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:
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.
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.
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.
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 122, Das 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.
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
Some perfect music for Easter is on tap this weekend:
Tonight and Saturday night at 7:30 p.m., the acclaimed early music and period-instrument group the Madison Bach Musicians, joined by the Madison Choral Project and guests vocal soloists and instrumentalists, will perform Johann Sebastian Bach’s monumental Mass in B Minor, first at the First Congregational United Church of Christ and then at the First Unitarian Society of Madison in the new Atrium Auditorium. Both performances feature MBM founder and director Trevor Stephenson giving a pre-concert talk at 6:45 p.m. Tickets are selling fast. Here is a link to an earlier post with more details about the performances and the music:
On Saturday night at 8 p.m in Mills Hall, the UW Madrigal Singers, under director Bruce Gladstone, will perform the “Lagrime di San Pietro” (Tears of St. Peter) by Orlando di Lasso (below), one of the greatest composers of the late Renaissance. Completed just weeks before di Lasso died, the “Lagrime” consists of 21 pieces for seven voices; 20 spiritual madrigals in Italian and a concluding motet in Latin. The poetry describes the remorse and anguish Peter suffered after he denied Christ, and though the subject matter is sacred, the emotional content – betrayal, disappointment, remorse and forgiveness – are universally human.
By Jacob Stockinger
Here is a special posting, a review written by frequent guest critic and writer for this blog, John W. Barker. Barker (below) is an emeritus professor of Medieval history at the University of Wisconsin-Madison. He also is a well-known classical music critic who writes for Isthmus and the American Record Guide, and who hosts an early music show every other Sunday morning on WORT FM 89.9 FM. He serves on the Board of Advisors for the Madison Early Music Festival and frequently gives pre-concert lectures in Madison.
By John W. Barker
“The Passion According to St. John” occupied the composer Johann Sebastian Bach (below) for over three decades as a work-in-progress, one that he never really completed in definitive form. Yet editors are able to make a workable compromise version of it that allows us to appreciate its dramatic power—very different from the broader, more contemplative character of his “St. Matthew Passion.”
Despite the frenzied musical schedule of the weekend of Palm Sunday, this work was an entirely appropriate choice for a performance on last Saturday night by the University of Wisconsin-Madison Concert Choir and the UW Chamber Orchestra (both below), all under the direction of Beverly Taylor.
But there were problems, and they could not be overlooked.
First of all, there was the chorus, 32 singers strong, which made a mighty sound. Nevertheless, choral director and conductor Beverly Taylor (below) followed a doctrine subscribed to by many choral conductors, requiring the breaking up of voice sections and the mixing of the singers. That is supposed to make the singers more self-reliant, and produce a greater overall blend.
But one listener’s “blend” is another listener’s “blob.” For all the sonority, this chorus was an amorphous blob, seriously compromising the part writing over which the composer worked so hard, and undermining sectional definition.
The orchestra started out a bit roughly, with the winds not precisely in pitch with each other at first, and some coarse string playing. These issues were worked out along the way, but difficulties in balances with the singers were recurrent.
The vocal soloists were mostly young.
Solo soprano Emily Weaver (below top) is only a freshman voice major, but her instrument, still in the making, is bright and full of promise. Joshua Sanders (below middle), who sang a small role and two of the three tenor solos, used his strong voice to bellow a bit. Benjamin Schultz (below bottom), both as Pilate and in one of the three bass solos, was hobbled by pallid tone and not always precise pitch.
Two of the soloists, however, were experienced elders. UW baritone Paul Rowe (below top, in a photo by Michael Anderson), on the UW-Madison School of Music voice faculty, made a dignified and authoritative Jesus, but assigning him two of the bass arias disrupted the portrait he made of Jesus. His wife, soprano Cheryl Bensman Rowe (below bottom), was really stretching her lower range to sing the alto solos: in the first one, her weak sound was almost obliterated by the obligatto oboes, though she did recover somewhat for the potent “Es ist vollbracht,” the gamba accompaniment to which was eloquently brought off by Anna Steinoff. (You can hear the aria at the bottom in a YouTube video with Bernarda Fink and conductor John Eliot Gardiner.)
Perhaps the star of the proceedings, though, was tenor Daniel O’Dea, a doctoral student who is already a seasoned professional singer. He has the high, clear voice ideal for the central role of the Evangelist, only briefly succumbing to temptations to shout excitedly towards the end. I am told that this was the first time O’Dea had sung the part of the Evangelist in any Baroque Passion work, but this kind of role could easily become an important specialty for him. As with Rowe, though, it was a wrenching in this performance to have him shift suddenly from narrator to aria soloist at one point.
