The Well-Tempered Ear
Classical music: This summer the Token Creek Festival goes online. The music starts TODAY at 4 p.m. Concerts run daily through Sept. 15 and remain up for this month
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By Jacob Stockinger
The annual Token Creek Chamber Music Festival normally occurs in the final weeks of summer, just before Labor Day, in the welcoming rustic comfort of the beautifully converted barn (below) located on the rural farm property of composer John Harbison and violinist Rose Mary Harbison.
With its normal concert season canceled due to Covid-19, the festival is pleased to announce an alternative for the summer almost ended.
Slightly later than usual, “MUSIC FROM THE BARN” is a two-week virtual season, a retrospective of concert compilations from 30 years of performances.
The topical programs will be released daily over the period Sept. 1–15 at 4 p.m. (CDT), and will remain posted and available to “attendees” throughout the month. From anywhere in the world, you can revisit whole programs or individual pieces.
The goal of the series has been to achieve the broadest possible representation of repertoire and artists who have graced the Token Creek stage since the series began in 1989.
To festival-goers, it will come as no surprise that the virtual season emphasizes music of Bach, Mozart, Haydn, and Beethoven, vocal music, works by artistic director John Harbison and his colleagues, and, of course, jazz.
In addition to the welcoming beauty of the barn and festival grounds, with sparkling creek and abundant gardens and woods, and the convivial intermissions at every concert, one of the features most beloved by audiences is the concert introduction by Pulitzer Prize-winning composer, MacArthur “Genius Grant” recipient and MIT professor John Harbison (below) that begins each program. Happily, these remain a feature of the virtual season as well.
Season Schedule
Tues., Sept. 1: Welcome and introduction from the artistic directors (below and in the link to the YouTube video at the bottom)
TODAY, Wed., Sept. 2: Founders Recital
Thurs., Sept. 3: Haydn Piano Trios
Fri., Sept. 4: Bach I: Concertos
Sat., Sept. 5: A Vocal Recital (I)
Sun., Sept. 6: Beethoven
Mon., Sept. 7: Contemporaries
Tues., Sept. 8: Early Modernists
Wed., Sept. 9: A Vocal Recital (II): Schubert and Schumann
Thurs., Sept. 10: Jazz 2003-2019
Fri., Sept. 11: Neo-classicists: Pizzetti, Martinu, Stravinsky
Sat., Sept. 12: Schoenberg and His Circle
Sun., Sept. 13: Mozart
Tues., Sept. 14: John Harbison: Other Worlds
Wed., Sept. 15: Bach II: Preludes, Fugues, Arias, Sonatas
Programs will be posted on Token Creek’s YouTube Channel, accessible from the festival website (https://tokencreekfestival.org), which will also host concert details: works, artists, program notes and other information.
All concerts are FREE and open to the browsing public.
In addition to the virtual concert season, the Token Creek Festival is pleased to release two new CDs.
A Life in Concert (below) features music written for Rose Mary Harbison by John Harbison, and performances of diverse music by the two of them. It includes the world premiere recordings of Harbison’s Violin Sonata No. 1 and Crane Sightings: Eclogue for Violin and Strings, inspired by frequent encounters with a pair of sandhill cranes at the Wisconsin farm.
Wicked Wit, Ingenious Imagination (below) offers four piano trios by Haydn, a beloved genre the festival has been surveying regularly since 2000. CDs will be available at the festival website by mid-September.
For more information, go to: https://tokencreekfestival.org
https://tokencreekfestival.org/2020-virtual-season/welcome/#
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Classical music: University Opera succeeded brilliantly by setting Britten’s “A Midsummer Night’s Dream” in the 1960s at Andy Warhol’s The Factory
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By Jacob Stockinger
Larry Wells — the Opera Guy for this blog – took in two performances last weekend of the University Opera’s production of Benjamin Britten’s “A Midsummer Night’s Dream,” which played to three sold-out houses at Music Hall. He filed this review. Performance photos are by Benjamin Hopkins and Michael Anderson.
By Larry Wells
The University Opera’s production of Benjamin Britten’s “A Midsummer Night’s Dream” was set in Andy Warhol’s Factory of the 1960s with countertenor Thomas Alaan (below) as a Warhol-like Oberon presiding over the antics.
The opera by Britten (below) follows Shakespeare’s play fairly closely. The magical transformations and herbs of the original were translated to a hallucinogen-filled milieu of go-go dancing fairies, master-slave relationships and same-sex liaisons.
And for me it worked. That is to say, this production contained the same strangeness and wonder as the traditional productions I have seen. The play itself is very strange and wonderful.
Alaan is a fine singer and played a manipulative and somewhat slimy Warhol/Oberon whose flat affect seemed to be reflected in the relative lack of expressivity in the voice. Pitted against Oberon were Amanda Lauricella and Kelsey Wang alternating as Tytania.
