The Well-Tempered Ear

Classical music: Madison Bach Musicians perform their sixth annual Baroque holiday concert this coming Saturday night. Plus, the Wisconsin Chamber Orchestra’s “Messiah” on Friday night is close to selling out

December 5, 2016
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ALERT: The Wisconsin Chamber Orchestra and its acclaimed music director Andrew Sewell are pretty busy these days playing the accompanying music for the Madison Ballet‘s multiple performances of Peter Tchaikovsky‘s holiday ballet “The Nutcracker.”

Then on this coming Friday night at 7 p.m. at the Blackhawk Church in Middleton, the WCO, the WCO Chorus, the Festival Choir of Madison and guest soloists, all under the baton of Sewell, also give their annual and usually sold-out performance of George Frideric Handel‘s oratorio “Messiah.” The Ear has been told that this year’s performance is also close to selling out to. For more information and tickets, go to: 

http://www.wisconsinchamberorchestra.org/performances/messiah-at-blackhawk-church-middleton/

By Jacob Stockinger

At 8 p.m. this Saturday night, Dec. 10, the Madison Bach Musicians (below top) will give their sixth annual Baroque Holiday Concert.

mbm-baroque-holiday-2015-all-singing

The event will once again be held in the beautiful and sonorous sanctuary (below) of the First Congregational United Church of Christ, 1609 University Avenue.

mbm-baroque-holiday-2015-audence-and-players

MBM holiday 2014 Marc Vallon on bassoon JWB

There is a free pre-concert lecture by the always witty, informative and entertaining MBM founder, artistic director and harpsichordist Trevor Stephenson (below) at 7:15 p.m. NOTE: Trevor Stephenson will also discuss the upcoming holiday concert and play excerpts from past ones TODAY AT NOON on The Midday program aired by Wisconsin Public Radio.

Trevor Stephenson full face at keyboard USE

The program will feature: a cappella (solo vocal) masterworks by Orlando di Lassus and Josquin des Prez performed by a vocal quartet; a Christmas Cantata for soprano and strings by Alessandro Scarlatti—featuring soprano soloist Chelsea Morris (below top); a trio sonata by Johann Joseph Fux; an intriguing  Partita for two scordatura violins (scordatura means the open strings are re-tuned into a new interval configuration!) by Heinrich Biber; the Sonatina in A minor for baroque bassoon and continuo by Georg Philipp Telemann ― with soloist and UW-Madison professor Marc Vallon (below bottom, in a photo by James Gill); one of the Christmas Cantatas, BWV 122Das neugeborne Kindelein (The Newborn Baby) by Johann Sebastian Bach (heard in the YouTube video at the bottom); and a bonus feature ― a preview of MBM’s upcoming April performance of Bach’s oratorio  St. John Passion, the tenor aria Ach, mein Sinn.

CHELSEA Shephard

Marc Vallon 2011 James Gill (baroque & modern)[2]

Advance-sale discount tickets: $28 for general admission, $23 for students and seniors 65 and over. They are available at Orange Tree Imports, Farley’s House of Pianos, Room of One’s Own, and Willy Street Co-op (East and West) . You can also find online advance-sale tickets at madisonbachmusicians.org 

Tickets at the door are: $30 for general admission; $25  for students and seniors 65 and over.
 Student Rush tickets are $10 at the door and go on sale 30 minutes before lecture (student ID is required)

Musicians will include: Chelsea Morris, soprano; Joseph Schlesinger, counter-tenor; Scott Brunscheen, tenor; Matthew Tintes, bass; Kangwon Kim and Brandi Berry, baroque violins; Marika Fischer Hoyt, baroque viola; Martha Vallon, baroque cello; Marc Vallon, baroque bassoon; and Trevor Stephenson, harpsichord


Classical music: The Ear turns matchmaker – and helps amateur musicians to connect

January 8, 2016
1 Comment

By Jacob Stockinger

It started out simply as a desire to help.

But now The Ear has turned out to be a matchmaker.

You may recall that a University of Wisconsin-Madison bacteriology professor Kenneth Hammel is an amateur baroque bassoonist. He asked if The Ear might have suggestions for his finding a chamber music partner.

So The Ear suggested posting his request, and he agreed.

Here is the original link:

https://welltempered.wordpress.com/2015/12/13/classical-music-an-amateur-baroque-bassoon-player-wants-to-play-who-can-help-make-that-happen/

Now it turns out the experiment worked and was a success.

