By Jacob Stockinger
Here is a special posting, a record 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 once a month on Sunday morning on WORT FM 89.9 FM. For years, he served on the Board of Advisors for the Madison Early Music Festival and frequently gives pre-concert lectures in Madison.
By John W. Barker
For reasons, astronomical and cultural, the Western and Eastern Orthodox celebrations of Easter are frequently held at separate dates. But this year they coincide (on this coming Sunday, April 16). That gives good reason to direct attention beyond familiar Western Easter music and instead to that of Eastern Orthodoxy.
A new recording of one of the landmarks of Russian Orthodox music provides further stimulus to this.
Russian Orthodox practice did not encourage extensive new compositions, but stressed elaborate liturgical rituals built around the heritage of medieval monophonic chant, while benefiting from the fabulous style of Russian choral singing—those low basses (“octavists”) in particular.
Most composers who worked to enrich the liturgical literature were professional church musicians, but a number of “secular” Russian composers also made contributions. Notable among them were Nikolai Rimsky-Korsakov, Peter Tchaikovsky and Sergei Rachmaninoff (below).
It is the last of those three who has given us the music at hand, a truly memorable sacred creation. The work is his Op. 37, entitled “The Most Important Hymns of the ‘All-Night Vigil,” and commonly called “The All-Night Vigil” (Vsenoshchnogo Bdeniya) or else, more simplistically the “Vespers.”
It was composed during the early years of World War I, which was to bring about the collapse of the Russia that Rachmaninoff knew. It was performed in 1915, and two years later, amid the upheavals of the two Revolutions, the composer left his native land for good.
Rachmaninoff prized his Op. 37 above his other works; it was his proclamation of Russian identity, and after it he wrote no more sacred music. He even hoped that one section of it could be sung at his funeral. (A moving sample can be heard in the YouTube video at the bottom.)
The Orthodox Christian celebration of the Resurrection places emphasis on the Saturday night offices of Vespers and Matins, in a prolonged and elaborate ritual. (This Vigil array can also be used for other significant feasts beyond Easter.)
Given the lengths, Rachmaninoff chose to set his selection of “the most important hymns” for his Op. 37, for a total of 15 sections. He did follow working practice by building his settings on or around traditional chant melodies. He expected that individual sections might have liturgical usage; but he understood that the totality was a grand concert work.
The Rachmaninoff All-Night Vigil, or “Vespers,” has been recorded many times, often by Russian choirs, which have the musical and liturgical style in their blood. But non-Russian groups and directors have also come to recognize the transcendent beauty of this masterwork.
Noteworthy among those was Robert Shaw, the great American choral master whose recording (on the Telarc label) has been acclaimed by his admirers for its predictably superb choral sound. But Shaw and his singers lack Russian sound or spiritual sensitivity.
Other American performers have joined in: the broadly paced recording with Charles Bruffy and his Phoenix and Kansas City choirs (for Chandos) is notable. Paul Hillier’s recording (for Harmonia Mundi) with the Estonian Philharmonic Chamber Choir has earned great respect.
I have just been taken by the brand new release (below) from Paraclete Recordings of Massachusetts, with the Gloria Dei Cantores and members of three other choirs under the direction of Peter Jermihov.
They number 77 singers in all and, as recorded in a church setting, they make a sumptuous sound. Their emphasis is less on clarifying individual voice parts and more on relishing the rich blends that make up the total texture.
While treating the work as a grand concert piece, this performance goes beyond most others by including intonations by clerical celebrants, recalling the liturgical context that was always in the composer’s mind.
One of the striking features of this release is its thick album booklet. This is not only richly illustrated but contains an unusually penetrating background essay. Further, in presenting the Russian texts (in Cyrillic and transliteration) with English translations, it also gives useful comments section by section, for the fullest understanding of the liturgical contexts.
This is a noteworthy addition to the crowded recording picture for this sumptuous and deeply moving sacred music.
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.
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.
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.
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.
He liked how the entire hall, not just the main stage, was used, including the balconies from which a fanfare opened the concert:
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:
He liked the period and very energetic dancing with handkerchiefs and leg bells:
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.
ALERT: In case you haven’t yet heard, the winners (below) of the fourth annual Handel Aria Competition, held on Friday night in Mills Hall and accompanied by the Madison Bach Musicians, have been announced.
Eric Jurenas (center), countertenor, won First Prize; Christina Kay (right), soprano, won Second Prize; and Nola Richardson (left), soprano, won Third Prize and Audience Favorite.
By Jacob Stockinger
The Ear left the concert hall thinking: Well, this will be an easy review to write.
Just give it an A-plus.
An easy A-plus.
This year, the MEMF is celebrating the 400th anniversary of the death of poet and playwright William Shakespeare (below top) and the 45-year reign of Queen Elizabeth I (below bottom), who oversaw the English Renaissance.
And the program – performed before a large house of perhaps 450 or 500 enthusiastic listeners — was perfectly in keeping with the festival’s theme. It used sacred music rather than stage music or secular music, which will be featured later in this week of concerts, workshops and pre-concert lectures.