Although the program stated that the portrayal of Tytania was loosely based on Edie Sedgwick in this production, without the platinum hair I missed the references. Both portrayals were much more assertive than Edie ever was, and both singers’ ardent coloratura voices tended to overshadow Oberon’s, which may have been intentional. Wang (below, far right) was an intense actress who put sparks into her portrayal, while Lauricella really has a superb voice.
(Below, from left, are Michael Kelley as Puck; Thomas Alaan as Oberon; Tanner Zocher as a young man; and Kelsey Wang as Tytania.)
The four lovers (below left) seemed to be employees at The Factory. Tenor Benjamin Liupaogo portrayed Lysander. The vocal part has an uncomfortable upper range, but Liupaogo’s singing in the second act particularly was up to the challenge.
His rival Demetrius was portrayed by baritone Kevin Green. Their contending affections for Hermia and Demetrius’ initial scorn for Helena were oddly lacking in ardor.
Hermia was double cast with Julia Urbank, a promising soprano, and Chloe Agostino, who was also a very good singer. Poor Helena, first ignored and then pursued by both men, was also double cast with a terrific Rachel Love and an equally gifted Jing Liu.
(The four lovers, below from left, were: Benjamin Liupaogo as Lysander; Chloe Agostino as Hermia; Jing Liu as Helena;, Kevin Green as Demetrius; and Paul Rowe as Theseus with Lindsey Meekhof as Hippolyte.)
As I have noted before, the female singers in the opera program often seem to be very solid performers. (You can hear the lovers’ quartet in the YouTube video at the bottom.)
And then there were the “Rustics” (below), the workers who have come together to put on the play “Pyramus and Thisbe” for the upcoming wedding of the local duke, or in this case a rich art patron.
(The six rustics, below from left, were: James Harrington as Bottom; Jacob Elfner as Quince; Benjamin Galvin as Snug; Jack Innes as Starveling; Thore Dosdall as Flute; Jeffrey Larson as Snout; with Kevin Green as Demetrius, seated.)
The six men were each talented comic actors and provided many of the performance’s laughs. Foremost was James Harrington’s Bottom. Not only a very funny actor, he produced in my opinion the finest singing among the many talented students.
Mention must be made of the very amusing Flute, hysterically portrayed by Thore Dosdall, and the promising bass Benjamin Galvin as the slow learner Snug.
These men not only sang well together and separately, but also provided many guffaws whenever they appeared. (Below are: Jacob Elfner as Quince; Jeffrey Larson as Snout; James Harrington as Bottom; Jack Innes – back row up on box – as Starveling; Benjamin Galvin as Snug; and Thore Dosdall as Flute.)
Additionally we had the fairies — all female voices in this production — who sounded wonderful together and got to demonstrate their incongruous ‘60s dance moves to Britten’s score.
Professor Paul Rowe (below left, with Lindsey Meekhof as Hippolyta) made an appearance as Theseus, the duke. His singing was that of a mature artist, a quality to which the students are clearly aspiring.
As the opera drew to a close with a beautifully harmonious chorus, one felt the transformation from dissonance to harmony in the opera and conflict to resolution embodied in the original play.
Many mentions of woods and forest are made in the libretto. Director David Ronis had the walls of the factory cleverly hung with changing arrays of Warhol-like multiple images of flowers and animals. With the amount of weed being smoked and who knows what being ingested onstage, it was easy to believe that the characters might think they were in a forest despite being in a Manhattan warehouse (below).
(The cast, below from left, included Amanda Lauricella and Thomas Alaan in the foreground as Tytania and Oberon. Others were: Julia Urbank on the floor; Benjamin Liupaogo, on the floor; Chloe Flesch; Maria Steigerwald; Amanda Lauricella; Maria Marsland; Angela Fraioli; Thomas Aláan; and James Harrington lying on the couch.)
Presiding over all of this were members of the UW Symphony Orchestra led by new conductor Oriol Sans (below). I have heard maestro Sans conduct the students several times this fall, and I feel he is an outstanding addition to the music school. His control over the forces was amazing, and the subtlety he drew from the players was remarkable.
Ronis (below, in a photo by Luke Delalio) has tried original twists in several of his previous productions, but I think this has been the most outlandish. And I have to say that I really loved it. So carry on, please.
He has a penchant for Britten, one of my favorite composers. His previous productions included “Albert Herring” and “Turn of the Screw.” I wonder if readers have suggestions for another Britten opera he could conceivably produce here. I have my own wish list.
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Classical music: What happens when Shakespeare and Benjamin Britten meet Andy Warhol and The Factory? The University Opera explores a new spin on an old tale
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ALERT: At 7:30 p.m. this Thursday night, Nov. 14 — the night before it opens the opera production below — the UW-Madison Symphony Orchestra, under conductor Oriol Sans, will perform a FREE concert in the Mead Witter Foundation Concert Hall of the new Hamel Music Center, 740 University Avenue, next to the Chazen Museum of Art. The program offers Darius Milhaud’s “The Creation of the World,” Maurice Ravel’s “Mother Goose Suite” and Franz Joseph Haydn’s Symphony No. 101 “The Clock.”