So The Well-Tempered Ear now serves as a sort of online dating service for classical musicians who seek musical partners to play with. And as a fierce advocate of amateur music-making, he likes that role!

Here is the follow-up letter that Hammel sent to The Ear:

“Hi Jake:

“I wanted to let you know that it worked. Two people contacted me after you posted my letter and picture. One of them you certainly know — Paul Baker. He and I played together on cello and bassoon this weekend.

“The other person, named Betty Cohen, is a recorder player who says she’ll contact me shortly to arrange a session.

“So, many thanks to you for getting the word out on your blog.”

“In case you want to hear a sample of baroque bassoon playing, I’ve attached an mp3 (not for dissemination!) of me playing a short fantasia by Jean Daniel Braun, ca. 1730.

“Best wishes for the new year,

“Ken”

“PS: The music, and an interesting commentary on it (at the end of the score) is at:

http://conquest.imslp.info/files/imglnks/usimg/b/bf/IMSLP349300-PMLP564250-Tel41a4fag-cel.pdf

The bass line for the sonata was long thought to be lost, but was then discovered in a different library than the one that holds the original solo part.

A very good YouTube performance on baroque bassoon (4 separate links for the 4 movements) is at:

https://www.youtube.com/watch?v=dO9l1PYJZEY

https://www.youtube.com/watch?v=mF_ZyJp-avc

https://www.youtube.com/watch?v=gKNtxgEoatg

https://www.youtube.com/watch?v=g2IyM3pKR6A

A quick search for the ensemble, Concordi Musici, indicates that their bassoonist is named Josip Casadella.

ken hammel baroque bassoon

And The Ear also heard about success from the other chamber music partner, Paul Baker (below), who wrote with his usual sense of self-deprecating humor.

Paul Baker, you might recall, is a jazz fan in addition to being a radio host for WSUM, the student radio station at the University of Wisconsin-Madison. He hosts a program and writes a blog called Only Strings:

Here is a link to his blog:

https://onlystringswsum.wordpress.com

“My friend:

I thank you for posting Ken Hammel’s request for baroque practice buddies. We are now working independently on sections of a Sonatina in A Minor, TWV 41, by Georg Philipp Telemann and will meet soon to begin rehearsing.

Yo-Yo Casals

Paul Baker at WSUM

Forgive The Ear’s pride.

But now he may have to seek out a violinist or cellist or another pianist for himself, as an avid amateur pianist, to play with.

Anyone interested in playing with The Ear?

Anyone else want to find a different music partner?

Leave word in the COMMENT section.

Or maybe it should be called the PERSONALS?


Classical music: The Bach Dancing and Dynamite Society will wind up its current summer season of masterful music-making with two MUST-HEAR programs this weekend.

June 25, 2015
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By Jacob Stockinger

If you needed more proof about why you should take in one or both of the final two programs – “Crooked Business” and “Highway Robbery” — by the Madison-based Bach Dancing and Dynamite Society, you should have been at one or both of the BDDS concerts last weekend.

BDDS poster 2015

For this coming weekend of the 24th season: “Crooked Business” features the Sonata for Flute and Keyboard in B Minor by Johann Sebastian Bach; the chamber music reduction of the Piano Concerto in C minor, K. 491, by Wolfgang Amadeus Mozart; and a chamber music arrangement version of the Serenade in D Major, Op. 11, by Johannes Brahms.

“Highway Robbery” offers the First Rhapsody for Clarinet by Claude Debussy; “Seven Seascapes” by the American composer Kevin Puts, who won the Pulitzer Prize; and the great Octet by Franz Schubert.

For more information about programs and performers, venues and tickets, visit: http://www.bachdancinganddynamite.org

The Bach Dancing and Dynamite Society continues to be incapable of being boring, ordinary or mediocre. It’s just not in their genes or DNA.

Last Saturday night, The Ear took in the “Breaking and Entering” concert in The Playhouse of the Overture Center. The theme was meant to explore how composers broke new ground and violated boundaries.

The theme might seem a bit of a stretch — they often do — and when one of the two fake security guards frisked an audience member for a gun or weapon, it might have struck some audience members as uncomfortable or in questionable taste rather than amusing or funny, given the recent shootings in Charleston, South Carolina.

BDDS Breaking 2015 guard

But humor and silliness aside, there is no question that the music received the superb performances it deserved.