In fact, the program of New York Polyphony was based on two of the group’s best-selling CDs for BIS Records and AVIE Records: “Tudor City” and “Times Goes by Turns.” It was roughly divided into two masses, one on each half. (You can hear a sample in the YouTube video at the bottom.)
Adding to the variety was that each Anglican or Roman Catholic-based mass was a composite, with various sections made up like movements written by different composers. Thrown in for good measure were two separate short pieces, the “Ave Maria Mater Dei” by William Cornysh and the “Ave verum corpus” of William Byrd.
The Mass on the first half featured music by Byrd, John Dunstable, Walter Lambe and Thomas Tallis. The second half featured works music by Tallis, John Pyamour, John Plummer and excerpts from the Worcester Fragments. The section were typical: the Kyrie, Gloria in Excelsis, Credo, Sanctus, Benedictus and Agnus Dei.
There was nothing fancy about this concert, which marked the Wisconsin debut of New York Polyphony and which spotlighted superbly quiet virtuosity. The four dark-suited men, who occasionally split up, just stood on stage and opened their mouths and sang flawlessly with unerring pitch and superb diction.
A cappella or unaccompanied singing is hard work, but the four men made it seem easy. The countertenor, tenor, baritone and bass each showed confidence and talent plus the ability to project clarity while not overshadowing each other. This was first-class singing.
The beautiful polyphony of the lines was wondrous to behold even, if like The Ear, sacred music from this era – with its chant-like rather than melodic qualities – is not your favorite fare.
New York Polyphony provided a good harbinger of the treats that will come this week at the MEMF from groups like the Newberry Consort of Chicago with soprano Ellen Hargis (below top) and the Baltimore Consort (below bottom) as well as from the faculty and workshop participants. On Friday night is an appealing program that focuses on Shakespeare’s sonnets and music.
And on Saturday night at 7:30 p.m., with a pre-concert lecture at 6:30 p.m., will be the All-Festival concert. That is always a must-hear great sampler of what you perhaps couldn’t get to earlier in the week. This year, it will feature the music as used in a typical Elizabethan day.
Here is a link to the MEMF website:
And here is a link the website of New York Polyphony if you want to hear more:
By Jacob Stockinger
The theme this year focuses on music in the work of William Shakespeare and the Age of Queen Elizabeth I.
You can check out all the details of the festival at: http://www.madisonearlymusic.org
The co-directors of the festival – the wife-and-husband team of singers Cheryl Bensman Rowe and Paul Rowe (below, in a photo by Katrin Talbot and signaled in the answers by the initials CBR and PR) took time out from the hectic preparations to answer an email Q&A with The Ear:
How successful is this year’s 17th annual weeklong festival (July 9-16) compared to others in terms of enrollment, budgets, performers, etc.? How well established is MEMF now nationally or even internationally?
CBR: Enrollment is up this year, with over 100 people enrolled in the workshop. Shakespeare (below) and the Elizabethan era is a great draw.
Other exciting news it that MEMF is one of five organizations that was chosen to be part of the “Shakespeare in Wisconsin” celebration, which includes the touring copy of the first Folio of Shakespeare’s plays from the Folger Shakespeare Library in Washington, D.C. It is The Book that Gave Us Shakespeare, and it will be at the Chazen Museum of Art this fall. https://shakespeare.library.wisc.edu/
MEMF is definitely on the map in the early music world due to our great faculty and our concert series that features musicians from all over the country, Canada and Europe.
We are also excited to be a part of the Arts Institute on the University of Wisconsin-Madison campus. The institute is bringing us into the modern world of Facebook, e-letters, Twitter and so much more. We also have a new program director, Sarah Marty, who is full of fresh ideas and has many new contacts in the UW and the Madison community.
What is new and what is the same in terms of format, students, faculty members and performers?
CBR: Our format has stayed the same because, after 17 seasons, it seems to be working. We are excited about everything that will be happening during the week. https://artsinstitute.wisc.edu/memf/concerts.htm
New to MEMF this year is the ensemble New York Polyphony (below). They will be performing their program “Tudor City,” featuring the music of the Church, including the sacred music of Thomas Tallis and William Byrd, Christopher Tye and Walter Lambe. Their recording of this program, Tudor City, spent three weeks in the Top 10 of the Billboard classical album chart. You can read more about them on their website: http://www.newyorkpolyphony.com/
To get a preview of what you will hear please visit: http://www.newyorkpolyphony.com/media2/
MEMF goes to the Movies! The Newberry Violin Band (below top) will be performing as a live accompaniment to the silent film, Elizabeth I, made in 1912. Sarah Bernhardt is the star, even though she was 68 years old when the movie was made. The music is a great sampler of many of the most famous Elizabethan composers. Ellen Hargis (below bottom) will also be singing some classic John Dowland songs. An early movie with early music! http://newberryconsort.org/watch-listen-2/
Also, we have several unique programs that have been created just for this 400th “deathaversary” year.
