The Well-Tempered Ear

Classical music: How did a reformation in religion and a revolution in printing change music? The 19th annual Madison Early Music Festival (MEMF) offers answers and samples this week. Part 2 of 2

July 3, 2018
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By Jacob Stockinger

Starting this Saturday and running through the following Saturday, the 19th annual Madison Early Music Festival will explore the profound effects that the Lutheran Reformation and the invention of printing had on Renaissance and Baroque music of the time.

The festival is called “A Cabinet of Curiosities: A Journey to Lübeck.” For a complete listing of programs, lectures, concerts and workshops, with information about tickets, go to: https://memf.wisc.edu

Soprano Cheryl Bensman Rowe — who directs the festival with UW Arts Institute’s Sarah Marty and her husband and UW-Madison baritone Paul Rowe — recently agreed to do a Q&A with The Ear about the upcoming festival. Here is Part 2 of 2. And, if you missed the beginning, here is a link to Part 1:

https://welltempered.wordpress.com/2018/07/02/classical-music-this-saturday-the-19th-annual-madison-early-music-festival-memf-starts-a-week-long-exploration-how-the-500thanniversary-of-the-lutheran-reformation-in-changed-western-music-part-1/

How does early north German music differ from its counterparts in, say, Italy, France, Germany and England. What is the historical origin and aesthetic importance of the music from that era in that part of the world?

One of the biggest changes during the Reformation in Germany began with sacred music and the far-reaching changes in the way it served the church. The music of mass, motet, psalm and hymn heard in the great urban cathedrals, cloistered chapels and royal palace churches of Catholicism represented the “otherness” of the divine, a God unreachable by the untutored masses.

Written in an intellectual language which required years of rigorous training to learn and understand, it was only the disciplined, practiced choir boys and men who could perform this sacred polyphony in all its wonder and glory.

Luther sought to traverse this divide. Though he held the existing music of sacred polyphony in high esteem, he felt that music could be used to even greater effect in furthering the education and religious commitment of the people.

Luther (below) chose the hymn form as the principle means to his musical aims. A prolific hymnodist himself, he authored hymns such as the famous “Ein feste Burg ist unser Gott” (“A Mighty Fortress Is Our God“) several settings of which begin the All-Festival concert, attempted to connect existing high art with folk music in a style that would appeal to all classes, clergy and laity, men, women and children. His texts were in the German vernacular in order to convey messages that would be understood by all in a way that the Latin of preexisting hymns were not.

The culmination of those first 100 years of reformed musical development and the composers whose works will be performed throughout the week at MEMF, launched the reformed hymnody of Luther (below) and his followers into the stratosphere of such giants as Heinrich Schütz, Dietrich Buxtehude, Johann Sebastian Bach (all the Bachs for that matter) and on, a trail that continues to the present day.

What music and composers of that era have been most neglected and least neglected by historians and performers? Does rediscovery of works and composers play a special role this year?

Throughout the week we will be featuring compositions from the Choir Library from the Marienkirche in Lübeck (below) is a collection of music that Lübeck scholar and Buxtehude biographer Kerala Snyder catalogued and reconstructed.

The collection ended up in Vienna in the 19th century, and is a comprehensive data base that includes compositions by German and Italian composers, including Heinrich Schütz, Hermann Schein, Palestrina – the list starts with Agazzari and ends with Zucchini.

Besides the Choir Library compositions, audiences will have an opportunity to hear works of Buxtehude that have never been performed in Madison.

Can you tell us about the program and performers for the All-Festival concert on Saturday, July 14?

The All-Festival Concert (below)  includes all of our workshop participants and faculty. We work together to prepare the concert all week and it is truly a MEMF community project.  The music will be drawn from settings and compositions based on Lutheran chorales such as Ein Feste Burg and from the Choir Library of the Marienkirche.

The concert concludes with Buxtehude’s Missa Brevis and concludes with his grand motet, Benedicam Dominum in omne tempore, written for six contrasting choirs, which Buxtehude surely composed to match the structural design of the Marienkirche. (You can hear the Kyrie from Buxtehude’s “Missa Brevis” in the YouTube video at the bottom.)