The San Francisco Trio, veteran BDDS guest artists, delivered two masterful readings of two Romantic masterpieces. The trio opened the concert perfectly with the lovely and short “Notturno” (1827) by Franz Schubert. Then it closed the concert with the revised version of the substantial and even epic Piano Trio No. 1 in B Major (1854, revised in 1889), Op. 8, by Johannes Brahms. The trio is made up of pianist Jeffrey Sykes (a co-founder and co-artistic director of BDDS), violinist Axel Strauss and cellist Jean-Michel Fonteneau.

BDDS Breaking SF Trio

Then came the somewhat eccentric Sonatina for Trio (1934) by the rarely performed French composer and eccentric music critic Florent Schmitt.

The players were an unusual combination of flutist Stephanie Jutt (the UW-Madison professor is a co-founder and co-artistic director of BDDS as well as principal flute of the Madison Symphony Orchestra); local pianist Thomas Kasdorf, who is a graduate of the University of Wisconsin-Madison School of Music; and the incredible clarinetist Alan Key from New York City who teaches at the Manhattan School of Music and the Juilliard School, and who plays with the respected Orpheus Chamber Orchestra.

BDDS Breaking 2015 Jutt, Kasdrof, Kay

Violinist Axel Strauss, who teaches at McGill University in Montreal, sure showed some impressive fiddling skills in two crossover pieces – “Pining for Betsy” and “Who Let the Cat Out Last Night?” — by Paul Schoenfield (b. 1947). It brought audible WOWs and cheers from the audience. (Listen for yourself to the virtuosic “Cat” piece in a YouTube video at the bottom.)

BDDS breaking 2015 Axel Strauss

An unusual and rarely heard piece by the Venezuelan composer Paul Desenne (b. 1959)  imagines Franz Joseph “Papa” Haydn and a South American composer discussing music at the Esterhazy estate where Haydn worked. The work was delivered with great panache by flutist Stephanie Jutt, clarinetist Alan Kay and cellist Jean-Michel Fonteneau.

BDDS Breaking 2015 Jutt, Fonteneau, Kay. jpeg

Both the variety of the repertoire and the players and the quality of the performances recommend the Bach Dancing and Dynamite Society to any serious classical music fan as well as to beginners. The Ear says: Go have some classical fun!

 


Classical music: Here is the new season in June of the Madison-based Bach Dancing and Dynamite Society.

May 12, 2015
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By Jacob Stockinger

There are still some smaller-scale concerts left to the season – some chamber music and vocal music by the Oakwood Chamber Players and the Madison Choral Project, for example.

But the next big series of classical music events on tap are the concerts over three weekends in Madison, Stoughton and Spring Green during June by the Madison-based Bach Dancing and Dynamite Society (below).

bddsgroup

As usual, the group – co-founded and co-directed by UW-Madison professor and Madison Symphony Orchestra principal flute Stephanie Jutt and pianist Jeffrey Sykes, a UW-Madison grad who teaches in Berkeley — is known for showcasing well-known and neglected works as well as imported and local musicians.

Stephanie jutt and Jeffrey Sykes  CR C&N photographers

For full information, including tickets information and samples from the 2014 season, here is a link to the BDDS website:

http://www.bachdancinganddynamite.org

In the meantime, here is a round-up of this summer’s programs and a schedule of performances.

WEEK ONE | JUNE 12, 13, 14

Stephanie Jutt, flute

Jeffrey Sykes, piano
 Sponsored by Ellen White, in memory 
of Barbara Ekholm

Katarzyna Bryla, violin

Parry Karp (below top), cello
 Sponsored by Sue Cleary Koch

Timothy Jones, bass-baritone

Emily Birsan (below middle), soprano

Thomas Kasdorf (below bottom), piano
 Sponsored by Tim Teitelbaum, 
in memory of Susan Horwitz

Parry Karp

Emily Birsan MSO 2014

thomas kasdorf 2:jpg

 STOLEN MOMENTS

Johann Sebastian Bach: Arias and Duets — Sponsored by Carla & Dick Love

Felix Mendelssohn: Cello Sonata in D Major, op. 58

Gian Carlo Menotti: “Steal Me” from The Old Maid and the Thief

Franz Joseph Haydn: Divertimento in G Major, Hob. IV: 7 — Sponsored by Barbara Johnson