The Baltimore Consort (below) is returning to MEMF with a program created especially for this anniversary year, The Food of Love: Songs, Dances and Fancies for Shakespeare, which has musical selections chosen from the hundreds of references to music in the works of Shakespeare. Shakespeare had directions in his plays for incidental music used for dancing, interludes and ceremony.
Specific songs are included in the text of the plays, and these texts were set to the popular songs of the day. Very few of these were published, but there are some early survivors which were published and from manuscripts.
On Friday night we have a very unique program, Sonnets 400, a program that actor Peter Hamilton Dyer, from the Globe Theatre, conceived to celebrate the 400th anniversary of the publication of Shakespeare’s sonnets.
The program is a pairing of Shakespeare’s words with Anthony Holborne’s music. Holborne was one of the most respected lutenists of his and Shakespeare’s time. Madison actor Michael Herold (below) will be reciting the narrative arc of the selected sonnets, and the music of Holborne will be played as interludes, or softly under the narration.
Recorder player and MEMF favorite, Priscilla Herreid, brought this program to our attention. Several years ago she performed with Peter in the Broadway production of “Twelfth Night,” and he told her about this pairing of music and sonnets from the Elizabethan era. Lutenists Grant Herreid and Charles Weaver will be joining Priscilla on Friday, July 15, at 7:30 p.m. The pre-concert lecture –“Repackaging Shakespeare’s Sonnets” — will be given by UW-Madison Professor of English Joshua Calhoun.
Tomorrow: Part 2 of 2 — What makes Elizabethan English music special and what will the All-Festival wrap-up concert include?
ALERT: The Madison Symphony Orchestra (MSO) will offer a free hymn sing with Principal Organist Samuel Hutchison in Overture Hall, 201 State Street, in this Saturday, April 30, at 11 a.m. All ages are welcome to join in the singing with the Overture Concert Organ. No tickets or reservations are needed for the free Hymn Sing, which will last approximately 45 minutes.
By Jacob Stockinger
The Madison Symphony Orchestra and Chorus will close out the current season this weekend with three performances of Carl Orff’s popular 1937 secular or profane oratorio “Carmina Burana” and Ottorino Respighi’s “The Pines of Rome.”
Also participating are Boychoir members from Madison Youth Choirs, Michael Ross, Artistic Director; soprano Jeni Houser, who was acclaimed for her role in the Madison Opera’s recent production of “The Tales of Hoffmann”; tenor Thomas Leighton; and baritone Keith Phares.
The concerts are in Overture Hall, 201 State Street, on Friday at 7:30 p.m.; Saturday at 8 p.m.; and Sunday at 2:30 p.m.
For more information, visit:
Single tickets are $16 to $85 each, available on the MSO website; the Overture Center Box Office at 201 State Street or by calling the Box Office at (608) 258-4141.
Groups of 15 or more can save 25% by calling the MSO office at (608) 257-3734. For more information visit, www.madisonsymphony.org/groups
Student rush tickets can be purchased in person on the day of the concert at the Overture Box Office at 201 State Street. Students must show a valid student ID and can receive up to two $12 or $15 tickets. More information is at: www.madisonsymphony.org/studentrush. Students can receive 20% savings on seats in select areas of the hall on advance ticket purchases.
Seniors age 62 and up receive 20% savings on advance and day-of-concert ticket purchases in select areas of the hall.
Discounted seats are subject to availability, and discounts may not be combined.
Here is a link to program notes by Michael Allsen:
Here is a link to translations of the Latin texts:
This season also marks the 20th anniversary of assistant MSO conductor Beverly Taylor, who also directs choral activities at the University of Wisconsin-Madison School of Music.
The ever-busy Taylor agreed to an email Q&A with The Ear about her duties and the program:
You are the very busy director of choral activities at the UW-Madison. But this is your 20th anniversary directing the Madison Symphony Chorus and serving as assistant conductor of the MSO. Can you take us behind the scenes and tell us what your MSO duties are?
They are three-fold.
First, I’m a “cover” conductor, meaning I’m supposed to be prepared to take over for John DeMain on short notice in case he’s suddenly sick or injured. This hasn’t happened in 20 years, but I HAVE covered some rehearsals by schedule when he’s been out of town or we fear a delayed plane arrival.
Normally the cover conductor conducts the concert if the delay or injury occurs at the beginning of the concert. If it happens in the second half, orchestras often just end the concert—like calling a baseball game after the five official innings.
My second job is preparing the chorus to sing for John De Main. Our rehearsals are like any other chorus rehearsal at first. We focus on notes, intonation, rhythmic accuracy, pronunciation and diction, beautiful phrasing and appropriate tone and balance.
Then closer to the performance, I check with Maestro De Main (below, in a photo by Prasad) on any special markings or tempos he may want. During my early years he often came to our last chorus rehearsal, but we’ve worked together for so many years now that he trusts me to put his choices into the chorus’ training.
