessible to local audiences of all ages and backgrounds. We’re sure viewers will enjoy this event.
An astonishing new development resulted from BATC’s outreach efforts to local high schools: Steve Kurr (below), orchestra director at Middleton High School and former conductor of the Middleton Community Orchestra, decided to incorporate BATC into his curriculum this semester.
Fifteen of his students will perform for BATC, filmed by four other students, and then the students will all view the performances and write essays about them.
BATC is delighted with this creative initiative, looks forward to receiving the videos from this cohort of students, and hopes to expand on this kind of outreach in future years. Maybe we can include the final essays on our website, if the students agree.
There are a few other ideas still under construction; perhaps a panel discussion with educators, or one with local musical bridge-builders (aka “Angels in our Midst”)?
Please help us keep this festival free and open to all.
Bach Around The Clock is a unique program in our community. It offers everyone the opportunity to share their love of the music of Bach. There is no charge to perform or to listen.
But the festival is not free to produce! BATC provides venues, instruments, videographers, editors, and services for performers and audience.
We need your support!
Click on there link below to donate securely online with a PayPal account or credit card: https://www.paypal.com/donate/?cmd=_s-xclick&hosted_button_id=WU7WWBW5LBMQJ
Or you can make a check out to Bach Around The Clock and mail it to: Bach Around The Clock, 2802 Arbor Drive #2, Madison, WI 53704
Bach Around The Clock is a 501(c)(3) organization; your donation is tax-deductible as allowed by the law. Donors will be listed on the acknowledgments page of the BATC website .
For the latest updates, please visit our website, bachclock.org, or our Facebook page, facebook.com/batcmadison.
We hope you will join us.
Marika Fischer Hoyt, Artistic Director, Bach Around The Clock, (608) 233-2646
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The Pro Arte Quartet plays the fourth installment of its FREE Beethoven string quartet cycle online TONIGHT at 7:30 CDT
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By Jacob Stockinger
The historic Pro Arte Quartet, in residence at the University of Wisconsin-Madison’s Mead Witter School of Music, will perform the fourth installment of its FREE Beethoven string quartet cycle TONIGHT — Friday, Oct. 23 — at 7:30 p.m. CDT. (It should be posted for about a day, but will not be archived due to copyright considerations.)
Because of the coronavirus pandemic, the live concert will take place online and will be live-streamed without an audience from the Mead Witter Foundation Concert Hall in the new Hamel Music Center.
You can stream it live from https://youtu.be/IhmNRNiI3RM
The whole series of concerts are part of the Pro Arte Quartet’s yearlong retrospective to celebrate the Beethoven Year. This December marks the 250th anniversary of the birth of the composer (below).
Members of the Pro Arte Quartet (below, in a photo by Rick Langer) are: David Perry and Suzanne Beia, violins; Sally Chisholm, viola; and Parry Karp, cello.
A pre-concert lecture by UW-Madison musicology Professor Charles Dill (below, in a photo by Katrin Talbot) starts at 7:30 p.m. CDT.
The program consists of one early and one late quartet: the string Quartet in C Minor, Op. 18 No. 4 (1798-1800), and you can hear the first movement played by the Dover Quartet in the YouTube video at the bottom; and the String Quartet in E-Flat Major, Op. 127 (1825).
The Pro Arte Quartet is one of the world’s most distinguished string quartets. Founded by conservatory students in Brussels in 1912, it became one of the most celebrated ensembles in Europe in the first half of the 20th century and was named Court Quartet to the Queen of Belgium.
Its world reputation blossomed in 1919 when the quartet (below, in 1928) began the first of many tours that enticed notable composers such as Bartok, Barber, Milhaud, Honegger, Martin and Casella to write new works for the ensemble.
The Pro Arte Quartet performs throughout the United States, Europe, and Asia and continues to champion both standard repertoire and new music.
Since being stranded in the U.S. when Belgium was invaded by Hitler and the Nazis in World War II, the group is an ensemble-in-residence at the Mead Witter School of Music and resident quartet of the Chazen Museum of Art.
