By Jacob Stockinger
The Ear has received the following messages from UW composer Laura Schwendinger and from Beverly Taylor, the director of choral activities at the University of Wisconsin-Madison School of Music who is also the assistant conductor and chorus director of the Madison Symphony Orchestra:
Writes conductor Beverly Taylor: This is a busy and musically fascinating weekend for me coming up.
Tickets are $15, $5 for students. For more information about tickets as well as the performers and the program, go to:
Then in Mills Hall at 8 p.m. on Saturday night and at 7:30 p.m. on Sunday night, there are two performances of When Lilacs Last in the Dooryard Bloomed by the 20th-century composer Paul Hindemith by the UW Choral Union and the UW Symphony Orchestra (below). It is a work that to my knowledge has never been performed in Madison.
Tickets are $15, $8 for students. For more information about obtaining tickets and about the concert, visit:
Here is more information about the events:
The Concert Choir performance explores in music of several centuries the theme of “Art Born of Tragedy” — how outside events can be the spark that causes the creation of works of substance that range from the gentle and comforting to rage and despair.
We will sing music from the Renaissance: part of the Thomas Tallis’ “Lamentations of Jeremiah (on the ancient destruction of Jerusalem),” and a John Wilbye madrigal “Draw on Sweet Night for a Broken Heart.”
We will present three works from modern composers: one is a world premiere by the prize-winning composer Laura Schwendinger (below top), my colleague at the UW-Madison, for viola — played by Sally Chisholm (below bottom) of the UW Pro Arte Quartet — and wordless chorus. It is called “For Paris” in memory of those killed in the Paris terrorist bombings of 2015.
(Adds composer Laura Schwendinger: “The viola starts this short work by referencing only for a moment the merest idea of a ‘musette song,’ one that might be heard on an evening in a Paris cafe. The choir enters with a simple refrain that repeats again and again, each time with a little more material, as an unanswered question of sorts. Each time the viola reenters the texture, the music becomes more pressing in a poignant manner, until it arrives in its highest register, only to resolve with the choir as it quietly acquiesces in the knowledge that the answer may not be known.”)
We will present a short “O vos omnes” (O you who pass by) written by Pennsylvania composer Joseph Gregorio (below), composed in memory of a Chinese girl hit by a car and left to die.
The third piece is a reprise of “Après moi, le deluge” by Luna Pearl Woolf (below top), which we premiered and recorded 11 years ago. We are lucky to have back the wonderful internationally known cellist Matt Haimovitz (below bottom), who premiered this work with it. The text, written by poet Eleanor Wilner, mixes the Noah story with the Hurricane Katrina disaster.
The term “Après moi, le deluge” is a term attributed to Louis XV or his mistress Madame Pompadour, and means “after me the flood” — referring either to the chaos after his reign, or that what happens afterword bears no importance for him.
The work has four different moods like a symphony — with strong themes at the start and cries for help, followed by the slow movement despair, a scherzo-like depiction of havoc, and a final movement that is like a New Orleans funeral, upbeat and Dixieland.
Throughout the program we also present spirituals that depict loneliness or salvation from trouble.
UW CHORAL UNION
In certain ways, When Lilacs Last in the Dooryard Bloomed resembles the Concert Choir concert in that it contains a number of moods and styles as well, under a dark title. The subtitle of the work is “a Requiem for Those We Love.”
It was commissioned by the great choral and orchestral conductor Robert Shaw as a tribute to President Franklin Delano Roosevelt on his death and the train ride that carried him from Warm Springs, Georgia, to Washington, D.C.
The text that Paul Hindemith (below top) chose is by Walt Whitman (below bottom), who wrote his poem on the death of Abraham Lincoln, and the funeral train from Washington, D.C., to Springfield, Illinois.
Whitman’s grief is combined with pride and joy in the countryside that the train traverses, and his feelings find an outlet in the thrush that sings out its song. His sense of a sustaining universe is a contrast to his depiction of the despair and ravages of the Civil War.
Hindemith’s calling the work a “Requiem for Those We Love,” puts it, like the Brahms’ “German” Requiem, into a class of non-liturgical requiems — that is, the texts are not those that are part of the Catholic Mass for the Dead, but are other selected texts of joy or remembrance.
Hindemith’s style can loosely be described as tonal that veers away into dissonance and returns again to the home key. The Prelude and opening movement are dark; the solo songs of baritone (James Held, below top) and mezzo-soprano (Jennifer D’Agostino, below bottom) are marvelous; the fugue on the glories of America is glorious and other sections are soft and tender. (NOTE: You can hear the orchestral prelude of the work, with composer Paul Hindemith conducting the New York Philharmonic, in the YouTube video at the bottom.)