In the long term, my duties also include programming and conducting our non-orchestral concerts, auditioning new singers and ensuring that returning singers keep their abilities high.
My third job is challenging, interesting and fun. It’s to give Maestro Demain information from the audience’s point of view. That means balances between guest soloist and orchestra, balances and rhythmic acuity between sections of the orchestra, and any other notes or opinions that he might find useful.
His own hearing is acute, but anyone who conducts can tell you that the instruments right in front of you make so much noise, that you can’t always judge the relative balances of the orchestra as they project outwards.
Depending on how much time is available in the rehearsal, I make fast notes as the orchestra plays, and give him the notes after the Maestro has done most of his rehearsing. If we’re out of time, I give him the notes backstage and occasionally am asked to pass these notes on to the players involved – for example, a little more triangle, less cello and bass on measures 45-48, etc.)
How has the chorus changed over the past two decades?
I think the biggest way in which the chorus has changed is that it sight-reads better and is more acute with a cappella intonation. The main point in having good sight-readers is that it is a HUGE time saver in rehearsal and allows us to get deeper into musical decisions and development. Having said that, we do still take some people with fast ears and good voices who can prove they can keep up.
What do you think explains the immense popularity of “Carmina Burana” by Carl Orff (below)? How does it compare in popularity to other choral works, especially modern ones?
I think the work is easy to understand. The rhythms are clear, pulsing, repetitive and engaging, and the melodies are memorable and singable. In many ways, it has the appeal of musical comedies. The use of percussion instruments also is appealing and is familiar to people used to bands or popular music. (You can hear the mesmerizing opening in a YouTube video at the bottom.)
While perhaps not the most profound work, it is well crafted. And who hasn’t heard the opening tune in commercial after commercial?
The “modern” style today can’t be well defined because so many composers do so many things. I giggle a bit when audiences say they don’t like dissonance when five minutes in a movie theater with eyes closed will make the listener aware of FAR more dissonant music than in most modern concerts.
Many modern works can be understood at first hearing. Others yield more with a little study. It’s not really different from sports. You may have one person go to a baseball game for the weather, popcorn and home runs who will be disappointed if they miss those. Others will go noticing bad calls for strikes and balls, the stance of the batter, and will quote statistics from past games. They may have a richer experience because they know more, but it doesn’t mean people can’t go and get what they want out of it. Just go to concerts with open minds!
Are there special things you would like to point out to the public about “Carmina Burana” in general and about this performance in particular?
There are three basic sections to “Carmina,” with an introduction and ending. The opening is based mainly on the subject of Fortune (the introduction) and songs that come out of the monk’s life—some of them were obviously sent to the monastery without a vocation!
The second section is for tenors and basses only—“At the Tavern,” and it’s operatic in its depiction of the fun of mocking life at the monastery, concluding in the great drinking song sung by the men in the style of Gilbert and Sullivan — excuses to toast everyone of every shape and size, and listing who drinks, which is everyone!
The third section, known as the court of love, is beautiful and emotional as the women who know the off-duty monks think about love and if they should yield or not. We finish off with the monumental “O Fortuna” — if Frank Sinatra was singing it would be “sometimes you’re up, sometimes you’re down.”
There are techniques commonly and cheekily attributed to late Romantic works, especially Tchaikovsky: fast is good, loud is better, fast and loud is best. Orff follows this: his pacing builds steadily so that you are swept up in the excitement.
Is there anything else you would like to say?
This isn’t the only thing on the program. Most people will adore the gorgeous “Pines of Rome” by Ottorino Respighi (below), full of color, majesty and the sound of trumpets all through the hall!
Plus, I give the pre-concert lecture this weekend. It’s free for all ticket-holders and is held in the hall an hour before the performance, lasting for half an hour. This means on Friday, it’s 6:30-7 p.m.; Saturday 7-7:30 p.m.; and Sunday 1:30-2 p.m.
By Jacob Stockinger
Each year at holiday time, The Ear offers a series of roundups of the best recordings and classical music gifts of the past year. The idea is to use them as holiday gift guides.
Today is Grammy Day.
So far, The Ear has listed choices made by the BBC Music Magazine and the Telegraph newspaper:
And another roundup of book and videos as well as CDs by critics for The New York Times:
Now he adds the 58th annual Grammy nominations of 2016 that were announced this past Monday. The winners will be announced on Sunday, Feb. 15, on CBS television network. The telecast will be live and feature live performances.
The Ear likes to see if he can predict the winners. Outguessing the industry can be a fun, if frustrating, game to play.
He also notices two items of local interest.
The late Twin Cities composer Stephen Paulus, whose works were often commissioned and premiered in Madison by the Festival Choir of Madison and groups at the University of Wisconsin-Madison School of Music, has been nominated for several work.
In addition, producer Judith Sherman, who has several Grammys to her credit, is nominated again. She is also the producer of the two recordings of the centennial commissions by the Pro Arte Quartet.