The quartet, the longest active string quartet in the history of music, has performed at the White House and, during the centennial celebration, played for the King’s Counselor in Belgium.
Recent projects include the complete quartets of Bartok and Shostakovich and, in collaboration with the Orion and Emerson String Quartets, the complete quartets of Beethoven.
Regular chamber music collaborators that perform with Pro Arte include Samuel Rhodes and Nobuko Imai, viola; Bonnie Hampton, cello; and the late Leon Fleischer and Christopher Taylor, piano.
Together since 1995, the quartet has recorded works of Mendelssohn, Dvorak, Rhodes, Shapey, Sessions, Fennelly, Diesendruck, Lehrdahl and the centennial commissions.
For more information and background, go to: https://www.music.wisc.edu/event/pro-arte-quartet-beethoven-string-quartet-cycle-program-iv/
For more about the challenges and modifications – including wearing masks and social distancing — of doing the Beethoven cycle for the virtual online performances and about the other dates and programs in the cycle, go to: https://welltempered.wordpress.com/2020/09/29/classical-music-uw-madisons-pro-arte-quartet-to-resume-its-free-beethoven-cycle-virtual-and-online-this-friday-night-with-two-other-programs-this-semester/
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Classical music: After 54 years at the UW-Madison, the Wisconsin Youth Symphony Orchestras (WYSO) will move this fall to the new McFarland Performing Arts Center.
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By Jacob Stockinger
Starting this fall, the Wisconsin Youth Symphony Orchestras (WYSO, below) will have a new home for classes, rehearsals and performances.
The news of moving to the McFarland Performing Arts Center (below) is very good for WYSO. But The Ear feels sad to see the University of Wisconsin-Madison and WYSO parting ways after a partnership of 54 years.
It feels like the UW, a distinguished public institution, is backing away from the Wisconsin Idea of public service to the citizens who fund the university. It is embodied in the saying that “the boundaries of the university are the boundaries of the state.” (Editor’s note: For more about the Wisconsin Idea and its Progressive Era history, go to: https://en.wikipedia.org/wiki/Wisconsin_Idea)
It feels, in short, like a setback to community engagement by the UW-Madison and its Mead Witter School of Music, where WYSO once had offices and used Mills Concert Hall.
Be that as it may, here is a WYSO email newsletter’s account of what led up to the decision and move.
“The news from University of Wisconsin-Madison started trickling in a little at a time.
“First, Mills Hall (below), where WYSO had rehearsed almost every Saturday since the Humanities Building opened, was scheduled for transformation from a concert hall into a lecture hall. (You can see WYSO performing in Mills Hall in the YouTube video at the bottom.)
“Then the UW began to reconsider whether pre-college programs should actually share space with university departments.
“And there was the growth of WYSO itself — from one full orchestra to three, plus two string orchestras, a chamber music program (below top), a full array of ensembles, and the community-impact Music Makers (below bottom).
“Meanwhile, 12 minutes away, the town of McFarland opened an amazing 841-seat, state-of-the-art performing arts center (below).
“And incredibly, the adjacent middle school and high school campus (below) had enough parking and enough rehearsal space to accommodate the entire WYSO program with room to grow — all of the student musicians, all of the orchestras, and all rehearsing at the same time.
“In a unique move of creative place-making, McFarland’s School Superintendent Andrew Briddell reached out to WYSO and suggested all of the above opportunities, plus collaboration with the McFarland schools, staff and community, and the ability to build on the creative history of the town itself.
“Passionate about music and education, Andrew Briddell, earned a double major in music and English from Indiana University, a Master’s degree in bassoon from Temple University, and a doctorate in Educational Leadership and Policy Analysis from the UW-Madison.
“”A talented bassoon player, Briddell (below) played with the Alabama Symphony Orchestra and was music director of the Youth Symphony Orchestra of Birmingham.
“What a perfect match for this collaboration!
“It was an invitation too good to pass up. So starting in the fall of 2020, the Wisconsin Youth Symphony Orchestras will be in residence at the new McFarland Performing Arts Center.”