Are there other sessions — guest lectures, certain performers, particular works — that you especially recommend for the general public?

All the planning that goes into each festival leads me to encourage the general public to attend everything. The concert series, lectures and workshop have so much to offer.

Special events include a dance with a live band drawn from the MEMF Faculty with dance instruction by Peggy Murray, Tanzen und Springen,at Memorial Union in the Grand Hall on Thursday night.

The lecture series features some well-known Madison scholars — John W. Barker and J. Michael Allsen, plus Michael Alan Anderson (below top), director of Schola Antiqua and professor of musicology, and Jost Hermand (below bottom), Professor Emeritus at the UW-Madison.

There will be a special exhibit created for MEMF in the lobby of Memorial Library by Jeanette Casey, the Head of the Mills Music Library and Lisa Wettleson of Special Collections at Memorial Library.

This curated display reflects the celebration of the 500th anniversary of the Reformation. The exhibit will be in the lobby of Memorial Library and open to the public through Thursday, July 19, 2018, with a special talk about the exhibit during the festival on Monday, July 9, at 11:30 a.m.  This wonderful partnership allows the library to display rarely seen original and facsimile publications, some dating back to the 15th and 16th centuries within the context of the MEMF theme.

Is there anything else you would like to add?

Martin Luther, who was a great lover of music, said: “The riches of music are so excellent and so precious that words fail me whenever I attempt to discuss and describe them…. In summa, next to the Word of God, the noble art of music is the greatest treasure in the world. It controls our thoughts, minds, hearts, and spirits…”

Join us to hear what Luther was talking about! Get your tickets for the concert series! Attend the lectures! Take some classes! You’ll find a link for all the information about MEMF at www.madisonearlymusic.org

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Classical music: The King’s Singers will mark 50 years when they perform Saturday night at the Wisconsin Union Theater

April 9, 2018
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By Jacob Stockinger

The acclaimed a cappella singing group The King’s Singers (below) will be marking its 50th anniversary when it performs the annual Fan Taylor Concert – named to honor the first director of the Wisconsin Union Theater – on this Saturday, April 14, at 7:30 p.m. in Shannon Hall.

Tickets are $25-$45 general admission, $20 for youths and $10 for UW students. For more information, including the complete program, background, audio-video samples and how to purchase tickets, go to  https://union.wisc.edu/events-and-activities/event-calendar/event/the-kings-singers/. You can also phone 608-265-ARTS (2787) or go in person. See locations and hours here.

Celebrating their Golden Anniversary this year, The King’s Singers are widely acclaimed for the quality of their singing and diverse repertoire, which includes over 200 commissioned works from the world’s leading composers.

The commissioned arrangements come from a breadth of musical genres: jazz standards to pop chart hits, medieval motets to Renaissance madrigals, and new scores by young composers.

The upcoming concert is part of their 50th anniversary world tour, and the program showcases their signature blend, purity of tone, and diversity of repertoire, with selections ranging from Renaissance polyphony to brand new commissions celebrating the 50th anniversary.

This love of diversity has always fuelled The King’s Singers’ commitment to creating new music. A panoply of commissioned works by many of the greatest composers of our times – including Luciano Berio, György Ligeti, John Rutter, Toru Takemitsu, Sir John Tavener and Eric Whitacre – sits alongside countless bespoke arrangements in the group’s extensive repertoire.

One of these is called “To Stand in This House” by Nico Muhly (below), which sets various texts by scholars who originated at King’s College, Cambridge, where The Kings Singers were founded.

The program, GOLD, charts a journey through the music that has defined The King’s Singers so far, from Renaissance polyphony to art song to, naturally, close harmony favorites.