It has not been easy for me to rack up all these criticisms. But I take this venture seriously enough to hold it to the generally high level of the University of Wisconsin-Madison School of Music’s performing standards. And I should not want it to be excused as “just a student performance.” The truth is that Taylor understood the dramatic character of the piece and brought it together in a propulsive totality that did ultimately put across the work’s beauty and power.
Above all, it was a kind of performing experience that the student participants deserved to have.
By Jacob Stockinger
Since then the MBM has turned in many memorable performances of cantatas and concertos by Bach and other early music on period instruments, including works by Antonio Vivaldi, Arcangelo Corelli and George Frideric Handel.
But this Easter weekend will bring a special treat.
The Madison Bach Musicians, will partner with the Madison Choral Project, under Albert Pinsonneault, to perform Bach’s magnificent and monumental Mass in Minor.
Performances are at on this Friday night at 8 pm. in the First Congregational United Church of Christ. And on Saturday night at 8 p.m. in the Atrium Auditorium of the First Unitarian Society of Madison at 900 University Bay Drive, near UW Hospital.
Advance tickets are $20 for adults; $15 for students and seniors over 65; at the door, $25 and $20, respectively. For more information about how to buy advance tickets, visit:
For more information about the music and the performers, visit:
Stephenson (seen below, in a pre-concert lecture in a photo by Kent Sweitzer), who is a knowledgeable, articulate and entertaining speaker about Baroque music, agreed to an email Q&A about the Mass in B Minor.
Musicians often talk about their “desert island piece”— the work they would most want to have at hand if they were forced to live on a desert island. For me, the B minor Mass has always been my desert island piece. (But if I could sneak in the Well-Tempered Clavier too, that would be great.)
The Passions are incomparable investigations into the relationship between the human embodiment of divine spirit and the dark machinations of this world. The Passions are also Bach’s great statements on the importance of self-sacrifice for the greater good of love. (Jesus gave up his life for love of us, and we should in turn give of ourselves to that which we love.)
The Cantatas are the laboratory where Bach worked out–on a nearly weekly basis–the fusion of musical and textual material toward a spiritual end.
The Mass in B minor focuses more on the relationship between—and really the joining of–the metaphysical and the everyday. Just as an example, as Bach expert John Eliot Gardiner (below) points out in his wonderful new book, “Bach: Music in the Castle of Heaven,” look how the opening of the Credo fuses the gravitas, dignity, and mysticism of plainchant (in the voices) with the elegant, bubbling stride of the baroque bass line. And together these elements create a third thing, beyond themselves, a new joy. (At bottom is a YouTube video of the uplifting and joyous “Gloria” movement, performed by Karl Richter leading the Munich Bach Orchestra.)
Why did a devout Lutheran like Bach turn to a Roman Catholic musical form? Is it appropriate to the Easter season, like the Passions and certain cantatas? What kind of liberties does Bach take with it? How does he reinvent it, if he does?
In Bach’s family, the work was often referred to as “The great catholic mass”–precisely because it was not usual Lutheran practice to set the entire Latin mass. The first appearance of the Mass in B minor comes in 1733 when Bach and his family copied out a beautiful set of presentation parts for the Dresden court–which had not only one of the greatest orchestras and vocal ensembles in Europe, but was also a Catholic court.
I’ve always felt that Bach’s Mass in B minor is something of a reconciliation with the Catholic church after the spiritual and political upheaval of the 17th century and the devastation of the 30-years War.
The Mass in B minor, though it is certainly Christian, also points toward a more inclusive picture of humanity’s universal — the original meaning of catholic — spiritual quest. It is hard to quantify, but I feel there is something in this music that speaks to—and really helps and inspires–us all.
Why will Marc Vallon conduct it rather than you?
Marc and I have been working together for several years now. He has played several bassoon concertos with MBM; also with MBM he has conducted symphonies and concertos by Wolfgang Amadeus, Franz Joseph Haydn and Carl Philipp Emmanuel Bach.
Marc, who now teaches and performs at the University of Wisconsin-Madison School of Music, was principal baroque bassoon—for 20 years—with the internationally acclaimed Amsterdam Baroque Orchestra under Ton Koopman. And during that time Marc performed and recorded many of Bach’s Cantatas, Passions and the B minor Mass.
