The Well-Tempered Ear

Classical music: French composer Maurice Durufle’s quietly glorious but rarely performed Requiem will be sung for FREE twice this Sunday, March 29, at the First Unitarian Society of Madison. Plus, the UW Hunt Quartet performs a FREE concert of Mozart, Janacek and Mendelssohn on Thursday night at 6:30 in Morphy Hall.

March 25, 2015
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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:

http://www.music.wisc.edu/events/hunt-quartet-recital/

Hunt Quartet 2015

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

Maurice Durufle full frontal BW

Both performances will take place in the modern Atrium Auditorium (below, in a photo by Zane Williams).

FUS Atrium, Auditorium 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.

Durufle at organ

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.)

fus choirs

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.

SONY DSC

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.

Schubertiade 2014 Paul Rowe baritone BIG

Heather Thorpe

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.

Tyrone Greive Talbot

linda warren

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.

 

 

 

 

 


Classical music: Learn about the odd history of Frederic Chopin’s heart and its long, eerie journey from France back to Poland.

January 4, 2015
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By Jacob Stockinger

Frederic Chopin (1810-1849, below in a photo from 1849) remains one of the greatest and most popular of all classical composers, both for amateurs or students and for professional performers.

As they say, he was “the poet of the piano,” and he composed almost exclusively for that instrument, even revolutionizing and modernizing piano technique through his two books of etudes.

Chopinphoto

Chopin, who was one of the greatest melody writers in the history of Western music, is also known for his fusing of the clarity and counterpoint of the Baroque and Classical-era styles with the emotion or passion of the Romantic style. Chopin loved the music of Johann Sebastian Bach and Wolfgang Amadeus Mozart. Unlike so many of his contemporaries, he did NOT like, admire or play most of the music of Ludwig van Beethoven.

But Chopin was also a famed dandy who wore a new pair of lavender kid leather gloves every day and who was known for his love affairs. That is probably why some images of Chopin (like the one below from Getty Images) tend to glorify him or idealize him, and to make his as handsome, as beautiful, as his music.

Chopin drawing Getty Images

But most people probably do not know much about his quirkier side.

And nothing in Chopin’s life seems more quirky than his death and The Tale of Chopin’s Heart.

It all stems, as I recall, from his terrifying fear of being buried alive. But then the story gets complicated and involves France and Poland, World War I, the Roman Catholic Church and Adolf Hitler’s Nazi Germany during World War II.

Here are two links to fill you in.

The first comes from NPR (National Public Radio):

http://www.npr.org/blogs/deceptivecadence/2014/11/17/364756853/uncovering-the-heart-of-chopin-literally

The second comes from The Huffington Post:

http://www.huffingtonpost.com/2014/11/17/chopin-heart_n_6170820.html

There is also research that questions whether Chopin actually died from tuberculosis or from some other malady.

But that is another story from another time.

And here is a YouTube video of the last piece that Chopin composed: His Mazurka in F Minor Op, 68, No. 4, as played by Chopin master Arthur Rubinstein. The mood of the piece seems to fit the sad story.

 

 

 

 


Classical music: The UW Choral Union and UW Symphony Orchestra, with guest soloists, offered a welcome trio of rarely heard works.

November 29, 2014
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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 for 20 years hosted an early music show every other Sunday morning on WORT-FM 89.9 FM. He serves on the Board of Advisors for the Madison Early Music Festival and frequently gives pre-concert lectures in Madison.

John-Barker

By John W. Barker

Well, last weekend was another train-wreck weekend with too many good things in competition with each other: pianist Valentina Lisitsa at the Wisconsin Union Theater (Thursday, Nov. 20), the Madison Opera’s Fidelio at the Overture Center (Friday, Nov. 21, and Sunday, Nov. 23), the UW-Madison Choral Union and Symphony Orchestra (Saturday, Nov. 22, and Sunday, Nov. 23), and the intimate Solo Dei Gloria concert at Luther Memorial Church (Saturday, Nov. 22). I won’t mention the basketball game, as well.

I was able to revel in Beethoven’s Fidelio on Friday evening, enjoy the SDGers on Saturday, and catch the UW Choral Union and UW Symphony Orchestra (below) on Sunday evening. And a rewarding finale that was.

UW Choral Union and Symphony Nov. 2014

Conductor and director Beverly Taylor (below) wisely avoided any seasonal associations and gave us the chance to hear music that we are rarely likely to hear otherwise.

Beverly Taylor MSO portrait COLOR USE

There were three pieces.

The “filler” in the middle was a lushly exotic curiosity by Ralph Vaughan Williams (below), his Flos campi (or “floss campy,” as a Wisconsin Public Radio announcer identified it) — “Flower of the Field,” inspired by lines from the Biblical Song of Songs, and scored for the unusual combination of solo viola, wordless chorus and orchestra.

Ralph Vaughan Williamsjpg

It is a rhapsodic affair, in six interconnected sections, exploring the sonorities and novel colors that his scoring allows. While it evokes a perfumed “eastern” ambiance, much of its musical character really derives from the composer’s steeping in folksong and folk spirit.

The chorus’s size gave its sound a good carrying power, helping the wordless ah-ing and humming to come through well against the orchestra, while viola soloist Sally Chisholm (below), a UW-Madison professor who also plays in the Pro Arte Quartet, made a beautifully ecstatic web of sound that only the viola can really achieve. When have you last heard such a dreamy novelty, and when again are you likely to?

UW Choral Union Sally Chisholm

On other side of that music came two different settings of the familiar Latin canticle, Te Deum laudamus, by two different composers. This all-purpose liturgical text has been set many, many times by a procession of composers over the centuries, but it would be difficult to imagine two more utterly contrasting treatments than the ones we heard.

The better known (or less unknown) one of the two was that by opera composer Giuseppe Verdi (below), among his very last compositions and now reckoned as the fourth of his Quattro pezzi sacri or “Four Sacred Pieces.”

Verdi 2

It is in a style familiar from his only other important setting of Latin liturgical texts, his Requiem. It is straightforward but noble, monumental and powerful music, and it was brought off with eloquence. (You can heard it, accompanied by the art of Michelangelo in a YouTube video at the bottom.)

That was the closing work.

The opening one was the other Te Deum. Antonin Dvorák (below), though a devout Roman Catholic, composed very little sacred music in Latin. Setting aside a purely functional Mass setting, his only familiar and recognized examples are his Stabat mater and his Requiem. Both of those are deeply felt, but are grandiose concert works.

dvorak

The only other such work is his setting of the Te Deum, cruelly neglected and unappreciated. It was composed in 1892 as a debut work for Dvorák’s new residence in New York City, and was intended as a celebration of the 400th anniversary of Christopher Columbus’ discovery of the New World.

Against Verdi’s solemnity, Dvorák’s setting is festive. It is patterned along the lines of the traditional four-movement symphony, with a “slow movement” of folksong-like lyricism and a passionate “scherzo,” framed by flanking outpourings of extraordinary exuberance — all in unbroken succession.

For anyone who loves the music of this composer — as I do — or who is still discovering it, this work is an exciting revelation.

There were solo passages in the two Te Deums, beautifully sung by undergraduate soprano Emi Chen (below right) and graduate student baritone Joel Rathmann (below left).

Choral Union Joel Rathmann, Emi Chen

The UW Choral Union itself, 123 singers strong, sang with appropriate sonority. There were some rough spots in the opening of the Dvorák, with its off-putting rhythmic eccentricities, but the UW Symphony Orchestra played quite well otherwise — even if it sometimes was allowed to overshadow the other participants.

In sum, this proved an evening of truly refreshing choral experience, and another tribute to Beverly Taylor’s enterprise.


Classical music Q&A: Gabriel Faure’s music is hard to perform and very underrated, says First Unitarian Society of Madison music director Dan Broner who will conduct two FREE performances of Faure’s sublime Requiem this coming Palm Sunday.

April 8, 2014
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By Jacob Stockinger

This coming Sunday, April 13, at 10 a.m. and 3 p.m. the First Unitarian Society of Madison will offer one of its All-Music Sundays.

This time, the event – open to the public and not just FUS members — features two FREE performances on the lovely and consoling Requiem by Gabriel Faure at the historic meeting-house, (below)  designed like a plow tilling the soil by Frank Lloyd Wright, at 900 University Bay Drive.

FUS exterior BIG COLOR USE

To The Ear, it seems a perfect choice for the upcoming Easter season – Sunday is, after all, Palm Sunday.

To be sure, a lot of sublime choral music has been or will be performed here in a short time, including Johann Sebastian Bach’s “St. John Passion” and Mass in B Minor, Wolfgang Amadeus Mozart’s storied Requiem and Sergei Rachmaninoff’s a cappella Vespers.

I gave a rundown in this earlier post:

https://welltempered.wordpress.com/2014/04/01/classical-music-april-will-bring-lots-of-choral-music-by-bach-mozart-beethoven-faure-and-rachmaninoff-among/

But there is something special in the quietude of the Faure Requiem that seems to marry the Roman Catholic and Protestant traditions in away that also allows secularists to enter into the music.

I asked FUS music director Dan Broner (below), who programmed and will conduct the Requiem, to talk about it and he agreed to do an email Q&A:

Dan Broner

Why did you choose to do the Requiem by Gabriel Faure?

Two years ago we did the Requiem by John Rutter. A singer at the time asked if we could do the Faure Requiem next and since I hadn’t conducted the entire work for some time, I thought it would be fun to do it again.

John Rutter (below) worked on a new edition of the Faure Requiem in the early 1980s, which inspired him to compose his own requiem. So I thought it would be fun for the Society Choir to sing it while the Rutter was still relatively fresh in their ears.

John Rutter 10

What do you think of Faure’s music in general and what do you especially like about it and what makes it appropriate for the Unitarians?

I think Faure’s music is underrated. He was comparatively prolific, having written over 100 songs, many piano solo works, and lots of wonderful chamber music. Yet he is best known for his Requiem and a few instrumental numbers (“Sicilienne,” “Pavane” and “Elegie”).

I think it may be because he didn’t write many large-scale works, and his piano solo repertoire is quite difficult technically. (Liszt pronounced it too difficult.)

Faure (below) was a terrific melodist on par with Schubert and Chopin and his life (1845-1924) spanned a period that began with the music of Chopin and Schumann and into the jazz era and the second Viennese school. An important educator, he taught many well-known composers including Maurice Ravel and Nadia Boulanger.

Faure worked for the Roman Catholic Church, and properly wrote his Requiem in Latin. But he eschewed the usual “Dies Irae” (Day of Wrath) movement with its emphasis on judgment and damnation for a gentler spirit that focused instead on eternal rest. I think this plays well with Unitarian humanist leanings.

faure

How does it differ from other well-known Requiems?

In addition to the “Dies Irae,” Faure also doesn’t include the “Benedictus” portion of the “Sanctus.” And his “Agnus Dei” (heard at the bottom in a popular YouTube video) is in F major and is more lyrical than the typical big, minor key “Agnus Dei” movements of other Requiems.

Interesting is the similarities with the “German” Requiem by Johannes Brahms, written some 20 years earlier. Both are in seven movements and both use soprano and baritone soloists. I think it was Aaron Copland (below) who declared Faure “the Brahms of France.”

aaron copland

What else would you like to say or add about the work and the performances?

We will be using John Rutter’s chamber orchestration which lends itself for performing in a relatively small space: organ, harp, solo violin, divided violas and cellos, bass, two horns and timpani. The chorus will number a little over 60 singers. Soprano Heather Thorpe and baritone Bart Terrell are the soloists. And it will take place in the older Landmark Auditorium (below) because that’s where the organ is.

Dan Broner FUS

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