ALERT: The week’s FREE Friday Noon Musicale, from 12:15 to 1 p.m. at the First Unitarian Society of Madison, 900 University Bay Drive, features pianist Jess Salek (below).
The program includes: the “Italian” Concerto, BWV 971, by Johann Sebastian Bach (1685-1750); the Sonata No. 30 in E Major, Op. 109, by Ludwig van Beethoven (1770-1827); the Scherzo No. 3 in C-sharp Minor, Op. 39, by Frederic Chopin (1810-1849); and “Reflets dans l’eau” (Reflections in Water) by Claude Debussy (1862-1918).
By Jacob Stockinger
At 8 p.m. this coming Friday in Mills Hall, cello professor Parry Karp (below), who has performed for more than four decades with the Pro Arte Quartet, will play an ambitious recital, featuring one of his own many transcriptions.
He will be joined by two pianists: his mother Frances Karp and his faculty colleague Martha Fischer, who teaches collaborative piano.
Here is the decidedly varied and international program:
Sonata in D Minor for Cello and Piano (1913-7) by English composer Frank Bridge (below, 1879-1941), the teacher of Benjamin Britten. With Martha Fischer. (In the YouTube video at the bottom you can hear the first movement of the Bridge sonata performed by cello Mstislav Rostropovich and pianistBenjamin Britten.)
Sonata No. 1 in A Minor for Violin and Piano (1897) by French composer Maurice Ravel (1875-1937), as transcribed for Cello and Piano by Christian Proske (1875-1937). With Martha Fischer.
By Jacob Stockinger
One by one, the major groups in town are getting their new concert season under way.
PLEASE NOTE: The traditional starting time for the WCO Masterworks concerts has been changed from 8 p.m. to 7:30 p.m. The Ear isn’t sure whether it is for the convenience of audiences or because of the new security measures at the Overture Center. But he likes the earlier starting time since WCO programs are usually very generous.
True to his programming philosophy, WCO music director and conductor Andrew Sewell is mixing the very popular with the rarely heard and the almost completely unknown.
Kaler sounds very promising, since he is the only violinist ever to won gold medals at three prestigious competitions — the Tchaikovsky, Sibelius and Paganini competitions. In the YouTube video at the bottom, you can hear him perform a work by Fritz Kreisler at the Heifetz Festival.
The Symphony No. 4 in C minor by Franz Schubert (below) is a youthful work, but it possesses a surprisingly mature power deriving from its mood and mystery — perhaps because he composed it in the favorite key of his mentor and idol Ludwig van Beethoven. Hence its nickname, “Tragic.”
It should also be an outstanding performance because Schubert’s music is one of conductor Sewell’s many strengths.
William Boyce (1711-1779) was a Baroque-era English composer, a contemporary of George Frideric Handel, who was more popular in his own day. But who has been making something of a comeback, thanks to the early music movement.
Boyce (below) wrote six symphonies, and No. 5 in D Major on this program promises some pleasant surprises. The Ear doesn’t recall ever hearing Boyce performed live in Madison, though that is hardly the definitive word. Maybe he just missed it.
Single tickets are $10 to $80. For tickets, a sample of Ilya Kaler’s playing and background information, visit:
By Jacob Stockinger
This week there are three FREE concerts at the University of Wisconsin-Madison School of Music that merit your attention and attendance:
On Wednesday night at 7:30 p.m. in Mills Hall, the UW-Madison Wind Ensemble (below top) will perform a concert of theater music under director Scott Teeple (below bottom).
The concert features special guest soloist, percussionist Darin Olson (below), assistant director of the University of Wisconsin Marching Band.
The program includes music from “The Three Penny Opera” by Kurt Weill; the wind octet “Figures in the Garden” by Jonathan Dove; the Concertino for Timpani with Brass and Percussion by Michael Colgrass; the “Nocturno” by Felix Mendelssohn; and the “Geschwindmarsch” (Wind March) by Paul Hindemith.