Here are the 58th annual Grammy nominees for Classical Music:
Ask Your Mama: Leslie Ann Jones, John Kilgore, Nora Kroll-Rosenbaum & Justin Merrill, engineers; Patricia Sullivan, mastering engineer (George Manahan & San Francisco Ballet Orchestra) Label: Avie Records
Dutilleux: Métaboles; L’Arbre Des Songes; Symphony No. 2, ‘Le Double’: Dmitriy Lipay, engineer; Alexander Lipay, mastering engineer (Ludovic Morlot, Augustin Hadelich & Seattle Symphony) Label: Seattle Symphony Media
Rachmaninoff: All-Night Vigil: Beyong Joon Hwang & John Newton, engineers; Mark Donahue, mastering engineer (Charles Bruffy, Phoenix Chorale and Kansas City Chorale) Label: Chandos
Saint-Saëns: Symphony No. 3, ‘Organ’: Keith O. Johnson and Sean Royce Martin, engineers; Keith O. Johnson, mastering engineer (Michael Stern and Kansas City Symphony) Label: Reference Recording
PRODUCER OF THE YEAR, CLASSICAL
Blanton Alspaugh: • Hill: Symphony No. 4; Concertino Nos. 1 & 2; Divertimento (Peter Bay, Anton Nel & Austin Symphony Orchestra) • Rachmaninoff: All-Night Vigil (Charles Bruffy, Phoenix Chorale & Kansas City Chorale) • Sacred Songs Of Life & Love (Brian A. Schmidt & South Dakota Chorale) • Spirit Of The American Range (Carlos Kalmar & The Oregon Symphony) • Tower: Violin Concerto; Stroke; Chamber Dance (Giancarlo Guerrero, Cho-Liang Lin & Nashville Symphony)
Manfred Eicher: • Franz Schubert (András Schiff) • Galina Ustvolskaya (Patricia Kopatchinskaja, Markus Hinterhäuser & Reto Bieri) • Moore: Dances & Canons (Saskia Lankhoorn) • Rihm: Et Lux (Paul Van Nevel, Minguet Quartet & Huelgas Ensemble) • Visions Fugitives (Anna Gourari)
Marina A. Ledin, Victor Ledin: • Dances For Piano & Orchestra (Joel Fan, Christophe Chagnard & Northwest Sinfonietta) • Tempo Do Brasil (Marc Regnier) • Woman At The New Piano (Nadia Shpachenko)
Dan Merceruio: • Chapí: String Quartets 1 & 2 (Cuarteto Latinoamericano) • From Whence We Came (Ensemble Galilei) • Gregson: Touch (Peter Gregson) • In The Light Of Air – ICE Performs Anna Thorvaldsdottir (International Contemporary Ensemble) • Schumann (Ying Quartet) • Scrapyard Exotica (Del Sol String Quartet) • Stravinsky: Petrushka (Richard Scerbo & Inscape Chamber Orchestra) • What Artemisia Heard (El Mundo) • ZOFO Plays Terry Riley (ZOFO)
Judith Sherman: • Ask Your Mama (George Manahan & San Francisco Ballet Orchestra) • Fields: Double Cluster; Space Sciences (Jan Kučera, Gloria Chuang & Moravian Philharmonic Orchestra) • Liaisons – Re-Imagining Sondheim From The Piano (Anthony de Mare) • Montage – Great Film Composers & The Piano (Gloria Cheng) • Multitude, Solitude (Momenta Quartet) • Of Color Braided All Desire – Music Of Eric Moe (Christine Brandes, Brentano String Quartet, Dominic Donato, Jessica Meyer, Karen Ouzounian, Manhattan String Quartet & Talujon) • Rzewski: The People United Will Never Be Defeated! (Ursula Oppens) • Sirota: Parting The Veil – Works For Violin & Piano (David Friend, Hyeyung Julie Yoon, Laurie Carney & Soyeon Kate Lee) • Turina: Chamber Music For Strings & Piano (Lincoln Trio
BEST ORCHESTRAL PERFORMANCE
Bruckner: Symphony No. 4: Manfred Honeck, conductor (Pittsburgh Symphony Orchestra) Label: Reference Recordings
Dutilleux: Métaboles; L’Arbre Des Songes; Symphony No. 2, ‘Le Double’: Ludovic Morlot, conductor (Seattle Symphony) Label: Seattle Symphony Media
Shostakovich: Under Stalin’s Shadow – Symphony No. 10: Andris Nelsons, conductor (Boston Symphony Orchestra) Label: Deutsche Grammophon
Spirit Of The American Range: Carlos Kalmar, conductor (The Oregon Symphony) Label: Pentatone
Zhou Long and Chen Yi: Symphony ‘Humen 1839’: Darrell Ang, conductor (New Zealand Symphony Orchestra) Label: Naxos
BEST OPERA RECORDING
Janáček: Jenůfa: Donald Runnicles, conductor; Will Hartmann, Michaela Kaune & Jennifer Larmore; Magdalena Herbst, producer (Orchestra Of The Deutsche Oper Berlin; Chorus Of The Deutsche Oper Berlin) Label: Arthaus
Monteverdi: Il Ritorno D’Ulisse In Patria: Martin Pearlman, conductor; Fernando Guimarães & Jennifer Rivera; Thomas C. Moore, producer (Boston Baroque) Label: Linn Records