By Jacob Stockinger
The Big Event in classical music this week in Madison is the production by the University Opera of Benjamin Britten’s “A Midsummer Night’s Dream.”
It is a chance to see what happens when Shakespeare (below top) meets Britten (below bottom) through the lens of the Pop art icon Andy Warhol.
The three-hour production – with student singers and the UW-Madison Symphony Orchestra under conductor Oriol Sans — will have three performances in Music Hall, at the foot of Bascom Hill: this Friday night, Nov. 15, at 7:30; Sunday afternoon, Nov. 17, at 2 p.m.; and Tuesday night, Nov. 19, at 7:30 p.m.
Tickets are $25 for the general public; $20 for seniors; and $10 for students.
For more information about the production and how to obtain tickets, go to: https://www.music.wisc.edu/event/university-opera-a-midsummer-nights-dream/2019-11-15/
For more information about the performers, the alternating student cast and a pre-performance panel discussion on Sunday, go to: https://www.music.wisc.edu/wp-content/uploads/2019/10/A-Midsummer-Nights-Dream-Media-release.pdf
And here are notes by director David Ronis (below, in a photo by Luke Delalio) about the concept behind this novel production:
“When the artistic team for A Midsummer Night’s Dream met last spring, none of us expected that we would set Britten’s opera at The Factory, Andy Warhol’s workspace-cum-playspace.
“For my part, I wanted to find a way to tell this wonderful story that would be novel, engaging, entertaining, and thought-provoking.
“I only had one wish: that we did a production that did not feature fairies sporting wings – a representation that, to me, just seemed old-fashioned and, frankly, tired.
“As we worked on the concept, we found that The Factory setting allowed us to see the show in a new, compelling light and truly evoked its spirit and themes. The elements of this “translation” easily and happily fell into place and now, six months later, here we are!
“A Midsummer Night’s Dream tells the intersecting stories of three groups of characters – Fairies, Lovers and Rustics – and its traditional locale is that of a forest, the domain of Oberon, the Fairy King. (You can hear the Act 1 “Welcome, Wanderer” duet with Puck and Oberon, played by countertenor David Daniels, in the YouTube video at the bottom.)
“In our production, the proverbial forest becomes The Factory, where our Oberon, inspired by Andy Warhol (below, in a photo from the Andy Warhol Museum), rules the roost. He oversees his world – his art, his business, and “his people.” He is part participant in his own story, as he plots to get even with Tytania, his queen and with whom he is at odds; and part voyeur-meddler, as he attempts to engineer the realignment of affections among the Lovers.
“Tytania, in our production, is loosely modeled on Warhol’s muse, Edie Sedgwick (below top), and Puck resembles Ondine (below bottom), one of the Warhol Superstars.
The Fairies become young women in the fashion or entertainment industries, regulars at The Factory; the Lovers, people who are employed there; and the Rustics, or “Rude Mechanicals,” blue-collar workers by day, who come together after hours to form an avant-garde theater troupe seeking their 15 minutes of fame.
“For all these people, The Factory (below, in a photo by Nat Finkelstein) is the center of the universe. They all gravitate there and finally assemble for the wedding of Theseus and Hippolyta – in this setting, a rich art collector and his trophy girlfriend.
“Magic is an important element in Midsummer. In the realm of the fairies, Oberon makes frequent use of magical herbs and potions to achieve his objectives. In the celebrity art world of mid-1960s New York City, those translate into recreational drugs.
“The people who work in and gather at The Factory are also are involved in what could be called a type of magic – making art and surrounding themselves in it. They take photographs, create silk screen images, hang and arrange Pop art, and party at The Factory.
“Not only does this world of creative magic provide us with a beautiful way to tell the story of Midsummer, but it also becomes a metaphor for the “theatrical magic” created by Shakespeare and Britten, and integral to every production.
“We hope you enjoy taking this journey with us, seeing A Midsummer Night’s Dream in perhaps a new way that will entertain and delight your senses and, perhaps, challenge your brain a bit.”
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Classical music: What makes this weekend’s performances of “Cavalleria Rusticana” and “Pagliacci” classically Italian operas and especially inviting for beginners?
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By Jacob Stockinger
The Madison Opera will open its new season this weekend with two performances of Pietro Mascagni’s “Cavalleria Rusticana” and Ruggero Leoncavallo’s ”Pagliacci.”
Details about the productions in Overture Hall on Friday night at 8 p.m. and Sunday afternoon at 2:30 p.m. appeared in a previous posting that includes information about the cast and the tickets ($18-$131):
https://www.madisonopera.org/tickets/
But Kathryn Smith (below, in a photo by James Gill), the general director of the Madison Opera, recently agreed to a Q&A with The Ear to discuss the two operas more specifically and at length. Here are her comments:
A veteran opera-goer told the Ear that he considers these two works ideal operas for people new to the art form. Do you agree?