Ludwig van Beethoven: Scottish and Irish Folk Songs and Duets

The Playhouse, Overture Center, Madison on 
Friday, June 12, 7:30 PM

Hillside Theater, Taliesin, Spring Green
 Sunday on June 14, 2:30 PM

ROB THE CRADLE

Dick Kattenburg: Sonata for flute and piano

Dmitri Shostakovich: Seven Romances on Poems of Alexander Blok, op. 127

Modest Mussorgsky: Songs and Dances of Death

Louise Farrenc: Trio in E minor, op. 45

The Playhouse (below), Overture Center, Madison on 
Saturday, June 13, 7:30 PM

Hillside Theater, Taliesin, Spring Green
 on Sunday, June 14, 6:30 PM

BDDS Playhouse audience

WEEK TWO | JUNE 19, 20, 21

Stephanie Jutt, flute

Jeffrey Sykes, piano
 Sponsored by Ellen White, in memory 
of Barbara Ekholm

Axel Strauss, violin Sponsored by James Dahlberg & 
Elsebet Lund

Jean-Michel Fonteneau, cello 
Sponsored by Dan & Karen Baumann

Alan Kay, clarinet 
Sponsored by Vicki & Jerry Stewart and Katherine Naherny & Roger Ganser

Thomas Kasdorf, piano
 Sponsored by Anne & Peter Wadsack

Axel Strauss

Jean-Michel Fonteneau

Alan Kay 1 BDDS 2014

HONOR AMONG THIEVES

Johann Sebastian Bach: Trio Sonata in G Major, BWV 1038

John Harbison: Songs America Loves to Sing

Ludwig van Beethoven: Trio in E-flat Major, op. 38, arranged from the Septet, op. 20

Stoughton Opera House on 
Friday, June 19, 7:30 PM

Hillside Theater, Taliesin, Spring Green
 on Sunday, June 21, 2:30 PM

BREAKING AND ENTERING

Florent Schmitt: Sonatina in trio, op. 85 — Sponsored by Jane & David Villa

Paul Schoenfield: Country Fiddle Pieces Sponsored by Martha & Charles Casey

Paul Desenne: Haydn Tuyero, Chicharras, Galeones Sponsored by Jane Blumenfeld & Willow Harth

Johannes Brahms: Piano Trio in B Major, op. 8 — Sponsored by Jacob Stockinger, in memory of Judy Schwaemle

The Playhouse, Overture Center, Madison on Saturday, June 20, 7:30 PM

Hillside Theater, Taliesin, Spring Green 
on Sunday, June 21, 6:30 PM

StoughtonOperaHouse,JPG

WEEK THREE | JUNE 26, 27, 28

Stephanie Jutt, flute

Jeffrey Sykes, piano
 Sponsored by Ellen White, in memory 
of Barbara Ekholm

Romie de Guise-Langloise, clarinet

Orlando Pimentel, clarinet

Cynthia Cameron-Fix, bassoon

Richard Todd, horn

Carmit Zori (below), violin
 Sponsored by Daphne Webb

Hyejin Lee, violin

Ara Gregorian, viola 
Sponsored by the family of John Stoelting, 
in loving memory

Katja Linfield, cello

Zachary Cohen, bass

CarmitZori0752

CROOKED BUSINESS

Johann Sebastian Bach: Sonata in B minor, BWV 1030Sponsored by Linda & Keith Clifford

Wolfgang Amadeus Mozart: Piano Concerto in C minor, K. 491 — Sponsored by Norma & Elliott Sober

Johannes Brahms: Serenade in D Major, op. 11, arr. Alan Boustead — Sponsored by Michael Bridgeman, in honor of Jack Holzhueter

Stoughton Opera House on 
Friday, June 26, 7:30 PM

Hillside Theater (below), Taliesin, Spring Green
 on Sunday, June 28, 2:30 PM

HIGHWAY ROBBERY

Claude Debussy: Première Rhapsodie — Sponsored by Tim Teitelbaum, in memory of Susan Horwitz

Kevin Puts: Seven Seascapes Sponsored by Miriam Simmons & Jim Cain

Franz Peter Schubert: Octet in F Major, D. 803 — Sponsored by Larry Bechler & Patty Struck

The Playhouse, Overture Center, Madison on 
Saturday, June 27, 7:30 PM

Hillside Theater (below), Taliesin, Spring Green on 
Sunday, June 28, 6:30 PM

taliesin_hillside2

 

 


Classical music: The venerable early music group Wisconsin Baroque Ensemble celebrates the 300th birthday of Carl Philipp Emanuel Bach with fine style and revealing contexts that anticipate Mozart and Beethoven. Plus, many UW-Madison choirs perform two performances of a one-hour seasonal program in FREE “Choral Prism” concert this Sunday afternoon at 2 and again at 4.