Mozart: Die Entführung Aus Dem Serail: Yannick Nézet-Séguin, conductor; Diana Damrau, Paul Schweinester & Rolando Villazón; Sid McLauchlan, producer (Chamber Orchestra Of Europe) Label: Deutsche Grammophon
Ravel: L’Enfant Et Les Sortilèges; Shéhérazade: Seiji Ozawa, conductor; Isabel Leonard; Dominic Fyfe, producer (Saito Kinen Orchestra; SKF Matsumoto Chorus & SKF Matsumoto Children’s Chorus) Label: Decca
Steffani: Niobe, Regina Di Tebe: Paul O’Dette & Stephen Stubbs, conductors; Karina Gauvin & Philippe Jaroussky; Renate Wolter-Seevers, producer (Boston Early Music Festival Orchestra) Label: Erato
BEST CHORAL PERFORMANCE
Beethoven: Missa Solemnis: Bernard Haitink, conductor; Peter Dijkstra, chorus master (Anton Barachovsky, Genia Kühmeier, Elisabeth Kulman, Hanno Müller-Brachmann & Mark Padmore; Symphonieorchester Des Bayerischen Rundfunks; Chor Des Bayerischen Rundfunks) Label: BR Klassik
Monteverdi: Vespers Of 1610: Harry Christophers, conductor (Jeremy Budd, Grace Davidson, Ben Davies, Mark Dobell, Eamonn Dougan & Charlotte Mobbs; The Sixteen) Label: Coro
Pablo Neruda – The Poet Sings: Craig Hella Johnson, conductor (James K. Bass, Laura Mercado-Wright, Eric Neuville & Lauren Snouffer; Faith DeBow & Stephen Redfield; Conspirare) Label: Harmonia Mundi
Paulus: Far In The Heavens: Eric Holtan, conductor (Sara Fraker, Matthew Goinz, Thea Lobo, Owen McIntosh, Kathryn Mueller & Christine Vivona; True Concord Orchestra; True Concord Voices) Label: Reference Recordings
Rachmaninoff: All-Night Vigil: Charles Bruffy, conductor (Paul Davidson, Frank Fleschner, Toby Vaughn Kidd, Bryan Pinkall, Julia Scozzafava, Bryan Taylor & Joseph Warner; Kansas City Chorale & Phoenix Chorale) Label: Chandos
BEST CHAMBER MUSIC/SMALL ENSEMBLE PERFORMANCE
Brahms: The Piano Trios: Tanja Tetzlaff, Christian Tetzlaff & Lars Vogt. Label: Ondine
Filament: Eighth Blackbird. Label: Cedille Records
Flaherty: Airdancing For Toy Piano, Piano & Electronics: Nadia Shpachenko & Genevieve Feiwen Lee. Track from: Woman At The New Piano. Label: Reference Recordings
Render: Brad Wells & Roomful Of Teeth. Label: New Amsterdam Records
Shostakovich: Piano Quintet & String Quartet No. 2: Takács Quartet & Marc-André Hamelin. Label: Hyperion
BEST CLASSICAL INSTRUMENTAL SOLO
Dutilleux: Violin Concerto, L’Arbre Des Songes: Augustin Hadelich; Ludovic Morlot, conductor (Seattle Symphony) Track from: Dutilleux: Métaboles; L’Arbre Des Songes; Symphony No. 2, ‘Le Double’. Label: Seattle Symphony Media
Grieg & Moszkowski: Piano Concertos: Joseph Moog; Nicholas Milton, conductor (Deutsche Radio Philharmonie Saarbrücken Kaiserslautern). Label: Onyx Classics
Mozart: Keyboard Music, Vol. 7: Kristian Bezuidenhout. Label: Harmonia Mundi
Rachmaninov Variations: Daniil Trifonov (The Philadelphia Orchestra) Label: Deutsche Grammophon
Rzewski: The People United Will Never Be Defeated! Ursula Oppens (Jerome Lowenthal). Label: Cedille Records
BEST CLASSICAL SOLO VOCAL ALBUM
Beethoven: An Die Ferne Geliebte; Haydn: English Songs; Mozart: Masonic Cantata: Mark Padmore; Kristian Bezuidenhout, accompanist. Label: Harmonia Mundi
Joyce & Tony – Live From Wigmore Hall: Joyce DiDonato; Antonio Pappano, accompanist. Label: Erato
Nessun Dorma – The Puccini Album. Jonas Kaufmann; Antonio Pappano, conductor (Kristīne Opolais, Antonio Pirozzi & Massimo Simeoli; Coro Dell’Accademia Nazionale Di Santa Cecilia; Orchestra Dell’Accademia Nazionale Di Santa Cecilia) Label: Sony Classical
Rouse: Seeing; Kabir Padavali: Talise Trevigne; David Alan Miller, conductor (Orion Weiss; Albany Symphony) Label: Naxos
St. Petersburg: Cecilia Bartoli; Diego Fasolis, conductor (I Barocchisti). Label: Decca
BEST CLASSICAL COMPENDIUM
As Dreams Fall Apart – The Golden Age Of Jewish Stage And Film Music (1925-1955): New Budapest Orpheum Society; Jim Ginsburg, producer. Label: Cedille Records
Ask Your Mama: George Manahan, conductor; Judith Sherman, producer. Label: Avie Records
Handel: L’Allegro, Il Penseroso Ed Il Moderato, 1740: Paul McCreesh, conductor; Nicholas Parker, producer. Label: Signum Classics