Marc’s tremendous performance background with the Mass, and his infectious enthusiasm for this timeless masterpiece make him perfectly suited to lead the rehearsals and the concerts. I really can’t wait to hear what happens on Friday and Saturday when these amazing musicians and Marc Vallon (below, in a photo by James Gill) and a great audience gather for the Mass in B minor.
What are the special aspects (one-on-one versus larger chorus, for example, or the Madison Choral Project or the period instruments and practices) that you would like to point out about this performance?
The Madison Choral Project is providing a 17-voice choir for the Mass in B minor concerts. In this work, since Bach usually uses a five-part choral texture (soprano I, soprano II, alto, tenor, bass), this comes to about three voices per part, depending on how things are distributed in a particular moment.
In two movements of the Mass (first Credo and Confiteor), we’ll have the soloists sing one-voice-per-part.
The orchestra will consist of 25 players, all on period instruments: 12 strings, 2 baroque oboes, 2 baroque flutes, 2 baroque bassoons, natural horn, 3 baroque trumpets, timpani, and continuo organ, which I what I will play. The balance between choir, soloists and orchestra should work out beautifully. (Below is the Madison Bach Musicians performing the “St. Matthew Passion” in a photo by Karen Holland.)
What should the public listen for in the mass both musically and performance-wise?
I would say notice how Bach contrasts grandeur with intimacy, metaphysical inquiry and prayer with rollicking celebration, and yet makes an exquisitely coherent whole. I think the Mass in B minor is a miracle of form.
Also, these concerts will feature an entirely period-instrument orchestra of outstanding baroque performance specialists hailing from throughout the United States — Madison, Milwaukee, Oshkosh, San Francisco, Chicago, New York City, Las Vegas, Minneapolis, Philadelphia and Washington, D.C.
The wonderful thing about playing this incomparable baroque masterwork on instruments that Bach was familiar with, is that the sound becomes fresh and energized in a way that is readily apparent. It really is a way of going Back to the Present!
The 18th-century instruments typically speak faster than their modern descendants — that is, the pitch actually forms more quickly, often by just a fraction of a second. But in music-making—especially very intricate baroque music-making—that fraction of a second can be the critical difference.
Bach’s absolutely amazing counterpoint in the Mass in B minor, which he often weaves effortlessly in 4 and even 5 independent parts is much more transparent when played on period instruments. You can peer more deeply into the infinite world of Bach’s fugues.
Period instruments are also set up to articulate quite deftly, that is, baroque instruments help the players define the shorter musical groupings of connected and non-connected notes. This in turn assists the audience in assimilating the elegant rhetorical shapes of Bach’s lines.
I will also preface both the concerts starting at 6:45 p.m. with a 30-minute lecture on period instruments (below is Stephenson discussing the keyboard action of an 18th-century fortepiano), approaches to singing baroque music, and the structure and history of the Mass in B minor.
Is there anything else you would like to say or add?
I’d like to say a bit about the two venues where we’ll perform the Mass in B minor. “Where is it?” is one of the first questions most people ask when they hear of an exciting upcoming musical event. Because–particularly for classical music–the acoustics really matter. And the feel of the place, the vibe, needs to be right too.
The sound will be rich and the mood will be spiritually focused on Friday and Saturday as the Madison Bach Musicians and the Madison Choral Project collaborate in two performances of J. S. Bach’s monumental masterpiece the Mass in B minor, BWV 232.
The Friday concert will be given in the magnificent setting of the sanctuary at First Congregational United Church of Christ, at 1609 University Avenue, a landmark building in Madison’s cultural life.
The Saturday concert will be in the acoustically brilliant Atrium Auditorium (below in a photo by Zane Williams) of the First Unitarian Society of Madison, 900 University Bay Drive. The performances will feature a 24-piece period-instrument baroque orchestra, 5 outstanding vocal soloists, and a 17-voice professional choir from the Madison Choral Project.
Bach composed the Mass in B minor during the final 18 years of his life; adding, editing, and re-working it into his final year, 1750. The result is about 100 minutes of music that is instantly engaging, highly varied in its variety of ensemble and style, unified to the Nth degree, and structurally perfect. And somehow the Mass in B minor it is at once both magnificent and intimate.
The First Congregational United Church of Christ, with its neo-Georgian design (begun in 1928), captures the 18th-century ideals of dignified ambiance and sonic balance that Bach understood. The sound has tremendous detail, yet everything contributes to the warm cumulative tonal glow.