The group also looks toward the future with several commissions for the 50th season from composers and arrangers with who they have ties, including, in addition to Nico Muhly’s work, “We Are” by composer/conductor Bob Chilcott, himself a former member of The King’s Singers; and “Quintessentially” by Joanna and Alexander L’Estrange (below), which humorously tells the story of The King’s Singers’ past 50 years.

The King’s Singers was founded in 1968 at King’s College in Cambridge, England. They continually wow audiences across the globe in over 125 concerts a year. The group has won two Grammy awards and was inducted into the Gramophone Hall of Fame for its vocal artistry and excellence. (You hear a sample from the group’s new anniversary album, “Gold,” in the YouTube video at the bottom.)

The Madison concert is presented by the Wisconsin Union Theater’s Performing Arts Committee.

This concert is supported in part by a grant from the Wisconsin Arts Board with funds from the State of Wisconsin and the National Endowment for the Arts. WORT-FM 89.9 is the media sponsor.


Classical music: Bach Around the Clock 2018 will be March 10. Here is a year-end update with impressive news and important changes

December 28, 2017
2 Comments

By Jacob Stockinger

Violist Marika Fischer Hoyt, who last March successfully revived Bach Around the Clock after Wisconsin Public Radio dropped it five years ago, has sent the following year-end update that is full of impressive news, including this year’s date and a smart change of hours to 10 a.m. to 10 p.m. instead of noon to midnight:

“Bach Around The Clock,” the annual community celebration of the music of Johann Sebastian Bach (1685-1750), exceeded all expectations in 2017.

“Approximately 80 performers were seen by almost 600 audience members. The performers ranged from beginning students (below top is a photo of the Suzuki Strings of Madison) to adult amateurs (below bottom is amateur pianist Tim Adrianson) to seasoned professionals including the Wisconsin Chamber Choir and the Madison Bach Musicians.

“The audience ran from around 300 persons at the church to 267 live-stream viewers, some from as far away as London, England.

“BATC gratefully acknowledges the valuable support received from Early Music America (EMA). In registering as a Partner of Early Music Month (an EMA initiative), BATC joined nearly 270 individual and organization Partners across the country whose events during the month of March were showcased on EMA’s website and social media.

“The enthusiastic Madison community response to BATC 2017 furnished strong supporting materials for an application for EMA’s coveted Outreach Grant. BATC, one of five organizations to win the award, received $500 and national recognition.

“As artistic director, I flew to Boston in June to attend the award ceremony, presided over by EMA Executive Director Ann Felter (below).  The award will help cover the cost of the sound engineers who record and live-stream the 2018 event.

“While in Boston Marika was able to consult extensively with harpsichordist and internationally recognized Bach scholar Raymond Erickson (below), who kindly offered insights and perspective on how to build a successful Bach festival.


“BATC 2018 — to mark Bach’s 333rd birthday — is scheduled for Saturday, March 10, from 10 a.m. to 10 p.m., again at St. Andrew’s Episcopal Church (below), 1833 Regent Street. Local luminaries will again take shifts as onstage emcees.

“The program will open once again with individuals and ensembles from the St. Andrew’s congregation, and continue with musicians from the Madison community and far beyond.

“In 2017, BATC attracted performers (below) from Milwaukee, Dubuque, Oshkosh and Chicago. For 2018 we’ve already been contacted by a pianist from North Carolina who wants to come perform The Well-Tempered Clavier, Book II. It’s safe to say that the festival’s impact has expanded!

“New this year is the Ensemble-In-Residence, Sonata à Quattro, which will perform as a featured ensemble, and also play a supporting role for singers wanting to perform an aria, or solo instrumentalists wanting to play a concerto. (In the YouTube video at the bottom, you can hear the gorgeous slow movement of the Keyboard Concerto No. 5 in F minor.)

Led by violinist Kangwon Kim (below), the core ensemble includes strings and harpsichord, and will add obbligato instruments as necessary. Sonata à Quattro will also offer a Fringe Concert during the Madison Early Music Festival at the UW-Madison in July.

“Partner organizations this year will include EMA, as well as the UW Chazen Museum of Art, where BATC ensembles will perform a preview concert on March 4, on the “Sunday Afternoon Live” series.  Radio interviews on WORT-FM 89.9 and Wisconsin Public Radio are also in the works. Details will be announced in the coming weeks.

“St. Andrew’s will again make their beautifully remodeled Parish Hall available as a place for performers and audience members to enjoy refreshments, fellowship, restrooms, comfortable couches, and free wi-fi. Many thanks are due to the church staff and congregation, for providing BATC with a home.

“BATC is also in the process of establishing its status as a 501(c)(3) nonprofit organization, which should help secure donations and funding. Completion of this process is expected in the next week or so, and will be announced on the BATC website and Facebook page.

“In addition, a board of directors is also being assembled, which should help ensure the survival on BATC by sharing the workload and responsibilities.”

Here is a link to the website, which has other links and information:

https://bacharoundtheclock.wordpress.com


Classical music: The Wisconsin Chamber Choir will sing a varied holiday program about peace on Earth this coming Saturday night

December 13, 2017
3 Comments

By Jacob Stockinger

This coming Saturday night, the Wisconsin Chamber Choir (below) will sing its holiday concert featuring works about peace on Earth.

The concert is at 7:30 p.m. in the Atrium Auditorium, (below, in a photo by Zane Williams) of the First Unitarian Society of Madison, 900 University Bay Drive.

The holiday message of peace and good will to all people resonates across the centuries. Tragically, the proclamation, “Peace on earth” is every bit as relevant today as it was 2,000 years ago.

WCC director and conductor Robert Gehrenbeck (below), who directs the choral program at the UW-Whitewater and who is celebrating his 10th season with the group, writes in his program notes to the concert:

“According to New York Times foreign correspondent Chris Hedges, “Of the past 3,400 years, humans have been entirely at peace for 268 of them, or just 8 percent of recorded history.” “This evening’s program by the Wisconsin Chamber Choir explores humanity’s yearning for peace through the centuries. 

The centerpiece of the WCC’s 2017 holiday concert is British composer Gerald Finzi’s exquisite retelling of the Christmas story, In terra pax, for choir, soloists and chamber orchestra. Baritone Brian Leeper (below top) and soprano Ann Baltes (below bottom) are among the featured soloists, performing with members of Sinfonia Sacra, the WCC’s professional orchestra.

In his own program notes, Finzi explained that the Nativity “becomes a vision seen by a wanderer on a dark and frosty Chrismas Eve, in our own familiar landscape.”

Finzi scholar Andrew Burn elaborates: “On New Year’s Eve, 1926, the 25-year old Gerald Finzi (below) joined the bell-ringers of the tiny church of St. Bartholomew perched on the crest of Chosen Hill, near Gloucester, as they rang in the New Year. For Finzi, the experience was unforgettable—the frosty starlit night with bells ringing out from churches far and near across the Severn valley—and from it sprang the orchestral New Year Music and [25 years later] In terra pax, his last major composition.

In terra pax is a masterpiece in miniature. Finzi’s pacifism is at its heart, and his belief that men and women of goodwill should live harmoniously together. Weaving through the music are three ideas: the pealing of the bells with their joyous message, a phrase from the carol The First Nowell, and the alleluia refrain from the hymn Lasst uns erfreuen (‘Ye Watchers and Ye Holy Ones”).”  (You can hear the opening of the work in the YouTube video at the bottom.)

Complementing Finzi’s music are two other works with instrumental accompaniment: Felix Mendelssohn’s moving prayer for peace, Verleih uns Frieden, and an energetic Gloria from Johann Sebastian Bach’s Mass in A major.

Several more recent works bring the concert’s message up to date, including Cry Peace by Libby Larsen (below top) and the haunting Winter Solstice Carol by Giles Swayne (below bottom).

A varied selection of carol arrangements rounds out the program, including a resplendent setting of Silent Night by one of the WCC’s favorite composers, Peter Bloesch (below).

Founded in 1998, the Wisconsin Chamber Choir has established a reputation for excellence in the performance of oratorios by Bach, Mozart and Brahms; a cappella works from various centuries; and world premieres.

Advance tickets for the Dec. 16 performance are available for $20 ($10 for students) from www.wisconsinchamberchoir.org, via Brown Paper Tickets, or at Orange Tree Imports and Willy Street Coop (all three locations).

Tickets will also be available at the door for $25 ($10 for students).


Classical music: Singer-scholar Emery Stephens HAS CANCELLED his return to coach students about and to perform a FREE recital of African-American songs and spirituals on Tuesday night at UW

March 13, 2017
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ALERT: Please IGNORE the posted dates and times below. Professor Emery Stephens has CANCELLED his appearances this week at the UW-Madison due to illness. According to the UW-Madison,  Stephens will try to reschedule his master classes and recital layer this spring. The Ear apologies for any misunderstanding or inconvenience, but he just heard about the cancellation.

By Jacob Stockinger

The last time Professor Emery Stephens (below) visited the University of Wisconsin-Madison School of Music, it was in 2015 and he lectured about “African-American Voices in Classical Music.”

(You can hear Emery Stephens narrate “The Passion of John Brown” in the YouTube video at the bottom.)

Now this week – today and Tuesday – the acclaimed scholar and baritone singer returns to the UW.

This time he will spend Monday coaching UW voice and piano students.

Then on Tuesday night at 6:30 p.m. in Morphy Recital Hall, Stephens plus the voice and piano students and UW collaborative pianist Martha Fischer will perform a FREE recital of African-American songs and spirituals. Also included are some solo piano works by African-American composer Harry T. Burleigh (1866-1949, below).

Here is a link not only to more information about Stephens’ recital, including the program, but also to information about his last visit and about a performance on Wednesday from 1:20 to 3 p.m. in the Memorial Union by the Black Music Ensemble.

http://www.music.wisc.edu/event/emery-stephens-returns-african-american-songs-and-spirituals/2017-03-13/


Classical music: Four major retirements this spring could put the UW-Madison School of Music in a staffing bind and could further hurt the standing of the university

December 19, 2016
11 Comments

By Jacob Stockinger

Merry Christmas!

NOT.

Happy New Year!

NOT.

Just as the first semester is coming to an end, The Ear has learned that four major retirements in the spring will put the University of Wisconsin-Madison School of Music staffing and teaching in a bind that poses some major challenges.

Three of the retirements are by major performers. The fourth is by a major scholar, a musicologist and music historian.

Here they are in alphabetical order:

  • John Aley (below), professor of trumpet. Aley, who has a national and international reputation and who once played with the American Brass Quintet, is also the principal trumpet of the Madison Symphony Orchestra and plays in the Wisconsin Brass Quintet. He plans to continue to reside in Madison and to continue his MSO duties one season at a time.

For more information, go to: http://www.music.wisc.edu/faculty/john-aley/

john aley color

  • Lawrence Earp (below), professor of musicology. Since 1984, Earp, a trained bassoonist, has taught courses about and researched music and composers across the entire history of Western classical music.

For more information, go to: http://www.music.wisc.edu/faculty/lawrence-earp/

Faculty

Faculty

  • Stephanie Jutt (below), professor of flute. Jutt, who is principal flute of the Madison Symphony Orchestra, also is co-founder and co-artistic director of the Bach Dancing and Dynamite Society.

Jutt plans to move to her native New York City to live, but says she will continue her duties with the MSO and the BDDS.

For more information, go to: http://www.music.wisc.edu/faculty/stephanie-jutt/

Stephanie Jutt CR Dick Ainsworth

  • James Smith (below), professor of conducting, who has led the UW-Madison Symphony Orchestra, the UW Chamber Orchestra and is the music director of the University Opera. Earlier this year, he announced his retirement as the longtime music director of the Wisconsin Youth Symphony Orchestras.

Smith, a one-time professional clarinetist, plans to move into a new house he has built in Cross Plains where he will work on his repertoire and pursue stints as a freelance guest conductor.