To read more details about WYSO’s new home, including design and acoustics, go to: https://www.wysomusic.org/the-wyso-weekly-tune-up-april-17-2020-wysos-new-home/
What do you think about the new move WYSO?
The Ear wants to hear.
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Classical music: This Sunday afternoon at the Chazen Museum of Art, you can attend or live stream a FREE sampler of the upcoming Bach Around the Clock festival
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By Jacob Stockinger
The Ear has received the following announcement to post:
It’s March – time for Bach!
Every March, the 12-hour FREE Bach Around The Clock (BATC) festival (below top, the Suzuki Strings of Madison) takes place in Madison on a Saturday near the birthday of Johann Sebastian Bach (below bottom) on March 31, 1685.
This year BATC is on Saturday, March 28, from 10 a.m. to 10 p.m. at St. Andrew’s Episcopal Church, 1833 Regent Street.
And every year the Sunday Afternoon Live at the Chazen concert series invites BATC to send a representative sampling of musicians to perform at the UW-Madison’s Chazen Museum of Art on the first Sunday in March, giving the public a taste of the offerings from the festival.
This year the Chazen program on this Sunday – tomorrow, March 1 – features: the Madison Youth Viol Consort in four chorales; pianist Tim Adrianson (below top) playing the English Suite No. 6 in D Minor (you can hear Murray Perahia play the opening Prelude in the YouTube video at the bottom); violist Dierdre Buckley and pianist Ann Aschbacher playing the Gamba Sonata No. 1 in G Major; and BATC’s Ensemble-in-Residence, Sonata à Quattro (below bottom in a photo by Barry Lewis, attached), performing Cantata 209, Non sa che sia dolore (He knows not what sorrow is).
Doors at the Chazen Museum of Art’s Elvehjem Building open at noon, and the concert takes place from 12:30 to 2 p.m. in Brittingham Gallery No. 3.
Admission is free and open to the public, and the event will be live audio-streamed on the Chazen website.
Here is a link to the page on the Chazen website, with more information and the streaming portal:
For more information about Bach Around the Clock, including the full and complete schedule of amateur and professional performances, go to: https://bachclock.com or facebook.com/batcmadison
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Classical music: Personal experience, artistic excellence and historical importance drew pianist Wu Han and cellist David Finckel into planning next year’s centennial season at the Wisconsin Union Theater
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By Jacob Stockinger
Now that Spring Break is over and subscription tickets are available for the Wisconsin Union Theater’s special centennial celebration next season – which includes superstar soprano Renée Fleming and pianist Emanuel Ax — here is an email interview that pianist Wu Han and cellist David Finckel (below, in a photo by Lisa-Marie Mazzucco), the wife-and-husband consultants and planners of that season, granted to The Ear.
For more about the season and tickets, go to two websites:
https://union.wisc.edu/visit/wisconsin-union-theater/seasonevents/concert-series/
Could you briefly introduce yourselves to readers and tell them both your past and current activities?
We have been performing on the world’s many concert stages for almost our entire lives. In addition to our careers as concert performers, we serve as the founding Artistic Directors of Music@Menlo, the premier chamber music festival in Silicon Valley, as well as the Artistic Directors of the Chamber Music Society of Lincoln Center (CMS) in New York City.
Our main responsibility as concert performers is to give the best concerts we possibly can, and we are constantly striving to achieve the highest possible level of artistry in our performances.
In our roles as artistic directors, our responsibilities lie in the programming, casting and designing of concert series and chamber music projects for our organizations. At CMS, this includes designing the programming for our seven different satellite series around the country, plus international partnerships in Taiwan, Korea and Europe.
We are also involved in chamber music programming endeavors beyond Music@Menlo and CMS, having just completed a first-ever chamber music residency at the Society of the Four Arts in Palm Beach, Florida. Furthermore, Wu Han is serving as Artistic Advisor to Wolf Trap Chamber Music at the Barns, which entails thematically programming eight concerts per season for the 2018–19 and 2019–20 seasons.
As artistic directors, we spend much of our time putting ourselves in the shoes of our listeners, measuring their experience and receptivity to chamber music of all periods and styles, and putting together the best programs and artists who will move our audiences forward into ever-increasing engagement with and love of the art.