The much more recent Atrium Auditorium (below), built in 2008, at First Unitarian Society brings out the immediacy of the music-making. The sight lines are direct, and the acoustics brilliant; the audience feels very connected with the performers.
Both venues are absolutely perfect for period-instrument performance, which emphasizes the detail and vitality of the music rather than sheer decibels.
Seating is limited at both venues, so purchasing tickets in advance is highly recommended.
ALERT: On Saturday night at 8 p.m. in Mills Hall, Beverly Taylor will conduct the University of Wisconsin-Madison Concert Choir (below) and the UW Chamber Orchestra with guest soloists in Johann Sebastian Bach’s “St. John Passion.” (Tickets are $15 for the public and $8 for senior citizens and students.)
By Jacob Stockinger
It is daunting for any pianist to play all 32 of the piano sonatas by Ludwig van Beethoven, usually over several days or weeks.
But then Stewart Goodyear (below) is not just any pianist.
He performs all the Beethoven sonatas in a single day, much like a marathon.
Moreover, Goodyear, who hails from Toronto, Canada, is also a composer who has written his own Piano Concerto.
Tonight at 8 p.m. in the Capitol Theater of the Overture Center, Stewart Goodyear will perform both Beethoven and his own work.
For the Beethoven, the choral part will be sung by the WCO Choir that is made up of the University of Wisconsin Madrigal Singers and the Festival Choir of Madison (below). The choir will also perform Wolfgang Amadeus Mozart‘s sublime “Ave Verum Corpus,” which should complement some of the tone of Goodyeas’s piano concerto.
The closing the program will be Beethoven’s famed Symphony No. 3, the “Eroica,” which radically changed the course of the modern symphony.
Tickets are $15 to $67. Call the Overture Center box office at (608) 258-4141. For more information, you can also visit:
Goodyear (below) agreed to an email Q&A that for various reasons got delayed. But good sport that he is, he answered the questions after a strenuous rehearsal. Clearly this is a intense artist who approaches both music and writing in an articulate and athletic way.
You have performed — in marathon one-day sessions — and recorded all 32 of Beethoven’s piano sonatas, and I believe you play all the concertos. What is it about Beethoven’s works that attracts you so deeply, and what is your view of how to best play him?
I was three years old when I first heard the music of Beethoven. It was that moment when I knew I wanted to be a musician. Beethoven’s music spoke to me as a child more profoundly than any other artist.
Even now, I feel that Beethoven expresses the complete human experience: the passion, the rage, the humor, the vulnerability, the courtship, the love, the defiance, and, finally, the spiritual awakening. I lived with Beethoven’s music my whole life, but I only felt ready to perform his music when I finally experienced every aspect of the human experience. It was at that point where I had a profound thirst to perform Beethoven’s music.
I was 32 when I first performed the complete 32 sonatas, and I knew that my first solo recording had to be those masterpieces. The sonatas, to me, are a very intimate diary communicated with the listener.
I think the best way to play Beethoven (below) is from a very personal place in one’s heart. Like a great actor, one has to live every moment, feel every emotion deeply, and play every note like it was a last opportunity. The audience must be seized at every second. Rage must be raging; pain must be painful. Raw emotion cannot be tamed.
How do you place the Choral Fantasy among his works –- just a sketch for the Ninth Symphony or a work in its own right?
The “Choral Fantasy” is quite an interesting piece. The last time I performed this piece was with Yannick Nezet-Seguin and Orchestra Metropolitan, on a program that re-enacted the historic 1808 concert that saw the premiere of the Fifth Symphony and Sixth (“Pastoral”) Symphony, the Piano Concerto No. 4, and the “Choral Fantasy,” among other works.
I see this work as the perfect finale for this program, first showcasing Beethoven’s improvising skills, then showcasing different members of the orchestra, and after variations of the hymn, showcasing the vocalists and chorus who participated in the mammoth 1808 program.
This piece was written specifically for that concert as a showstopper, but I firmly believe that this powerful, moving work is a masterpiece in its own right.
How and when did your own Piano Concerto come about? How would you describe it to the general public? Is it tonal and accessible, or melodic and appealingly harmonic? Rhythm-wise, does it have unusual aspects? How many tines have you performed it, and how has it been received before by the general public?