For more information, go to: http://www.music.wisc.edu/faculty/james-smith/

UW Chamber Orchestra, James Smith, conductor

All four have served the UW-Madison and area music-lovers well indeed and for a long time.

The bind for the music school is that, thanks to the boa constrictor-like choke hold on the UW-Madison’s budget and staffing by Gov. Scott Walker and his anti-intellectual, anti-education cronies in the Legislature and on the Board of Regents, tenured faculty do not usually get replaced by tenure-track positions. Instead the school has had to offer most new teachers non-renewable three-year stints as adjunct professors.

True, there is a long of talented people out there looking for jobs. So adjuncts are not necessarily inferior performers or teachers. But who wants to be moving around every few years and starting over?

As far as The Ear understands it, in the long-term the move to adjuncts is not good for the students, especially graduate students, for other faculty members and for the reputation of the School of Music, which has managed to secure major funding support for construction and physical plant projects but much less support for staff and scholarships.

Clearly, it introduces an element of instability and insecurity that hardly seems helpful in the competitive academic market place.

In any case, The Ear congratulates all the retirees on their distinguished careers and thanks them for so many years of public service and so many enjoyable hours of performing  and understanding great music. They will be missed.

Feel free to leave your own comments and reactions in the COMMENT section.

No doubt the future retirees would like to hear from you.

And The Ear too wants to hear.


Classical music: The superb final concert of the Madison Early Music Festival took the audience through an Elizabethan day with inventive fun

July 20, 2016
1 Comment

By Jacob Stockinger

You have to hand it to early music advocate, scholar, conductor and performer Grant Herreid (below), who once again was a major player in the 17th annual Madison Early Music Festival, which wrapped up this past Saturday night.

MEMF 2016 all-festival Grant Herreid

What could have been a scissors-and-paste job to wrap up the celebration of music in Shakespeare and Elizabethan England was turned by the creative Herreid into an event that was thoroughly enjoyable and thoroughly inventive.

What the final All-Festival Concert did was to bring together what seemed a very large number of students, faculty and guest performers.

MEMF 2016 all-festival all forces

Then what the combined forces did was offer a sampler of a typical Elizabethan day. That day included the usual routines from waking up, exercising and going to bed, but also included prayers, romance and entertainment.

It used snippets from plays by William Shakespeare (below) and snippets by many composers of the period including Thomas Tomkins, Anthony Holborne, Thomas Morley, Orlando Gibbons, Thomas Weelkes, John Bennet, John Coperario, Thomas Ravenscroft, John Dowland and Thomas Tallis as well an anonymous composers and reconstructions.

shakespeare BW

The formula must have appealed because it drew a large and enthusiastic audience.

Since it was such an ensemble effort, it is difficult to single out individuals for praise or criticism.

Instead, The Ear simply wants to mention a few of his favorite things with photos to illustrate them.

Here is what The Ear liked:

He liked that the entire 90-minute program of sacred and secular music was done without an intermission. Once you were in the zone, you didn’t have to leave it and then have to get back into it. Plus, the unity of the day was preserved.

He liked the diverse and always highly accomplished singing.

He liked seeing the unusual period string and wind instruments that are beautiful as well as useful.

MEMF 2016 all-festival strings left

He liked how the entire hall, not just the main stage, was used, including the balconies from which a fanfare opened the concert:

MEMF 2016 all-festival balcony

He liked the many “actors” who stepped to the edge of the Mills Hall stage and did an exceptional job reading the excerpts of Shakespeare that were kept short and to the point:

MEMF 2016 all-festival Shakespeare reader

He liked the period and very energetic dancing with handkerchiefs and leg bells:

MEMF 2016 all-festival dancing

There was more. But you get the idea.

Once again, if you can’t make it to other concerts in the Madison Early Music Festival’s annual week-long schedule, try to make it to the impressive All-Festival Concert at the end.

In 17 years, it has never disappointed.

That is a record to be envied and praised.


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