December 5, 2014
2 Comments

ALERT: Two one-hour performances of the FREE Choral Prism Concert, featuring all of UW-Madison choral choirs, will take place on Sunday afternoon at 2 p.m. and 4 p.m. in Luther Memorial Church (below), 1021 University Ave. Performing short pieces of seasonal music — winter,  Christmas, Hanukkah — under conductor and director Beverly Taylor are the UW Chorale, UW Concert Choir, UW Madrigal Singers, UW Masters Singers and Women’s Chorus Opera and Voice. There is an optional sing-along for the audience. Sorry, The Ear has received no word on specific composers and works.

luther memorial church madison

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 for 20 years hosted 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.

John-Barker

By John W. Barker

After almost 25 years, as the first and longest-surviving group bringing early music to Madison on a regular basis, the Wisconsin Baroque Ensemble (below) is still going strong.

Wisconsin Baroque Ensemble 2014

And two days after Thanksgiving, on the tail end of a University of Wisconsin-Madison football game, it came up with a remarkably rich and generous program, performed at a familiar venue, the historic Gates of Heaven synagogue (below) in James Madison Park.

Gates of Heaven

Part of the richness was the idea of a partial theme: commemorating the 300th anniversary year of the birth of Carl Philipp Emanuel Bach (below, 1714-1788).

Carl Philipp Emanuel Bach in 1733 painted by Gottfriend Friedrich Bach, a relative

Of eight program slots, three were devoted to C.P.E.’s music.  The opening item was a Trio Sonata in D minor, for two flutes and basso continuo, played by flutists Brett Lipshitz and Monica Steger, with cellist Anton TenWolde cellist (below) and harpsichordist Max Yount. (You can hear the Trio Sonata in D minor at the bottom in a YouTube video.)

anton tenwolde

Written during C.P.E.’s service to the flute-obsessed Frederick the Great of Prussia, it is a conservative piece that still looks back to the late Baroque styles of the composer’s famous father, Johann Sebastian Bach. On the other hand, three short practice Sonatinas from the very end of C.P.E.’s life (played by Yount) can be related to the piano sonatas that Wolfgang Amadeus Mozart was writing exactly at the same time.

Wisconsin Baroque Ensemble composite

Most fascinating of all, however, was a Sonata for Viola da gamba and Harpsichord obligato, dating from 1759.  An intricate and demanding work, it has its own musical substance, the opening of which Eric Miller (below, in photo by Katrin Talbot) brought off brilliantly, with Yount.  But clearly as a duet for two equal instruments (abandoning the old keyboard continuo function), it gave hints of Ludwig van Beethoven’s cello sonatas, to come a half-century and more later.

Wisconsin Baroque Ensemble Eric Miller USE THIS by Katrin Talbot

As against the works of the birthday boy, instrumental pieces by three other composers were offered, composers roughly parallel in lifespan to C.P.E., but whose individual differences made nice contrasts to the latter’s style.

Rather conventionally post-Baroque was a sonata for cello and bass by the Dutch composer Pieter Hellendaal (1721-1799).  But pre-Classical virtuosity was the hallmark of a Sonata for traverse flute and continuo by Johann Philipp Kirnberger (1721-1783), played with wonderful flair by Lipshutz, with Steger shifting to the harpsichord as partner.

Particularly interesting, though, was a chamber work by a dimly remembered French composer of the day, Louis-Gabriel Guillemain (1705-1770). The scoring of this sonata pitted a seemingly unbalanced trio of two flutes and gamba against the basso continuo: the manipulations of color and texture were full of wit and cleverness, especially in the last of its four movements.

Wisconsin Baroque Ensemble flutist Brett Lipshutz and Monica Steger BW

There were also two vocal works, for some added contrast.  Soprano Consuelo Sañudo (below) sang a cantata, on a text about tempestuous love by slightly earlier Baroque French master Michel Piglet de Montéclair.  She displayed in this her usual combination of precision and stylistic flair.

Consuelo Sañudo

And then, for the program’s closer, she sang a Spanish “villancico” by Juan Hidalgo de Polanco, whose life span (1614-1685) was almost exactly identical with C.P.E. Bach’s, by one century earlier.  This was, in fact, composed for four vocal parts with basso continuo, but for this the other three vocal parts were rendered instrumentally, thus bringing the full group of six performers together in a grand finale.

This was, in all, an unusually long program, but one filled with surprises, discoveries and delights. It proved another reminder of the WBE’s endless gifts to Madison’s musical life.

Wisconsin Baroque Ensemble BW 2013

 


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