My piano concerto was commissioned by the Peninsula Music Festival (below) in Wisconsin’s Door County and premiered there in 2010. The architecture of this work is very much inspired by the Mozartian concerto, but it is also inspired by my own ethnic musical background: Classical, calypso and English folk music. (Goodyear talks about his own concerto in a YouTube video at the bottom.)
The piano writing is lyrical but intensely rhythmic, and the harmonies are tonal and accessible with spicy dissonances.
I was delighted by the warm response of my concerto at the world premiere, and I hope the audience in Madison enjoys it. This will be my second performance of the concerto., but the world premiere of a revised version of it I did specifically for chamber orchestra.
Is there anything you would like to say about performing for a third time with the Wisconsin Chamber Orchestra (below top) and conductor Andrew Sewell (below bottom) before a Madison audience?
It is always a great pleasure to work with Andrew Sewell and the Wisconsin Chamber Orchestra. I look very much forward to tonight’s concert.
By Jacob Stockinger
This coming Sunday, April 13, at 10 a.m. and 3 p.m. the First Unitarian Society of Madison will offer one of its All-Music Sundays.
This time, the event – open to the public and not just FUS members — features two FREE performances on the lovely and consoling Requiem by Gabriel Faure at the historic meeting-house, (below) designed like a plow tilling the soil by Frank Lloyd Wright, at 900 University Bay Drive.
To The Ear, it seems a perfect choice for the upcoming Easter season – Sunday is, after all, Palm Sunday.
To be sure, a lot of sublime choral music has been or will be performed here in a short time, including Johann Sebastian Bach’s “St. John Passion” and Mass in B Minor, Wolfgang Amadeus Mozart’s storied Requiem and Sergei Rachmaninoff’s a cappella Vespers.
I gave a rundown in this earlier post:
But there is something special in the quietude of the Faure Requiem that seems to marry the Roman Catholic and Protestant traditions in away that also allows secularists to enter into the music.
I asked FUS music director Dan Broner (below), who programmed and will conduct the Requiem, to talk about it and he agreed to do an email Q&A:
Why did you choose to do the Requiem by Gabriel Faure?
Two years ago we did the Requiem by John Rutter. A singer at the time asked if we could do the Faure Requiem next and since I hadn’t conducted the entire work for some time, I thought it would be fun to do it again.
John Rutter (below) worked on a new edition of the Faure Requiem in the early 1980s, which inspired him to compose his own requiem. So I thought it would be fun for the Society Choir to sing it while the Rutter was still relatively fresh in their ears.
What do you think of Faure’s music in general and what do you especially like about it and what makes it appropriate for the Unitarians?
I think Faure’s music is underrated. He was comparatively prolific, having written over 100 songs, many piano solo works, and lots of wonderful chamber music. Yet he is best known for his Requiem and a few instrumental numbers (“Sicilienne,” “Pavane” and “Elegie”).
I think it may be because he didn’t write many large-scale works, and his piano solo repertoire is quite difficult technically. (Liszt pronounced it too difficult.)
Faure (below) was a terrific melodist on par with Schubert and Chopin and his life (1845-1924) spanned a period that began with the music of Chopin and Schumann and into the jazz era and the second Viennese school. An important educator, he taught many well-known composers including Maurice Ravel and Nadia Boulanger.
Faure worked for the Roman Catholic Church, and properly wrote his Requiem in Latin. But he eschewed the usual “Dies Irae” (Day of Wrath) movement with its emphasis on judgment and damnation for a gentler spirit that focused instead on eternal rest. I think this plays well with Unitarian humanist leanings.
How does it differ from other well-known Requiems?
In addition to the “Dies Irae,” Faure also doesn’t include the “Benedictus” portion of the “Sanctus.” And his “Agnus Dei” (heard at the bottom in a popular YouTube video) is in F major and is more lyrical than the typical big, minor key “Agnus Dei” movements of other Requiems.
Interesting is the similarities with the “German” Requiem by Johannes Brahms, written some 20 years earlier. Both are in seven movements and both use soprano and baritone soloists. I think it was Aaron Copland (below) who declared Faure “the Brahms of France.”
What else would you like to say or add about the work and the performances?
We will be using John Rutter’s chamber orchestration which lends itself for performing in a relatively small space: organ, harp, solo violin, divided violas and cellos, bass, two horns and timpani. The chorus will number a little over 60 singers. Soprano Heather Thorpe and baritone Bart Terrell are the soloists. And it will take place in the older Landmark Auditorium (below) because that’s where the organ is.