The work is hard for both chorus and orchestra, but well worth the effort. The piece is about 80 minutes long and will be performed without interruption. It’s a work I’ve always wanted to do, having heard it performed at Tanglewood many years ago. I’m delighted to have the chance now.
By Jacob Stockinger
Here is a special posting, a record 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
For reasons, astronomical and cultural, the Western and Eastern Orthodox celebrations of Easter are frequently held at separate dates. But this year they coincide (on this coming Sunday, April 16). That gives good reason to direct attention beyond familiar Western Easter music and instead to that of Eastern Orthodoxy.
A new recording of one of the landmarks of Russian Orthodox music provides further stimulus to this.
Russian Orthodox practice did not encourage extensive new compositions, but stressed elaborate liturgical rituals built around the heritage of medieval monophonic chant, while benefiting from the fabulous style of Russian choral singing—those low basses (“octavists”) in particular.
Most composers who worked to enrich the liturgical literature were professional church musicians, but a number of “secular” Russian composers also made contributions. Notable among them were Nikolai Rimsky-Korsakov, Peter Tchaikovsky and Sergei Rachmaninoff (below).
It is the last of those three who has given us the music at hand, a truly memorable sacred creation. The work is his Op. 37, entitled “The Most Important Hymns of the ‘All-Night Vigil,” and commonly called “The All-Night Vigil” (Vsenoshchnogo Bdeniya) or else, more simplistically the “Vespers.”
It was composed during the early years of World War I, which was to bring about the collapse of the Russia that Rachmaninoff knew. It was performed in 1915, and two years later, amid the upheavals of the two Revolutions, the composer left his native land for good.
Rachmaninoff prized his Op. 37 above his other works; it was his proclamation of Russian identity, and after it he wrote no more sacred music. He even hoped that one section of it could be sung at his funeral. (A moving sample can be heard in the YouTube video at the bottom.)
The Orthodox Christian celebration of the Resurrection places emphasis on the Saturday night offices of Vespers and Matins, in a prolonged and elaborate ritual. (This Vigil array can also be used for other significant feasts beyond Easter.)
Given the lengths, Rachmaninoff chose to set his selection of “the most important hymns” for his Op. 37, for a total of 15 sections. He did follow working practice by building his settings on or around traditional chant melodies. He expected that individual sections might have liturgical usage; but he understood that the totality was a grand concert work.
The Rachmaninoff All-Night Vigil, or “Vespers,” has been recorded many times, often by Russian choirs, which have the musical and liturgical style in their blood. But non-Russian groups and directors have also come to recognize the transcendent beauty of this masterwork.
Noteworthy among those was Robert Shaw, the great American choral master whose recording (on the Telarc label) has been acclaimed by his admirers for its predictably superb choral sound. But Shaw and his singers lack Russian sound or spiritual sensitivity.
Other American performers have joined in: the broadly paced recording with Charles Bruffy and his Phoenix and Kansas City choirs (for Chandos) is notable. Paul Hillier’s recording (for Harmonia Mundi) with the Estonian Philharmonic Chamber Choir has earned great respect.
I have just been taken by the brand new release (below) from Paraclete Recordings of Massachusetts, with the Gloria Dei Cantores and members of three other choirs under the direction of Peter Jermihov.
They number 77 singers in all and, as recorded in a church setting, they make a sumptuous sound. Their emphasis is less on clarifying individual voice parts and more on relishing the rich blends that make up the total texture.
While treating the work as a grand concert piece, this performance goes beyond most others by including intonations by clerical celebrants, recalling the liturgical context that was always in the composer’s mind.
One of the striking features of this release is its thick album booklet. This is not only richly illustrated but contains an unusually penetrating background essay. Further, in presenting the Russian texts (in Cyrillic and transliteration) with English translations, it also gives useful comments section by section, for the fullest understanding of the liturgical contexts.
This is a noteworthy addition to the crowded recording picture for this sumptuous and deeply moving sacred music.
By Jacob Stockinger
The Ear has received the following notice to post:
Tickets are $15 (for students, $10) in advance; $20 ($12) at the door. Advance tickets are available from www.wisconsinchamberchoir.org, via Brown Paper Tickets, or at Orange Tree Imports and Willy Street Coop (East, West and North locations).
Explore the magic and mystery of the holiday season with the Wisconsin Chamber Choir, whose program highlights the beloved Latin chant ”O magnum mysterium” in musical settings by Tomas Luís de Victoria and Francis Poulenc. (You can hear Poulenc’s setting, conducted by the legendary Robert Shaw, in the YouTube video at the bottom.)