I think almost any opera is perfect for someone new to opera – supertitles make it possible to understand the words, so one can just sit down and enjoy the show.
That said, “Cav and Pag” are definitely what many people think of when you say the words “Italian opera”: elemental stories of love, hate and jealousy that lead to tragedy.
Cavalleria Rusticana, which means “Rustic Chivalry,” tells about a woman named Santuzza who had been seduced and abandoned by a man named Turridu. On Easter Sunday, she attempts to get Turridu back, then tells the husband of his new lover about that affair, resulting in a duel.
Pagliacci, which means “Clowns,” tells about a traveling theater troupe. Nedda, the wife of the troupe’s leader, Canio, wants to run away with her lover Silvio after the evening performance. Canio finds out, but goes on with the show even though his heart is breaking. He then snaps during the performance and kills both Nedda and Silvio.
The music in both operas ranges from glorious choral music (the Easter Hymn in Cavalleria Rusticana is one of the most famous opera choruses of all time for good reason) to famous arias (particularly the aria “Vesti la Giubba” from Pagliacci, or at least the line “Ridi, Pagliaccio!”), to orchestral music that is well-known in its own right, such as Cavalleria’s intermezzo, which plays an integral role in the final scene of “The Godfather” film trilogy. (You can hear that famous Intermezzo used in “The Godfather” film in the YouTube video at the bottom.)
They are also compact: Each opera lasts about 70 minutes, so a lot gets packed into a short amount of time. (Below is the set of “Pagliaccio” rented from the New Orleans Opera.)
What are the shared elements that make the two operas so compatible that they are often presented together?
Pagliacci was written in response to Cavalleria Rusticana: Ruggero Leoncavallo (below top) saw what a hit Pietro Mascagni (below bottom) had his 1890 one-act opera about real people propelled by love and revenge, and wrote his own version that premiered just two years later, in 1892.
There are some obvious parallels: both take place in small Italian villages, both take place on religious holidays, and both involve love triangles that end with someone dead. Plus the last line of each opera is spoken, not sung.
They also have musical similarities, as both have full orchestrations, large choral segments, and a style of vocal writing that calls for dramatic, expressive singing. As a result, the combined pairing makes a satisfying night of Italian opera, rather than being simply two operas that happen to be done on the same night.
Does one usually overshadow the other or are they equals?
It very much depends on the tastes of an individual audience member. When the operas were new, Cavalleria was definitely the more popular of the two – even Queen Victoria wrote in her diary that she preferred it.
To modern eyes, Pagliacci may be more dramatically satisfying because more happens in it, such as the entire play-within-the-opera, which adds an element of humor to the high stakes of reality. But both are masterpieces in their own right, and the audience gets to enjoy them both.
Why do you think these verismo operas are still powerful today?
“Verismo” comes from the word “vero,” which means “true.” Cav and Pag tell stories about real people caught up in their lives, with all the emotional messiness that can entail – and those emotions are still driving people today.
Above all, the music of both operas is so powerful that it strikes to the heart of what opera can be. It can be thrilling, it can be moving, it can be funny – all in one night.
Is there something else you would like to say about the two operas and your production of them?
We have wonderful casts in each opera. Scott Piper (below top), who was last here as Cavaradossi in Puccini’s Tosca, sings both Turridu and Canio; and Michael Mayes (below bottom), who was last here as the lead in Jake Heggie’s Dead Man Walking, sings both Alfio and Tonio.
We have two extraordinary sopranos making their debuts with us: Michelle Johnson (below top) as Santuzza in Cavalleria Rusticana and Talise Trevigne (below bottom) as Nedda in Pagliacci.
The Pagliacci cast is completed by Benjamin Taylor making his debut as Silvio and Robert Goderich singing Beppe; the Cavalleria cast is completed by Danielle Wright as Lucia and Kirsten Larson as Lola.
Tags: #ArtForm, #AudienceMembers, #BenjaminTaylor, #BlogInterview, #BlogPost, #BlogPosting, #BrokenHeart, #CavalleriaRusticana, #CavandPag, #ChoralMusic, #ChristianReligion, #DanielleWright, #DeadManWalking, #EasterHymn, #EasterSunday, #FacebookPost, #FilmScore, #FinalScene, #GiacomoPuccini, #ItalianOpera, #JakeHeggie, #JesusChrist, #KathrynSmith, #KirstenLarson, #LoveAffair, #LoveStory, #LoveTriangle, #MadisonOpera, #MadisonOperaChorus, #MadisonSymphonyOrchestra, #MichaelMayes, #MIchelleJohnson, #MovieSoundtrack, #NewOrleans, #NewOrleansOpera, #OperaAria, #OperaChorus, #OrchestralMusic, #OvertureHall, #PietroMascagni, #QueenVictoria, #RealPeople, #ReligiousHoliday, #RobertGoderich, #RomanCatholicism, #RuggeroLeoncavallo, #ScottPiper, #TaliseTrevigne, #TheEar, #TheGodfather, #VerismoOpera, #YouTubevideo, affair, aria, art form, Arts, audience, Benjamin Taylor, broken heart, cast, Cav and Pag, Cavalleria Rusticana, chivalry, choral music, chorus, Christian religion, Classical music, clowns, compact, composer, dead, Dead Man Walking, debut, diary, drama, dramatic, duel, Easter, Easter Sunday, element, emotion, equal, evening, eyes, Facebook, famous, film, final scene, hate, heart, heart-breaking, Humor, husband, hymn, intermezzo, Italian opera, Jacob Stockinger, Jake Heggie, jealousy, Jesus Christ, Kathryn Smith, kill, Kirsten Larson, link, Love, love affair, love story, love triangle, lover, Madison, Madison Opera, Madison Opera Chorus, Madison Symphony Orchestra, man, Michael Mayes, Michelle Johnson, modern, movie, movie soundtrack, Music, new, New Orleans, New Orleans Opera, opera, Orchestra, orchestral, orchestral music, Overture Center, Overture Hall, Pagliacci, pairing, parallels, People, perfect, performance, Pietro Mascagni, powerful, premiere, Puccini, Q&A, Queen Victoria, real people, reality, Religion, revenge, Robert Goderich, Roman Catholicism, Ruggero Leoncavallo, rustic, scene, Scott Piper, seduced, sets, short, similarities, sing, singer, Singing, soprano, soundtrack, story, Sunday, supertitles, Talise Trevigne, The Ear, The Godfather, theater, theatre, Tosca, tragedy, trilogy, troupe, United States, University of Wisconsin-Madison School of Music, University of Wisconsin–Madison, Verismo opera, Veteran, video, village, vocal music, Wisconsin, woman, YouTube
Classical music: The Token Creek Festival will “harvest” gardens of music from next Saturday through Sept. 2
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By Jacob Stockinger
The summer season for classical music in Madison has gotten busier and busier. But the summer still ends on the same high note — the Token Creek Chamber Music Festival that is co-directed by John Harbison and Rose Mary Harbison.
Here is the announcement about this year’s festival, the 29th, that begins this coming weekend:
“The late-summer garden inspires the 2018 season theme of “Harvest” at this year’s Token Creek Chamber Music Festival.
“Both garden and festival share much in common: risk, patience, experimentation, disappointment, and finally amazement that a piece —whether a piece of ground or a piece of music — is capable of such nourishment, abundance and variety.
“In the musicians’ garden, with its unpredictability and surprise, there is always the hope of reducing the variables — but they persist, and the richness of choice, the endlessness of the resources we inherit drive us to continue to create.
“One of the advantages of our season title is that it implies a summing up, a reaping of things planted, but of a kind that can occur each year,” writes co-artistic director and composer John Harbison (below). “Each planting retains certain elements and adjusts others with the hope of increased productivity. But so many of the adjustments made in hope of improvement do not work, but create new problems, require new approaches. What a fine analogy for the making of art.”
Here are this year’s Concert Programs. Please note something new this year: All weekend concerts start at 4 p.m.
Program I: ROOTS – Music of Bach and Primosch. On Saturday, Aug. 25, at 4 p.m. and Sunday, Aug. 26, at 4 p.m.
“Continuing our ongoing exploration of the music of Johann Sebastian Bach (below top) in cantatas and instrumental works, and its reflection in the music of James Primosch (below bottom), one of the few composers in our time able to grasp both the possibilities and responsibilities available in sacred music in a tradition inherited from Bach.”
Program II: NEW GROWTH – The Kepler Quartet (below, with composer Ben Johnston, and playing Johnston’s String Quartet No. 7 in the YouTube video at the bottom) on Wednesday, Aug. 29, at 7:30 p.m.
“A recital of beautifully alluring micro-tonal music “in between the notes.” The attractive and intelligible musical surface, and our experience hearing it, belies the at-times complex compositional methods.
“We are impressed by the pure pleasure of hearing tones combining differently but convincingly. The recital will be augmented with a demonstration and discussion by the Keplers.
Works are by Ben Johnston, Stefano Scodanibbio (below top), Henry Cowell (below middle) and Harry Partch (below bottom).”
Program III: CORNUCOPIA – Saturday, Sept. 1, at 4 p.m. and Sunday, Sept. 2, at 4 p.m.
“Schumann’s beloved and timeless song cycle “Dichterliebe” (A Poet’s Love) with tenor Frank Kelley (below) and his impassioned, enigmatic and exuberant Piano Trio in D minor anchor this program.
“The program also includes the Violin Sonata in G Major, K. 301, by Wolfgang Amadeus Mozart and Piano Sonata in E Major by Franz Joseph Haydn sonatas and the world premiere of John Harbison’s new song cycle, “In Early Evening,” to poems by Louise Gluck.”
The ARTISTS are Mark Bridges, cello; Laura Burns, violin; Ryne Cherry, baritone; Ross Gilliland, bass; John Harbison, portative organ and piano; Rose Mary Harbison, violin; Frank Kelley, tenor; The Kepler Quartet; Karl Lavine, cello; Sharan Leventhal, violin; Jennifer Paulson, viola; James Primosch, piano; Brek Renzelman, viola; Eric Segnitz, violin; Janice Weber, piano; and Sarah Yanovitch, soprano.
Performances take place in the Festival Barn (below top and bottom), on Highway 19 near the hamlet of Token Creek (10 minutes north of Madison, near Sun Prairie).
The charming and rustic venue — indoors and air-conditioned, with modern comforts — is invitingly small; early reservations are recommended, and casual dress is suggested. Ample parking is available.
Tickets are $12-$32, and can be purchased at https://www.eventbrite.com/e/token-creek-festival-2018-harvest-tickets-47217166817
For more information about the performers and specific works on programs, call (608) 241-2525 or go to www.tokencreekfestival.org
ABOUT THE FESTIVAL
The Token Creek Festival has been called “ferociously interesting and important, an ideal musical experience, a treasure nestled in the heart of Wisconsin cornfields.” (Photo below is by Jess Anderson.)
“Now in its 29th season, this late-summer series near Madison is known for its artistic excellence, diverse and imaginative programming; a deep engagement with the audience; and a surprising, enchanting and intimate performance venue in a comfortable refurbished barn.”
Tags: #AirConditioning, #APoet'sLove, #APoet'sLoves, #ArtisticDirector, #Bassmusic, #BenJohnston, #CelloMusic, #ChamberEnsemble, #ChamberMusic, #CreatingArt, #DMinor, #FrankKelley, #FranzJosephHaydn, #HarryPartch, #HenryCowell, #HighNote, #InstrumentalMusic, #JamesPrimosch, #JohannSebastianBach, #JohnHarbison, #KeplerQuartet, #LateSummer, #LivingComposer, #MicroTonalMusic, #NewMusic, #PianoSonata, #PianoTrio, #PieceofMusic, #PortativeOrgan, #RobertSchumann, #RoseMaryHarbison, #SacredMusic, #SongCycle, #StefanoScodanibbio, #StringQuartet, #SummerGarden, #SummerSeason, #SunPrairie, #TokenCreek, #TokenCreekChamberMusicFestival, #TokenCreekFestival, #ViolinMusic, #WolfgangAmadeusMozart, #WorldPremiere, #YouTubevideo, A Poet's Love, A Poet's Loves, abundance, afternoon, air conditioning, amazement, Art, Arts, August, Bach, baritone, barn, Baroque, Ben Johnston, Cantata, Cello, Chamber music, charm, charming, choice, choral music, Classical music, classicalmusic, Compact Disc, complex, composer, Composition, cornfield, create, creating art, Creation, D minor, demonstration, Dichterliebe, discussion, elements, enchanting, experience, experiment, experimentation, festival, Frank Kelley, Franz Joseph Haydn, Garden, ground, grou[, growth, harvest, Henry Cowell, hope, indoors, instrumental, intimate, Jacob Stockinger, James Primosch, Johann Sebastian Bach, John Harbison, Kepler Quartet, late summer, Living composer, living composers, Louise Gluck, Madison, Madison Symphony Orchestra, making, method, micro-tonal, microtonality, Mozart, Music, Musician, new, New Music, night, note, nourishment, patience, performance, Piano, Piano sonata, Piano Trio, piece, planting, poem, Poetry, possibility, premiere, problem, reaping, resources, responsibility, risk, Robert Schumann, roots, Rose Mary Harbison, rustic, sacred, sacred music, Saturday, September, singer, Singing, Sonata, soprano, Stefano Scodanibbio, String quartet, summer, Sun Prairie, Sunday, surpising, tenor, theme, ticket, Token Creek, Token Creek Chamber Music Festival, Token Creek Festival, tradition, treasure, trio, United States, University of Wisconsin-Madison School of Music, University of Wisconsin–Madison, unpredictability, unpredictable, variables, variety, venue, Viola, Violin, vocal music, Wednesday, Wisconsin, Wisconsin Chamber Orchestra, Wolfgang Amadeus Mozart, works, world, world premiere, YouTube
Classical music education: Before leaving for a festival in Scotland, the Madison Youth Choirs boy choirs will give a FREE send-off concert on Tuesday night. It features the world premiere of a new work by Madison composer Scott Gendel
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By Jacob Stockinger
The Ear has received the following announcement to post:
This July, 55 members of Madison Youth Choirs’ boy choirs will travel to Aberdeen, Scotland to sing in the Aberdeen International Festival of Youth Arts, a new celebration of talented young performers from across the world. (Below is the Britten boy choir.)
The festival will continue the legacy of the Aberdeen International Youth Festival (below), a tradition which had been running nearly 50 years when it was cancelled in late 2017 after Aberdeen city councilors withdrew its funding, citing budgetary concerns.
A groundswell of local and global support for the festival led to the creation of a new event, hosted by the Aberdeen Multicultural Center, which will continue to offer world-class performing opportunities for young artists.
In order to ensure that every eligible singer, including those whose families face significant financial challenges, had the opportunity to participate in this extraordinary experience, MYC undertook a major fundraising effort for the Scotland Tour Scholarship Fund, led by a generous anonymous benefactor who offered to double every dollar donated up to a total of $10,000. In total, 107 individual donors contributed to the fund, raising $20,224 to support the young singers’ journey.
Prior to their departure to Scotland, the MYC boys will present a send-off concert on Tuesday, July 24, at 7 p.m. at Good Shepherd Lutheran Church, 5701 Raymond Road, in Madison. The concert is FREE and open to the public, but donations at the door will be accepted.
The concert will feature the world premiere of a new work by UW-Madison graduate and Madison composer Scott Gendel (below), “For That Alone,” which combines text from Thomas Jefferson’s “Declaration of Independence” with text from a work that may have inspired it, the “Declaration of Arbroath,” written in 1320 to assert Scotland’s independence.
The full list of repertoire includes:
“Sumer is icumen in,” Anonymous, mid-13th century
“O là, o che bon echo” by Orlando di Lasso (1532-1594)
“No che non morira” (from Tito Manlio) by Antonio Vivaldi (1678-1741)
“Bar’chu” by Salamon Rossi (c. 1570-1630)
“Il est bel et bon” by Pierre Passereau (fl. 1509-1547)
“Hopkinton” by William Billings (1746-1800)
“The Pasture” (from Frostiana) by Randall Thompson (1899-1984)
“Gloria Tibi” (from Mass) by Leonard Bernstein (1918-1990)
“II. Adonai ro-I” from Chichester Psalms by Leonard Bernstein (1918-1990)
“For That Alone” (world premiere) by Scott Gendel (b. 1977)
“Chorus of Street Boys” from Carmen by Georges Bizet (1838-1875)
“Weevily Wheat,” American play-party song, arr. Krunnfusz
“The Plough Boy,” Traditional, arranged by Benjamin Britten (1913-1976) You can hear it for solo tenor with piano in the YouTube video at the bottom.
“Rustics and Fishermen” (from Gloriana) by Benjamin Britten
“I Will Howl” by Timothy Takach (b. 1978)
“Fugue for Tinhorns” (from Guys and Dolls) by Frank Loesser (1910-1969)
“Bonse Aba,” Traditional Zambian
“Birdsong” by Heather Masse, arranged by Randal Swiggum
“Revelation 19:1” by Jeffrey LaValley
“Anthem” (from Chess) by Benny Andersson, Björn Ulvaeus, Tim Rice, arranged by Randal Swiggum
“Will Ye No Come Back Again,” Traditional Scottish, arranged by Randal Swiggum
For more information about the Madison Youth Choirs, including how to join them and how to support them, go to:
https://www.madisonyouthchoirs.org
Tags: #AntonioVivaldi, #BenjaminBritten, #BennyAndersson, #BookofRevelation, #CatholicMass, #ChichesterPsalms, #ChristianChurch, #ChristianReligion, #DeclarationofArbroath, #DeclarationofIndependence, #FrankLoesser, #GeorgesBizet, #GoodShepherdLutheranChurch, #GuysandDolls, #LeonardBernstein, #LutheranChurch, #MadisonYouthChoirs, #MusicEducation, #OrlandodiLasso, #PierrePassereau, #RandallThompson, #RandalSwiggum, #RobertFrost, #RomanCatholicism, #SalamonRossi, #ScottGendel, #ScottishMusic, #ThePloughBoy, #ThomasJefferson, #TimothyTakach, #TimRice, #TraditionalMusic, #UnitedStates, #WilliamBillings, #WorldClass, #WorldPremiere, #YoungArtists, #YouTubevideo, Aberdeen, American, anonymous, anthem, Antonio Vivaldi, Arts, Baroque, Benjamin Britten, Benny Andersson, bird, boychoir, boys, Carmen, chess, choral music, chorus, Classical music, composer, Declaration of Arbroath, Declaration of Independence, Early music, fisherman, Frostiana, fugue, Gloriana, independence, Jacob Stockinger, Madison, Madison Youth Choirs, mass, Music, Music education, opera, Orchestra, Orlando di Lasso, party, Piano, Pierre Passereau, Plough Boy, Randall Thompson, Religion, Revelation, Robert Frost, Roman Catholic, Roman Catholicism, rustic, Salamon Rossi, Scotland, Scottish, sing, singer, song, street boys, Thomas Jefferson, Tim Rice, traditional, U.S., United States, United States Declaration of Independence, University of Wisconsin-Madison School of Music, University of Wisconsin–Madison, vocal music, William Billings, Wisconsin, world, world-class, young artists, YouTube, Zambia
Classical music: This year’s Token Creek Chamber Music Festival will explore “Necessary Music” by Bach, Schubert, Schumann, Ravel, Harbison and other composers from Aug. 26 through Sept 3
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By Jacob Stockinger
The Ear has received the following announcement to post about an annual event that puts on a lot of MUST-HEAR programs:
TOKEN CREEK, WIS. – In what way, and for whom, is a certain kind of music necessary?