For more information, visit:
Famed pianist Leon Fleisher (below top) will perform a FREE noon concert with the Pro Arte Quartet (below bottom, in a photo by Rick Langer).
A single work is featured but it is a great one, an undisputed masterpiece: The Piano Quintet in F Minor by Johannes Brahms.
The concert is from noon to 1 p.m. in Mills Hall.
For more information and background, visit:
At 8 p.m. on Friday night in Mills Hall, the UW Symphony Orchestra (below) will perform under its director and conductor James Smith.
The ingenious program features two terrific fifth symphonies that are NOT the most famous Fifth Symphony, the one by Ludwig van Beethoven: these are instead the Symphony No. 5 in B-flat by Russian composer Sergei Prokofiev; and the Symphony No. 5 by Finnish composer Jean Sibelius.
You can listen to the exciting and moving finale of the Sibelius symphony, performed by the Finnish conductor Essa-Pekka Salonen and the Swedish Radio Symphony Orchestra in the YouTube video at the bottom. It is one of The Ear’s favorites.)
Three student recitals, including graduate recitals in viola and piano, are also on the schedule this week. For information, visit:
By Jacob Stockinger
The critically acclaimed, Madison-based Ancora String Quartet welcomes its new first violinist Wes Luke – who replaces Leanne Kelso League — for the launch of the string quartet’s 16th season.
The concert is this coming Saturday night at 7:30 p.m. in the Landmark Auditorium of the Frank Lloyd Wright-designed First Unitarian Society of Madison, 900 University Bay Drive.
The program includes the String Quartet No. 2 in G Major, Op. 18, No. 2, by Ludwig van Beethoven; “The Bullfighter’s Prayer” by the Spanish composer Joaquin Turina; and the String Quartet No. 1 in D Major, Op. 11, by Russian composer Peter Tchaikovsky.
Tickets at the door are $15 for general admission; $12 for seniors and students; and $6 for children under 12.
Members of the Ancora (above from left) are: first violinist Wes Luke — who filled in for the past two seasons — plays with the Madison Symphony Orchestra, the Wisconsin Chamber Orchestra, the LaCrosse Symphony Orchestra, the Dubuque Symphony Orchestra and the Mosaic Chamber Players; second violinist Robin Ryan, who plays with the Madison Symphony Orchestra; violist Marika Fischer Hoyt (she performs on both modern and early instruments) who plays with the Madison Bach Musicians, the Madison Symphony Orchestra and the Wisconsin Baroque Ensemble; and the Wisconsin Chamber Orchestra; and cellist Benjamin Whitcomb, who teaches at the University of Wisconsin-Whitewater and frequently performs chamber music.
According to program notes: “Beethoven’s charming and lyrical early quartet shows him bridging the divide between the Classical and Romantic eras; Turina’s dramatic tone poem fuses French Impressionism with musical elements from his native Seville; and Tchaikovsky’s first quartet includes the poignant Andante Cantabile, which moved writer Leo Tolstoy to tears. (You can hear it in the YouTube video at the bottom.)
A champagne reception will close the evening.
By Jacob Stockinger
The Ear has received the following timely and important announcement:
The Festival Choir of Madison (below) and its new artistic director Sergei Pavlov – who teaches at Edgewood College — will close the current season with a special concert this Saturday night, May 7, at 7:30 p.m. at the Christ Presbyterian Church, located at 944 East Gorham Street in downtown Madison.
The performance features one of the legendary American choral conductors, Maestro Joseph Flummerfelt (below right, with Sergei Pavlov). You can hear a long Q&A interview with Joseph Flummerfelt in the YouTube video at the bottom.
The program with the Festival Choir includes music by German composers Felix Mendelssohn and Johannes Brahms, British composer Herbert Howells, Russian composer Sergei Rachmaninoff, Polish composer Henryk Gorecki and Scottish composer James MacMillan. Sorry, no word on individual works to be performed.