Paulus: Three Places Of Enlightenment; Veil Of Tears & Grand Concerto: Giancarlo Guerrero, conductor; Tim Handley, producer. Label: Naxos
Woman At The New Piano: Nadia Shpachenko; Marina A. Ledin & Victor Ledin, producers. Label: Reference Recordings
BEST CONTEMPORARY CLASSICAL COMPOSITION
Barry: The Importance Of Being Earnest: Gerald Barry, composer (Thomas Adès, Barbara Hannigan, Katalin Károlyi, Hilary Summers, Peter Tantsits & Birmingham Contemporary Music Group) Label: NMC Recordings
Norman: Play: Andrew Norman, composer (Gil Rose & Boston Modern Orchestra Project) Track from: Norman: Play. Label: BMOP/Sound
Paulus: Prayers & Remembrances: Stephen Paulus, composer (Eric Holtan, True Concord Voices & Orchestra). Track from: Paulus: Far In The Heavens. Label: Reference Recordings
Tower: Stroke: Joan Tower, composer (Giancarlo Guerrero, Cho-Liang Lin & Nashville Symphony). Track from: Tower: Violin Concerto; Stroke; Chamber Dance. Label: Naxos
Wolfe: Anthracite Fields: Julia Wolfe, composer (Julian Wachner, The Choir Of Trinity Wall Street & Bang On A Can All-Stars) Label: Cantaloupe Music. (Note: You can hear a haunting part of the work that won a Pulitzer Prize in the YouTube video below.)
By Jacob Stockinger
Conductor Andrew Sewell – who will also be busy leading performances of the Madison Ballet’s production of “The Nutcracker” this weekend — will again lead the combined forces of the Wisconsin Chamber Orchestra along with the WCO Chorus and the Festival Choir of Madison.
There will also be four guest soloists:
Soprano Sarah Lawrence:
Mezzo-soprano Jamie Van Eyck:
Tenor Calland Metts:
The two performances will be in different locations and have different ticket prices:
The first performance is this Friday night, Dec. 11, at 7 p.m. at the Blackhawk Church, at 9620 Brader Way, in Middleton.
The second performance is on this Sunday night, Dec. 13, at 7 p.m. at the Westbrook Church, at 1100 Highway 83, in Hartland, about an hour from Madison and near Milwaukee. It is about 1-2 hours from Madison.
For more information, here are two links:
Andrew Sewell recently talked via email to The Ear about “Messiah”:
What keeps “Messiah” by George Frideric Handel so perennially popular with the public, especially at holiday time? In your mind, does it have to do more with the music or the text? And is it as popular with the performers as with the audiences?
I think the meaning of the text, the recounting of the story of the life of Christ particularly in the first part, which is always recounted at Christmas, makes this work so enduring. It gives people pause to stop and think.
It has become a tradition, not unlike the Nine Lessons and Carols, although one can perform it at any time.
It is both the text and the genius of Handel to set the text so beautifully to music. Especially when you realize he was not a native English speaker, yet wrote it for an English-speaking audience.
Back in the day when I was a violinist, we would perform the full “Messiah” (all 3 hours and 15 minutes) twice on two successive days. Yes, it became hard work after a while, just the sheer physicality of holding your instrument up with very few breaks. However, the score never became old, and there is always something new to be found whether a different soloist, or the way the choir is prepared.
How many times have you conducted “Messiah”? As a conductor, how do you keep it fresh for yourself and not boring or predictable? How do you find new things to say or new ways to say them?
Well this is our seventh season since performing it at Blackhawk Church, and before then we performed it twice a year for the “sing-out” Messiah from 2000 to 2008. I have conducted it also in Syracuse. So, I’ve conducted it probably around 30 times.
I think it’s the same with any piece of great music that is often repeated year after year: you find ways to keep it fresh. Perhaps you try new things — new articulations, different repeats, adding or subtracting movements, using different “cuts” since we have the challenge of bringing a 3 hour and 15 minute work in under 2-1/2 hours.
How have your conception of the work and your performances of it evolved over the years?