Rounding out the performance are the remainder of Poulenc’s Four Christmas Motets along with seasonal works spanning five centuries by William Byrd, Heinrich Schütz, Johannes Brahms, Herbert Howells and Bob Chilcott, plus the world premiere of “Methinks I See a Heavenly Host” by Peter Bloesch (below).
The 50-voice choir will be joined by organist Mark Brampton Smith (below top) of Grace Episcopal Church, and Madison Symphony Orchestra trombonist and program annotator J. Michael Allsen (below bottom, in a photo by Katrin Talbot), who will accompany the Schütz selections on the sackbut, the Renaissance ancestor of the trombone.
Founded in 1998, the Madison-based Wisconsin Chamber Choir has established a reputation for excellence in the performance of oratorios by Bach, Mozart, and Brahms; a cappella masterworks from six centuries; and world premieres.
Robert Gehrenbeck (below), who heads the choral program at the UW-Whitewater, is the Wisconsin Chamber Choir’s artistic director.
ALERT: This Thursday night at 6:30 p.m. in Morphy Hall, the Hunt Quartet will perform three great string quartets: the String Quartet No. 23 in F Major, K. 590, by Wolfgang Amadeus Mozart; the String Quartet No. 1 “Kreutzer Sonata” by Leos Janacek; and the String Quartet No. 2 in A minor, Op. 13, by Felix Mendelssohn.
The quartet is made up of four graduate students (below) at the UW-Madison School of Music. Here is a link to the event with impressive biographies and other information:
By Jacob Stockinger
Our friend Dan Broner, the music director of the First Unitarian Society of Madison, has sent the following note to The Ear:
On Sunday, March 29, at 10 a.m. and 3 p.m. the Society Choir of the First Unitarian Society of Madison will be joined by guest singers and instrumentalists in two performances of a masterpiece by French composer Maurice Durufle (below): his Requiem, Op. 9.
Both performances will take place in the modern Atrium Auditorium (below, in a photo by Zane Williams).
Maurice Durufle (1902-1986) was a celebrated French organist and composer. He studied at the Paris Conservatoire with the two most important French organist-composers of the day, Charles Tournemire and Louis Vierne, and he surpassed them both.
Durufle (below) won every major prize – in organ, harmony, accompaniment, counterpoint and fugue, and composition. In 1939 he gave the world premiere of Francis Poulenc’s Organ Concerto and in the 1940s he was named Professor of Harmony of the Conservatoire. It was his exceptional penchant for self-criticism, however, that led to Durufle publishing only 13 works: six organ pieces, two works for orchestra, a chamber piece, and four choral compositions.
He kept re-writing and revising his compositions for years after they were completed. As a result Durufle is a relatively unknown composer to the general public, but is admired by composers and singers for the impeccable craftsmanship and sublime beauty of his work.
The Requiem for choir, soloists, orchestra and organ was completed in 1947 and is based on Gregorian chants from the Roman Catholic Mass for the Dead. Stylistically it is influenced by the 20th-century organ music of Tournemire and Vierne, the Impressionist school of Claude Debussy and Maurice Ravel, the elegant Romanticism of Gabriel Faure, Renaissance polyphony and above all Gregorian chant. These elements form a tapestry held together by Durufle’s command of harmony and structure.
Durufle wrote three different accompaniments for the work: the original for large orchestra, a version for organ accompaniment, and one for organ and chamber orchestra. It is this last version that we will be using for our performances. (Below is a photo of Dan Broner conducting the choir. At bottom, you can hear the fourth movement, the Sanctus, as performed by Robert Shaw and the Atlantic Symphony Orchestra and Chorus. Sorry, but I don’t know why there is no video to accompany the audio.)
The concert will also introduce the new Allen digital organ gifted by William Wartmann (below) in memory and honor of his late wife, Joyce Wartmann, and her lifelong friendship with retired FUS Assistant Music Director and Organist, Eva Wright.
Joining the Society Choir will be guest singers from the Meeting House Chorus and community; baritone Paul Rowe (below top) and soprano Heather Thorpe (below bottom), who directs the FUS Children’s Choir.
Retired UW-Madison professor and Concertmaster of the Madison Symphony, Tyrone Greive (below top, in a photo by Katrin Talbot), will lead the string section, which will be joined by three trumpeters, timpani and harp, all conducted by FUS music director Dan Broner. Linda Warren (below bottom) will be the harpist and the guest organist will be Sheri Masiakowski, a doctoral student of UW organist, John Chappell Stowe.
I hope you will be able to join us on March 29 to experience some of the most beautiful music ever penned for choir and orchestra.