Tickets for the evening concert are available at the door and cost between $9 and $15.
Since 1971, Joseph Flummerfelt (below) has been responsible for most of the choral work of the New York Philharmonic, working closely with its music directors Leonard Bernstein, Zubin Mehta, Pierre Boulez, Kurt Masur, Lorin Maazel and Alan Gilbert. Until 2004 he was Director of Choral Activities in the Westminster Choir College in Princeton, New Jersey.
Joseph Flummerfelt (below) with the Westminster Symphonic Choir and New York Choral Artists has been featured in 45 recordings, including a Grammy Award-winning CD of the Symphony No. 3 by Gustav Mahler with Leonard Bernstein. His collaboration with the great American composer Samuel Barber includes the Grammy Award-winning recording of Barber’s opera “Anthony and Cleopatra.”
In 2004 Flummerfelt was awarded a Grammy for the New York Choral Artists’ recording of “On the Transmigration of Souls,” a Pulitzer Prize-winning composition written by John Adams in memory of the victims of the terrorist attacks on 9/11.
A master teacher, Flummerfelt’s many former students occupy a number of major choral positions throughout the world. Yannick Nezet-Seguin (below) — the current music director of the Philadelphia Orchestra and guest conductor of the Metropolitan Opera, who, as a teenager, studied with Dr. Flummerfelt in two advanced conducting summer workshops — cites him as one of the two major influences in his life as a conductor. A 2009 New York Times article said, “Mr. Nezet-Seguin called those sessions with Flummerfelt the only significant conducting lessons he ever had.”
Flummerfelt has a special connection with Madison as well. As an undergraduate student in De Pauw University in Indiana, he was deeply inspired by a performance of a visiting choir, and the conductor of this group was Robert Fountain, the legendary Director of Choral Programs at the University of Wisconsin-Madison School of Music.
Also on Saturday, May 7 at 11 a.m. there will be a question/answer session for all who would like to meet the Maestro Flummerfelt. The host is Edgewood College, and the session will be at the Washburn Heritage Room in the Regina Building. This is a FREE event.
By Jacob Stockinger
The Wisconsin Chamber Orchestra (below), under its longtime music director Andrew Sewell, will close out its current Masterworks season this Friday night at 8 p.m. in the Capitol Theater of the Overture Center.
The program – which features guest pianist John O’Conor (below) – includes the Piano Concerto No. 1 by John Field; the Piano Concerto No. 21 in C Major, K. 467 (“Elvira Madigan”), by Wolfgang Amadeus Mozart; the Suite No. 1 for Small Orchestra by Igor Stravinsky; and the Symphony No. 1 by Carl Maria von Weber.
Tickets are $15-$80.
For more information, including a full biography of John O’Conor and the purchasing of tickets, visit:
John O’Conor, who has an extremely busy career performing, teaching, recording and judging piano competitions recently agreed to a Q&A with The Ear:
John Field is best known as the precursor of Chopin when it comes to composing nocturnes. How right or wrong is that perception and how would you change it? What else should we know about Field, his stylistic roots and his influence, especially through his other piano music, in particular his concertos?
John Field (below) is indeed the originator of the Nocturne form for piano music. He realized that the usual forms of music of the 18th century (sonatas, variations etc.) were not really suitable for after-dinner performances at the residences of the nobility in the 19th century, so he published various short pieces entitled “Pastorale” and other such names until he happened on the idea of the “Nocturne” in 1814 (when Chopin was only 4 !!) when he published his first three.
They were an immediate sensation and he quickly published many more. It is said that one of his Polish students in St. Petersburg went back to Poland in the 1820s, played some of his Nocturnes, Chopin heard them and wrote his own and the rest is history.
Field was a prodigy in his native Dublin where he was born in 1782. His father recognized his talent and spent the enormous sum of 100 pounds to apprentice him to Muzio Clementi in London when he was only barely in his teens. Clementi was not only a famous pianist and composer but also a piano manufacturer.
He soon realized that when Field demonstrated his pianos, he sold more pianos! So he brought him on a promotional your around Europe in 1802. They visited Paris and Vienna and then St. Petersburg, when winter set in and they had to stay there until they could travel again in spring.
But during the winter the very handsome Field became the darling of the salons and all the daughters of the nobility wanted to study piano with him. So when Clementi (below) left in spring, Field stayed on. He spent most of the rest of his life in Russia and died in Moscow in 1837.
What would you like the public to know about the Piano Concerto No. 1 in E-flat Major by Field that you will perform in Madison?
Apart from Nocturnes, Field also wrote four sonatas and seven piano concertos. The concertos were tremendously popular in the 19th century and his second concerto was often the debut concerto of young virtuosi — in the same way that Sergei Rachmaninoff‘s Piano Concerto No. 2 became so in the 20th century.
The problem with the concertos is that they often lack an advanced sense of form and meander quite a bit — but quite beautifully!
I love the first concerto because it is the most concise and best organized of the concertos. It is full of youthful exuberance and he obviously wanted to show off his considerable technique in the flying fingers of the outer movements.
The middle movement is a set of variations on a Scottish folk song and though he composed this piece while still living in London with Clementi you can already hear the gentle filigree figurations that became such a characteristic of his later Nocturnes.
The Piano Concerto No. 21 by Mozart (below) is best known for its slow movement that was used as the soundtrack to the popular film “Elvira Madigan.” What else would you like to point out about this particular concerto to the public? In your view, where does it rank among Mozart’s 27 piano concertos?
There is no connection between Field and Mozart that I know of. But the Mozart Concerto is another example of a composer showing off his virtuosity. Both the outer movements sparkle with vivacity and charm, and the beauty of the slow movement needs no introduction from me. It is one of the most beautiful movements that Mozart ever wrote. (You can hear the slow movement in the YouTube video — with 39 million hits!~ at the bottom.)
You are very well known internationally as a both a teacher and an award-winning performer. For you, how does each activity inform the other?
I love teaching. I have always loved teaching piano. To some people, it might seem like drudgery, but I hope none of my students have ever felt that.
Nowadays I have incredibly gifted students who regularly win prizes at international piano competitions. But even when I started teaching, I hope I made the music fun for all my less talented students. It is a privilege to give them a love of the art that will keep for the rest of their lives.
By Jacob Stockinger
The Wisconsin Chamber Choir (below) will present “Songs In a New Land” on this Friday, April 15, at 7:30 p.m. in Bethel Lutheran Church, 312 Wisconsin Ave., in Madison and on Sunday, April 17 at 3 p.m. at Cargill United Methodist Church, 2000 Wesley Ave., in Janesville.
Admission is $15 for adults and $10 for students.
Advance tickets are available from www.wisconsinchamberchoir.org. They are also available at the door.
The WCC’s concert will celebrate composers who were immigrants from the 15th century to the present, including emigres to the United States from China, Russia, Syria, Germany, Mexico, Argentina, Venezuela and the Dominican Republic.
At a time when immigration has become a burning issue in national politics, the WCC’s program highlights composers who emigrated from the country of their birth to make new homes elsewhere. They imported traditions from their homelands and enriched the cultural life of their adopted countries in innumerable ways.
Their reasons for leaving home were varied-some moved voluntarily but many were forced to emigrate for political, economic or religious reasons or, often, a combination of all of these.
While the experience of leaving behind all that is familiar and making a new life in a foreign country was rarely easy, the interaction of old and new influences resulted in some of the most lasting and unique artistic creations in history.
Most of the featured composers were or are immigrants to the United States, but the program opens with a set of Renaissance motets—“Stabat Mater” by Josquin des Prez (below top) and “Domine, Convertere” by Orlando di Lasso (below bottom) — demonstrating that migrant composers have played a major role throughout history.
Some of the more recent composers represented are: Kurt Weill, whose Kiddush was composed for Park Avenue Synagogue in New York City; Chen Yi (below top), represented by “A Set of Chinese Folksongs”; Osvaldo Golijov (below bottom), with an excerpt from his “Pasion segun San Marcos” (Passion According to St. Mark); and 20th-century giants Arnold Schoenberg and Igor Stravinsky.
Although Schoenberg and Stravinsky were known for their dissonant, modernist works, much of the music they composed in the U.S. was tempered by an effort to communicate with audiences here. During the 1940s, both men ended up settling in Hollywood, along with countless other exiled European artists fleeing totalitarian regimes and persecution at home.
In the case of Schoenberg (below), even though he is known as “the father of atonality,” and the originator of “12-tone” music, he continued to compose tonal music throughout his life, and often wrote in a more accessible style for amateur musicians. The WCC will present two such tonal works by Schoenberg: “Verbundenheit” (Solidarity) for male chorus, and the folksong arrangement, “Mein Herz in steten treuen” (My Heart, Forever Faithful).
In the American works of Stravinsky (below), the Credo movement of his 1947 Mass was subtly influenced by American Jazz.
Joining the WCC will be Madison organist Mark Brampton Smith, who will accompany several pieces at the organ as well as perform solo organ works by Paul Hindemith and Joaquin Nin-Culmell (two additional mid-century immigrants to the U.S.).
The movements from Stravinsky’s Mass will be performed with Brampton Smith at organ and guest trombonist Michael Dugan (below), who will also enhance Josquin des Prez’s “Stabat Mater” by playing sackbut, the Renaissance ancestor of the trombone.
Guest percussionist Stephen Cherek will enliven several of the Latin American selections, playing a variety of instruments.
Here are some YouTube links to sample performances:
Josquin des Prez, “Stabat Mater”
Orlando di Lasso, “Domine Convertere”
Kurt Weill, “Kiddush”
Chen Yi, “Mo Li Hwa” (“Jasmine Flower” from A Set of Chinese Folksongs)
Osvaldo Golijov, “Demos Gracias” (from La Pasion segun San Marcos)
Arnold Schoenberg, “Verbundenheit” (from Six Pieces for Male Chorus)
Arnold Schoenberg, “Mein Herz in steten Treuen”
Igor Stravinsky, Credo (from Mass)
By Jacob Stockinger
Today is Easter Sunday, 2016.
You don’t have to be a believer to know that the events of Easter have inspired great classical music, especially in the Baroque era but also in the Classical, Romantic and Modern eras.
Of course, there is the well-known and much-loved oratorio “Messiah” by George Frideric Handel, who wrote it for Easter, not Christmas as is so often assumed because of when it is usually performed. (NOTE: The Madison Bach Musicians will perform “Messiah,” with period instruments and historically informed performance practices, at the First Congregational United Church of Christ on Friday and Sunday, April 8 and 10.)
There is a lot of instrumental music, including the gloriously brilliant brass music by the Venetian composer Giovanni Gabrieli and the darker Rosary sonatas for violin by Heinrich Ignaz Franz Biber and the “Lamentation” Symphony, with its sampling of familiar tunes and intended to be performed on Good Friday, by Franz Joseph Haydn.
Easter music cuts across all kinds of nationalities, cultures and even religious traditions: Italian, German, English, Scottish, American, Russian, French and Austrian.
But the occasion — the most central event of Christianity — is really celebrated by the huge amount of choral music combined with orchestral music – perhaps because the total effect is so overwhelming and so emotional — that follows and celebrates Holy Week, from Palm Sunday through Maundy Thursday and Good Friday and then ultimately to Easter and the Resurrection from death of Jesus Christ.
For The Ear, the pinnacle is the music of Johann Sebastian Bach (below), especially his cantatas, oratorios and passions.
But today The Ear wants to give you a sampler of 16 pieces of great Easter music, complete with audiovisual clips.
Here is one listing that features music by Johann Sebastian Bach, Thomas Tallis, Nikolai Rimsky-Korsakov, Gustav Mahler, Francis Poulenc and James MacMillan:
And here is another listing that features music by Antonio Vivaldi, Hector Berlioz, Gioachino Rossini, Heinrich Ignaz Franz Biber, Franz Joseph Haydn, Ludwig van Beethoven, Bach’s “Easter Oratorio” (rather than his “St. Matthew Passion” or “St. John Passion”) and “The Resurrection” oratorio (other than “Messiah”) by Handel.
Curiously, no list mentions the gorgeous and haunting “Miserere” (below) by Gregorio Allegri. It was traditionally performed in the Vatican’s Sistine Chapel on the Wednesday and Good Friday of Holy Week, but was kept a closely guarded secret. Publishing it was forbidden. Then a 12-year-old Wolfgang Amadeus Mozart heard it and copied it down from memory.
Finally, The Ear offers his two favorite pieces of Easter music that never fail to move him. They are the passion chorale and final chorus from the “St. Matthew Passion” by Johann Sebastian Bach:
What piece of music is your Easter favorite?
Do you have a different one to suggest that you can leave in the COMMENT section, perhaps with a link to a YouTube video?
The Ear wants to hear.
By Jacob Stockinger
There was so much to like about last Friday night’s concert by the Wisconsin Chamber Orchestra (below), including a fantastic performance of the sublimely beautiful Violin Concerto by the American composer Samuel Barber.
The concerto, with its soaring melodies, poignant harmonies and spiky perpetual motion finale, was played superbly by Russian-born, London-based virtuoso Alexander Sitkovetsky (below), who received a masterful accompaniment from longtime music director and conductor Andrew Sewell and the WCO. (As an encore and change of pace, Sitkovetsky played the soulful Sarabande from the Partita No. 2 in D Minor for Solo Violin by Johann Sebastian Bach.)
Here are two very positive reviews, written by John W. Barker for Isthmus and Greg Hettmansbeger for Madison Magazine, with which The Ear agrees:
But The Ear notes this: Perhaps the most touching moment came off-stage.
As you may have heard, last October Robin Fellows died of cancer at 66. For 26 years, he had been the principal flutist of the Wisconsin Chamber Orchestra and also taught at the University of Wisconsin-Whitewater. He also played and taught at many other places.
If you went to the indoor classical Masterworks concerts by the WCO, you heard him.
And if you went to the popular summertime Concerts on the Square, you heard him.
So it was right and fitting, as they say, for the WCO to dedicate the concert to Fellows (below). Indeed, the program seemed perfect in its homage.
We heard a new principal flutist and heard lots of prominent flute playing in works by Irish composer Joan Trumble, Swedish composer Lars-Eric Larsson and especially the Symphony No. 4 by Ludwig van Beethoven.
But the most stirring tribute happened off-stage.
That is because the family gave out a FREE memorial tribute CD of 20th-century flute music – with singers, bassoonists, clarinet, harp and piano — that was played by Fellows, recorded and released in 2002.
It includes music by Aaron Copland, Walter Piston, Albert Roussel, Ernst Toch, Daren Hagen (a UW-Madison alumnus) and Vincent Persichetti.
Out in the lobby of the Capitol Theater of the Overture Center was a table with not only the new season brochures for 2016-17, but also many stacks of FREE CDs. The audience was invited to take one by a current WCO flutist and oboist.
And as you entered and left the theater, there was a large poster with a picture of Fellows and a paragraph about his life and accomplishments.
The Ear is still sampling all the pieces on the CD.
So far, it is both enjoyable and enlightening. The Ear would include a sample, but unfortunately he doesn’t see that any tracks have been uploaded to YouTube.
Still, one cannot imagine Fellows — or any musicians, for that matter — wishing for a better tribute.
The Ear says: Kudos to the Fellows family and to the Wisconsin Chamber Orchestra for providing such memorable memorials.