David was the cellist of the Emerson String Quartet for 34 seasons, and we have been performing together as a duo for about 35 years, and continue to do so as one of our main performance activities.
What are your personal relationships to the Wisconsin Union Theater, and what do you think of it as a concert venue?
Our engagement with the Wisconsin Union Theater goes back quite a few years, but certainly not even close to the beginning of the Theater’s distinguished history. For any performer setting foot on its stage, there’s a sense of slipping into an ongoing tradition of artistic excellence that makes us feel both privileged and obligated to do our best.
The Wisconsin Union Theater and its story in American cultural life is larger than any of us; only the music we play rises above and beyond it all, and as performers, our lucky moment is to represent that incredible literature in a venue as significant and storied as the Wisconsin Union Theater. (Below is the theater’s main venue, the renovated and restored Shannon Hall.)
Why did you agree to be artistic advisors and artists-in-residence for the centennial season? Did your personal experiences in Madison play a role in that decision?
As seasoned artists, we deeply admire and respect the very special place in the classical music tradition and history that the Wisconsin Union Theater (below) inhabits, and the invitation to participate in the Theater’s 100th anniversary was an honor for us to receive. Our experiences playing on this distinguished stage and forming a relationship with the local audience have made our pursuit of the common goal of artistic excellence in the centennial season incredibly fulfilling.
Of course, having performed there in the past gave us a hint of confidence through our familiarity with the place, but we must say we have learned perhaps double what we knew originally through this planning process. Without interfering, but at the same time sharing our uncompromised commitment to artistic excellence, we hope that our presence during the process has been useful, and we know that we look so much forward to seeing the careful thought and hard work of all involved come to fruition.
Is there a unifying or guiding principle to the season you have put together?
The guiding principle behind our work on this historic season is artistic excellence, which in our opinion is what most inspires audiences and best serves the art form of classical music.
Our area of expertise is chamber music, and, as we wanted to share the best of what we can do with the Theater, our focus has been on ensuring that the chamber music offerings during this historic season, and hopefully beyond, reflect the best of the world of chamber music.
In our suggestions, we looked for variety of instrumentations, of composers and periods—in other words, giving as much of an overview of the art as we could within a season.
What would you like the public to know about the Wisconsin Union Theater and the upcoming centennial season?
In the Theater’s centennial season, the audience will have the opportunity to savor a variety of different genres of chamber music, from solo piano to vocal music, as well as a sampling of the very best works of the chamber music canon. Between these various genres, the great composers left a wealth of chamber music that could sustain the art form on its own, but that’s still only the tip of the iceberg.
Our chamber music offerings will include the Kalichstein-Laredo-Robinson Trio, which has a long history of performing for the Madison audience. Their December program will include celebrated cornerstones of the piano trio repertoire, including Mendelssohn’s D minor Trio and Beethoven’s “Archduke” Trio. (You can hear the opening of the Archduke Trio in the YouTube video at the bottom.) Both pieces have achieved monumental historical significance through their influence in propelling the art form forward from the Classical period to the Romantic period.
The Escher String Quartet performance in January represents the best of the next generation of young string quartets. Their program includes a quartet by Franz Joseph Haydn—the father of the string quartet genre—and the sole quartet of none other than revered violin virtuoso Fritz Kreisler, who performed in the Wisconsin Union Theater nearly a century ago. Kreisler set foot on the Theater’s stage numerous times, and his rarely heard string quartet nods to the Theater’s long, distinguished history. David will join the Escher Quartet for the beloved Schubert Cello Quintet, which is the “desert island” must-have piece for many music lovers.
Furthermore, in March, we will bring two of the most fantastic musicians in the world to join us for a program of Antonin Dvorak, Josef Suk and Johannes Brahms. This multigenerational cast of musicians includes the incredible young French violinist Arnaud Sussmann (below top, in a photo by Matt Dine) as well as the most important violist of our generation, Paul Neubauer (below bottom). This program is all about the passing down of the baton and the continuous investment in the next generations of artists: Brahms was the one who discovered Dvorak, and Dvorak in turn discovered Suk.
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Classical music: The UW-Madison’s Pro Arte Quartet opens its new season in top form
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By Jacob Stockinger
On Friday night in Mills Hall, in an all-masterpiece program that featured Classical, Romantic and Modernist works, the University of Wisconsin-Madison’s Pro Arte Quartet (below, in a photo by Rick Langer) opened its new season .
And it did so in top form. The Ear came away with one thought: You just can’t find better chamber music in Madison — and it’s free!
In the “Sunrise” Quartet in B-flat Major, Op. 76, No. 4, by Franz Joseph Haydn, the Pro Arte exhibited the ideal Classical style with its balance, voicing and clarity.
The sunrise motif proved utterly convincing and evocative. Particularly noteworthy was how the group highlighted the dissonances in the Classical era’s slow movement. (Hear it in the YouTube video at the bottom.)
The interpretation offered more proof that when the work is consonant, you play for the dissonance; and when the work is dissonant, you play for the consonance.
In the short, non-stop Quartet No. 7 in F-sharp minor, Op. 108, by Dmitri Shostakovich, The Ear was impressed by how the Pro Arte teased out the remnants of late Russian Romanticism that creep into the mostly modernist works of Shostakovich and Prokofiev.
Also remarkable was how the Pro Arte highlighted the structure and counterpoint that Shostakovich, a devotee of Bach, brought to his modernism. This seemed a softer and more lyrical Shostakovich, less strident or percussive, than you often hear. And the approach worked beautifully to engage the listener.
And then came the grand finale done grandly: the late Beethoven Quartet No. 15 in A minor, Op. 132. The quartet unraveled the often perplexing and thick texture; the epic length; and the forward-looking compositional methods.
The Pro Arte used a low-key and restrained approach that only highlighted the heart-rending lyricism of the “Heiliger Dangesang,” or Sacred Hymn of Thanksgiving, that the aging Beethoven composed when he had recovered from what he thought might be a fatal illness.
How fitting! The perfectly planned program started with one dawn by the teacher and ended with another dawn by the student.
Madison keeps getting more new chamber music groups, all very accomplished and all very good. But the Pro Arte Quartet — now in its 106th season of existence and its 78th season in residence at the UW-Madison — is still tops. As one fan said in near disbelief, “That concert was out of this world.” He wasn’t alone as the performance drew a prolonged standing ovation and loud bravos from the two-thirds house.
When it comes to chamber music, you just can’t do better than the Pro Arte Quartet. It’s that simple. With such quality and affordability, the Pro Arte should always be playing to a full house.
The Pro Arte Quartet will repeat the same program on Sunday afternoon, Oct. 7, at 12:30 p.m. for “Sunday Afternoon Live at the Chazen.” Admission to the Brittingham Gallery 3 performance space is free, and the concert will be streamed live. Go here for details and a link:
And the dates and times — without programs — of future Pro Arte Quartet concerts can be found here: https://www.music.wisc.edu/pro-arte-quartet/
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Classical music: The UW-Madison’s Pro Arte Quartet delivers a perfect program of superb music by Haydn, Mozart and Schubert
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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.
By John W. Barker
While snow may have restricted the audience attending the Pro Arte Quartet (below, in a photo by Rick Langer) on Saturday night, those who came were amply rewarded with a virtually perfect program of superb music.
The program brought together three Austrian works, two by those Classical-era titans, Franz Joseph Haydn and Wolfgang Amadeus Mozart, and the third by the Austrian early Romantic Franz Schubert.
The combination of the first two was particularly stimulating, an opportunity to reckon how different from each other were these composers who are so often bracketed together.
The E-flat Quartet is No. 3 in the Op. 50 set that some commentators have viewed as the response by Haydn (below) to the set of six quartets that Mozart had recently published in Haydn’s honor.
Deliberately, Haydn chose to avoid matching Mozart’s lyricism and rich imagination, turning instead to statements of strength in austere textures.
Composed in 1790, a year before his death and only three years after the Haydn work, the Quartet in B-flat, K. 589, by Mozart (below) was his penultimate quartet, part of a series to be written for the King of Prussia who played the cello, which is featured prominently in the quartet.
Here we have a Mozartian style that is expansive and exploratory. Amid music of great lyric beauty and even vivacity, we have a Menuetto third movement whose Trio, or midsection, is remarkably dark and ambiguous. (You can hear a period-instrument performance of the third movement in the YouTube video at the bottom)
The Pro Arte players brought out the individuality of the two different styles quite beautifully. To my ears, the viola lines were delivered with notable strength and color by Sally Chisholm.
The final work, and the longest, was one of Schubert’s amazing late quartets. The No. 13 in A minor, D. 804), from 1824 is known as the “Rosamunde” Quartet because the second movement is the elaboration by Schubert (below) of the lovely melody in the well-known interlude in his incidental music for the play of that title.
Despite a somewhat moody first movement, the work as a whole is suffused with Schubert’s very special, very personal lyricism. Analyses of it can be instructive, but ultimately this remains music for the soul, not just the brain, I think.
The Pro Arte understands that well, and gave a generous demonstration of its beauties.
It proved such a wonderful concert, for which we can only give warm thanks to the UW-Madison’s Mead-Witter School of Music where the Pro Arte Quartet has been an artist-in-residence since World War II.
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Classical music: The Wisconsin Brass Quintet performs a FREE concert Thursday night on the UW-Madison campus.
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By Jacob Stockinger
The Wisconsin Brass Quintet, which is marking its 43rd anniversary this season, will give a FREE and PUBLIC performance this Thursday night at 7:30 p.m. in Mills Hall.
The program includes: the Canzona per sonare No. 2 by the Italian Baroque composer Giovanni Gabrieli (ca. 1554-1612); “In the Zone” by UW-Madison alumnus Andrew Rindfleisch (b. 1963); the Brass Quintet by Ira Taxin (b. 1950); and Rounds and Dances for Brass Quintet by Jan Bach (b. 1937)
Members of the Wisconsin Brass Quintet are (below in a photo by Michael R. Anderson, left to right): Mark Hetzler, trombone; Matthew Onstad, trumpet; Tom Curry, tuba; John Aley, trumpet; Daniel Grabois, horn.
Here is some background about the Wisconsin Brass Quintet:
Founded in 1972, the Wisconsin Brass Quintet is a faculty ensemble-in-residence at the University of Wisconsin-Madison School of Music.
The quintet’s musical expertise has been acknowledged by Verne Reynolds, Jan Bach, Karel Husa, John Harbison, Daron Hagen and many other composers.
In addition to performing with the WBQ, the players have also been members of the American Brass Quintet, Empire Brass Quintet and Meridian Arts Ensemble. Quintet members John Stevens and Daniel Grabois and former member Douglas Hill have also composed many works for the group.
With extensive performances throughout the Midwest and nationally, including appearances at New York’s Carnegie Recital Hall and Merkin Concert Hall, the quintet’s educational programs and master classes have been presented in such prestigious settings as The Juilliard School and the Yale School of Music.
The quintet performs annual live radio broadcast concerts on Wisconsin Public Radio. Its three CD recordings, on the Summit, Mark and Crystal labels, feature music by John Stevens, Douglas Hill, Verne Reynolds, Daron Hagen, John Harbison and Enrique Crespo.
An earlier LP recording features the only recording of Jan Bach’s “Rounds and Dances” and Hilmar Luckhardt’s “Brass Quintet.” Each of these works was composed for the Wisconsin Brass Quintet, in keeping with the WBQ’s commitment to commissioning and performing new music of the 20th and 21st centuries. (You can hear the Wisconsin Brass Quintet perform a commissioned work in the YouTube video at the bottom.)
Barry Kilpatrick writes for the American Record Guide: “I’ve reviewed over 250 brass recordings in the past five years, and this is one of the very best. The WBQ is a remarkable ensemble that plays with more reckless abandon, warmth, stylistic variety and interpretive interest than almost any quintet in memory.”
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