I have found that the tradition in the United States was different to the one I had been accustomed to in New Zealand. Again, I found that for the most part, for local performances of “Messiah,” church choir directors usually cut it down to be about 2 to 2-1/2 hours in length.
I had never heard of the Christmas portion or the Easter portion before moving to the United States. My experience had always been to play the work in its entirety — merely a different tradition.
Nowadays, I enjoy including as many choruses and arias as we have time for, that both challenge the chorus and make sense of the text in some chronological capacity. And of course, there are those arias you cannot omit -– “The Trumpet Shall Sound,” for instance.
What would you like the public to know about Handel and “Messiah” that they may not already know or need to be reminded of?
That it ostensibly started out life as a secular work in a secular environment; and that, over the years, it has become to be considered more as a sacred work and performed in a church. In either venue it is okay and a great masterpiece, whatever your religious or non-religious affiliations may be.
Is there something else you would like to say?
I think as you pay attention to the ebb and flow of the arias and choruses, they should tell a compelling story that reaches its climax in the most positive way. It is a story of great redemption for humanity and is what Handel achieves with his setting of “Worthy Is the Lamb” and the “Amen.” (You can hear the glorious “Amen” in the YouTube video below.)
ALERT: This week’s FREE Friday Noon Musicale, to be held from 12:15 to 1 p.m. in the Landmark Auditorium of the Frank Lloyd Wright-designed First Unitarian Society of Madison, 900 University Bay Drive, features pianist Mark Valenti. He will play Three Pieces from “Le Printemps” (Spring) by Darius Milhaud; the Sonata in A major by Franz Schubert; and the Sonata No. 7 in B-flat major by Sergei Prokofiev.
By Jacob Stockinger
This week brings two FREE concerts by several choral groups at the University of Wisconsin-Madison School of Music.
On Friday night at 8 p.m. in Mills Hall, the University Chorus, Women’s Choir and Master Singers will perform a FREE concert. Sorry, no word yet about the program.
Then on Saturday night at 8 p.m. in Mills Hall, the UW Chorale will perform a FREE concert called “It’s a Jolly Holiday!” Director Bruce Gladstone (below, in a photo by Katrin Talbot) will conduct.
NOTE: This concert is NOT to be confused with the usually packed Winter Choral Concert — with its theme of holidays, multiple choirs and several conductors — that will take place on Sunday, Dec. 6, at 2 and 4 p.m. at Luther Memorial Church.
Here are some program notes:
“This fall, the UW Chorale gets into the holiday spirit.
“But which one?
“An entire year of them!
“The ensemble starts with New Year’s Day and moves through the calendar year singing choral works to commemorate each festive day.
“They’ll celebrate President’s Day, Valentine’s Day, St. Patrick’s Day, Easter, Earth Day (below) and so on, with a variety of great music that will leave you wondering why you only think about hearing a choir sing at Christmas.
“Works include “My Funny Valentine,” “Free at Last,” Wolfgang Amadeus Mozart’s “Regina Coeli,” Howard Hanson’s “Song of Democracy,” Aaron Copland’s “The Promise of Living” and many more.” (You can hear Howard Hanson’s “Song of Democracy,” with words by poet Walt Whitman and with the famous Interlochen theme from his “Romantic” Symphony No. 2, in a YouTube video at the bottom.)
“There will be something for everyone as they explore the days we call “holy.””
By Jacob Stockinger
Voces Aestatis (pronounced VO-ches Eh-STA-tees) – or Summer Voices — is a professional choir of 16 voices that specializes in choral literature from the Renaissance and earlier.
Director Ben Luedcke (above, far left in front row, and below) has prepared a concert that will feature both sacred and secular works from the 16th century.
Saint Andrew’s Episcopal Church (below) is an intimate and acoustically ideal performance space for this ensemble — which is a highly select group of Madison singers, hand-picked for their vibrant voices, blended tone and experience with early music, particularly the a cappella repertoire of the 16th century.
One of the few professional choirs in Madison, this group of paid singers only rehearses a handful of times, performing once per year.
The first half of the concert will begin and end with double-choir pieces by Jean Mouton, and the master of the polychoral sub-genre, Giovanni Gabrieli. Music by William Byrd (below) and Jean l’Heritier celebrate the glory of God.
Also included are works by Giuseppe Pierluigi da Palestrina and Orlando di Lasso (below), with texts taken from the Song of Songs. Though sanctioned in the Old Testament as an allegory of the love between Christ and the Church, these biblical passages are infamous for their explicit erotic qualities and have been favorites of choral composers for centuries.
Music of Carlo Gesualdo and Antonio Lotti, with dramatic texts taken from the Tenebrae service of Good Friday round out the first half of the concert.
The second half features both English and Italian madrigals by Orlando Gibbons, John Bennet, Jacques Arcadelt, and Claudio Monteverdi (below). These highly sensual texts deal with lust as well as death, even questioning the meaning of our short lives.
Video and audio recordings from last year’s concert are available on YouTube at: