ALERTS: Our good friend and frequent contributor Mikko Utevsky writes: Dear Friends, I am giving a viola recital this Thursday, March 27, at 7:30 p.m. in the Grand Hall of the Capitol Lakes Retirement Community (333 West Main Street, near the Capitol Square). The program includes works by Franz Joseph Haydn, Ernest Bloch (the Suite Hebraïque), and viola sonatas of Johannes Brahms (Op. 120, No. 2) and Darius Milhaud (No. 1). I will be joined by pianists Jeff Gibbens and Adam Kluck. I hope the short notice will not prevent some of you from joining me there. Best, Mikko
Also, The Madison Symphony Orchestra‘s “Final Forte” young artist competition will be broadcast LIVE tonight at 7 p.m. on Wisconsin Public Television and Wisconsin Public Radio.
For more details, here is a link to a previous post:
By Jacob Stockinger
Here is a special posting, a review written by frequent guest critic and writer for this blog, John W. Barker. Barker (below) is an emeritus professor of Medieval history at the University of Wisconsin-Madison. He also is a well-known classical music critic who writes for Isthmus and the American Record Guide, and who hosts an early music show 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.
By John W. Barker
Here’s a Handelian heads-up, and with a Madison accent!
The Milwaukee-based Ensemble Musical Offering is to make its first appearance in Madison on this Sunday afternoon, March 30, at 2 p.m., at the First Unitarian Society of Madison’s new and crisply designed Atrium auditorium (below, in a photo by Zane Williams) at 900 University Bay Drive.
Tickets are $15, payable at the door, and available in advance from www.ensemblemusicaloffering.org or by calling (414) 258-6133.
The group, whose supplemental title is the Midwest Bande for Early Music, was founded in 2000 by harpsichordist and director Joan Parsley. As she herself defines the ensemble: “Its mission is to foster appreciation for early music, circa 1580-1750, through professional performance on period instruments, educational activities, and community outreach.”
Winner of several grants, the ensemble not only performs regularly in its home city, but supports the Greater Milwaukee Baroque Festival, which is a competition for students of string and keyboard instruments, plus a one-week Summer Baroque Institute.
The instrumental membership of the ensemble (below) consists of about 10 players — divided between strings and winds — including harpsichord. All play baroque instruments, and use the one player per part approach.
For their Madison appearance, the EMO will present a program aptly titled “Hallmarks of Handel.” It will contain a balanced survey of the great composer’s instrumental and vocal music.
The most familiar music will be the G-major Suite, the third and last division of George Frideric Handel’s beloved and popular “Water Music” (at bottom in a YouTube video played on modern instruments by Sir Neville Marriner and the Acadmey of St. Martin in the Fields) — the set that features only woodwinds, without brass, against the strings.
There will also be no less than two of the Op. 3, Concerti Grossi, Nos. 4 and 6, which give strong roles to winds (as well as harpsichord in the latter). It will be interesting to hear these works, usually treated as “orchestral,” in this more intimate chamber-music character.
One more instrumental work is a composite of music that Handel used in his opera “Ottone.” Because of the prominence of the bassoon in the scoring, it will be presented in this program as a Sinfonia for Bassoon, Strings and Continuo.
The other side of the program is vocal, and touches upon what was, for Handel, his major areas of composition, his Italian operas and English oratorios. There will be two arias drawn from Handel’s first London triumph, “Rinaldo,” composed in 1711.
The oratorio realm will be represented indirectly. The program will allow a rare opportunity to hear examples of some two-dozen chamber duets and trios, with continuo, that Handel composed over the years to Italian texts, following patterns set by role model Agostino Steffani.
Handel seemed to use these brief, three-movement mini-cantatas as tryouts of some vocal ideas, and he then incorporated many of those ideas into larger works. The two to be offered, composed in July 1741, contain musical germs that Handel allowed to blossom as three choral movements in “Messiah,” composed later that year. Listeners will surely be surprised and delighted to recognize those inimitably Handelian ideas in their first form.
Though headquartered in Milwaukee, the EMO draws upon musicians from beyond their city, as, indeed, so many early music groups do — witness the Madison Bach Musicians. For EMO, there is a particular reliance on personnel from around our state, and from Madison in particular.
Thus, two admired Madison early music players are involved: Baroque violinist Edith Hines (below top) as leader of the strings, and Teresa Koenig (below bottom), a specialist in Baroque wind instruments.
In addition, this program offers two sopranos for the vocal pieces, each with a Madison connection. Sarah Richardson is currently a doctoral candidate at the UW School of Music, studying with University of Wisconsin-Madison School of Music professor and baritone Paul Rowe. And Chelsea Morris Shephard, who has sung with the Madison Bach Musicians, will be remembered as a finalist in in last summer’s Handel Aria Competition for the Madison Early Musical Festival.
Such a rich menu of Handel is bound to appeal to lovers of this fabulous composer’s wonderful music, and attract those who should be such lovers.
READER POLL: The Ear wants to know what piece of classical music — if any — goes well with today’s NFL Super Bowl 48 national football championship between the Denver Broncos and the Seattle Seahawks? Maybe Aram Khachaturian‘s “The Gladiators” from “Spartacus”? Leave your suggestions, with a link to a YouTube video if you can, in the COMMENTS section.
By Jacob Stockinger
Here is a special posting, a review written by frequent guest critic and writer for this blog, John W. Barker. Barker (below) is an emeritus professor of Medieval history at the University of Wisconsin-Madison. He also is a well-known classical music critic who writes for Isthmus and the American Record Guide, and who hosts an early music show 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.
By John W. Barker
January 31, 1797 was the birthdate of Franz Schubert (below), who died at only 31 on Nov. 19, 1828. So Friday night, January 31, 2014, was the 217th anniversary of his birth.
With her opportunity of giving a faculty recital, University of Wisconsin-Madison pianist (and singer) Martha Fischer (below, in a photo by Karin Talbot) decided to do a very Schubertian thing to mark the anniversary: Have a party. (Event photos are by The Ear.)
In the last years of his short life, Schubert was sustained socially as well as financially by a devoted circle of friends, drawn from the cultural classes of Vienna in his day. Their spontaneous parties, which they came to call “Schubertiades” (depicted below, with Schubert at the piano, in a painting by Julius Schmid) were lively social gatherings with their focus on Schubert’s latest compositions.
Accordingly, backed by her pianist husband, Bill Lutes, Fischer invited a number of colleagues from the UW School of Music to pay tribute to the beloved composer with a facsimile of a Schubertiade,
And so, the stage of Mills Hall (below) was fitted out with a large carpet, a standing floor lamp and circles of chairs welcomed members of the audience, to be close presences to the fun. (Alas, though, no free beer was included!)
The constantly shifting lineup of singers involved four voice-faculty members (sopranos Mimmi Fulmer and Elizabeth Hagedorn (below top), tenor James Doing, baritone Paul Rowe) and three graduate students in voice (soprano Sarah Richardson, below bottom on the left), tenor Thomas Leighton (below bottom on the right) and baritone Jordan Wilson).
Assuming her mezzo-soprano hat, Fischer sang two items herself, and she and Lutes rotated as piano accompanists, each demonstrating the talent and skill it takes to be a fine collaborative musician. Both of them tightly controlled the balance between voice and modern concert grand piano, never allowing the piano to drown the singers. And both pianists also matched the moods of the songs and the singers. That’s important because this concert had a lot of high-quality vocal talent, and it must be said that the student singers held their own splendidly with their faculty partners.
When one thinks about it, a great proportion of Schubert’s compositions is social music, meant for parlors and domestic music-making rather than concert situations.
That is most particularly true of his songs, and part-songs, with piano. The program offered 14 songs (with each singer having at least two solo assignments), one duet, and two part songs. The program was divided into two halves, with the general themes of “Night and Dreams” and “Love and Death.” While a couple of the songs were among Schubert’s more familiar ones (like the famous “Die Forelle” or The Trout, below as sung by baritone Jordan Wilson and also heard at the bottom in a YouTube video with baritone Dietrich Fischer-Dieskau and pianist Gerald Moore) most were chosen artfully from among the less often-heard ones.
Fulmer (below top) was particularly expressive in her two solos. She was, in fact, absolutely gripping in Der Zwerg (The Dwarf), a Gothic-horror scene in which a court dwarf, betrayed by his former lover, the queen, kills her and sails into oblivion. (I unashamedly admit this grim masterpiece, so compellingly designed by Schubert, is one of my favorites among his songs.) James Doing (below bottom) had just the right range of gestures and expressions to make Lachen und Weinen (Laughter and Tears) a casual expression of ironic bafflement.
And Paul Rowe (below) gave Totengräbers Heimweh (Grave-Digger’s Longing) a quality of dark probing into the very prospects of human mortality that Schubert himself was learning to fear when he wrote it. But perhaps it is unfair to single out individual performances, since they were all so lovely.
Each of the program’s two halves had its own instrumental intermezzo.
In the first half, it was the simple but moving Notturno (Nocturne) for violin, cello, and piano (below) — a discarded movement from one of Schubert’s piano trios, in which violin student Alice Bartsch and cello professor Parry Karp joined Fischer in a beautiful performance.
For the second half, the dynamic duo of Fischer and Lutes plunged into the ambitious and late Fantasy in F minor for piano-four hands — surely among the supreme masterpieces of all music for piano duet.
There was one added song, however, as the finale. All the singers gathered together to sing the sublime An die Musik (To Music), but with the audience invited to join in—sustained by a reproduction of the score on the back of the texts handout — and responded with a standing ovation for all the performers (below).
This kind of sing-along trick could have been cheap, but in fact it worked beautifully, with many in the audience adding their voices, obviously caught up in the spirit of that most social, most lovable and most astounding of great composers, Franz Schubert.
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