Certainly the presenters of a chamber music festival would be presumptuous to offer a program as a sort of prescription for listeners. And at Token Creek we won’t.
So often the music we need arrives by chance, and we did not even know we needed it until it appears. And other times we know exactly what we are missing. And so we offer this year’s programs of pieces that feed the soul.
Saturday, Aug. 26, at 8 p.m. and Sunday, Aug. 27, at 4 p.m., Program I: Continuo
Some works of art are so rich that they sustain a lifetime of inquiry and encounters, each time revealing fresh new insights only possible through sustained engagement, pieces so resilient they admit multiple interpretations, approaches, nuances, shadings.
We open the season with music of Johann Sebastian Bach (below), pieces we’ve played before and some we have not, music that continues to compel for the very reason that it can never be fully plumbed, music that rewards over and over again. In a concert dominated by Bach, the requirement of the other pieces is really only that they offer sufficient originality and integrity not to be dwarfed or rendered ephemeral by his authority.
Flutist Dawn Lawler (below top), cellist Sara Sitzer (below second) and pianist Jeffrey Stanek (below third join the artistic directors composer-pianist John and violinist Rose Mary Harbison (below bottom) for this opening program.
Works:
BACH Sonata in E minor for violin and continuo, BWV 1023
HAYDN Trio in F major for flute, cello and piano XV:17
BACH Two Fugues, from The Art of Fugue, BWV 1080
HARBISON Mark the Date, for flute and piano (pre-premiere)
BACH Sonata in G major for violin and continuo, BWV 1021
BACH Three-Voice Ricercar, from The Musical Offering, BWV 1079
BACH Sonata in C minor, from The Musical Offering, BWV 1079
Wednesday, Aug. 30, at 7:30 p.m. Program II: Schubert
A sequel to last year’s all-Schubert program, which offered Die Schöne Müllerin and the “Trout” Quintet, this season we offer two late masterworks by Schubert (below): the song cycle Schwanengesang (Swan Song) and the solo piano set of six Moments Musicaux (Musical Moments).
In structure, ingenuity and invention these two large works offer an eloquent counterpoint and complement to one another. We are pleased to welcome back pianist Ya-Fei Chuang (below top), and to introduce tenor Charles Blandy (below middle) with pianist Linda Osborn (below bottom).
Works:
SCHUBERT Andante, from Sonata in C for Piano Four Hands (“Grand Duo”), D.812
SCHUBERT Moments Musicaux, D.780
SCHUBERT Schwanengesang, D.957
Saturday, Sept. 2, at 8 p.m. and Sunday, Sept. 3, at 4 p.m. Program III: Waltz
This program explores the familiar form of the waltz as an unexpectedly flexible and diverse musical type, with uncommon approaches from a wide variety of composers from Schubert through Sur.
We conclude the season with Schumann’s splendid Piano Quartet, whose third movement offers one of the greatest of slow waltzes of all time. (You can hear it performed by the Faure Quartet in the YouTube video at the bottom.)
We are pleased to introduce violist Becky Menghini (below top) and cellist Kyle Price (below bottom).
Works:
FRITZ KREISLER Three Old Viennese Melodies for Violin and Piano
DONALD SUR Berceuse for Violin and Piano
SCHUBERT Waltz Sequence
RAVEL Valses nobles et sentimentales
GEORGE CRUMB Sonata for Solo Cello
SCHUMANN Quartet in E-flat for Piano and Strings, Op. 47
The Token Creek Festival has been called a gem, a treasure nestled in the heart of Wisconsin cornfields, a late-summer fixture just outside of Madison.
Now in its 28th season, the Festival has become known for its artistic excellence, diverse and imaginative programming, a deep engagement with the audience, and a surprising, enchanting and intimate performance venue in a comfortable refurbished barn.
The 2017 festival offers five events to close the summer concert season, Aug. 26–Sept. 3.
Performances take place at the Festival Barn (below), on Highway 19 near the hamlet of Token Creek (10 minutes north of Madison, near Sun Prairie) with ample parking available.
The charmingly rustic venue—indoors and air-conditioned with modern comforts—is invitingly small, and early reservations are recommended.
Concert tickets are $32 (students $12). Reservations can be secured in several ways:
- Online: https://www.eventbrite.com/e/token-creek-chamber-music-festival-2017-necessary-music-tickets-36091343179
- Website: www.tokencreekfestival.org (a link to our online ticketing, or a printable order form)
- Phone: 608-241-2525 (voicemail only, please leave a message)
- Email: info@tokencreekfestival.org
- U.S. mail: P.O. Box 5201, Madison WI, 53705
More information about the Token Creek Festival and all events and artists can be found at the website, www.tokencreekfestival.org or by calling 608-241-2525.
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