The Well-Tempered Ear

Classical music: Looking for serious fun? The thoroughly successful opening concerts by the Bach Dancing and Dynamite Society bode well for the upcoming second weekend

June 19, 2019
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By Jacob Stockinger

After 28 summers, going to a concert by the Bach Dancing and Dynamite Society still feels like attending a family reunion – the best kind of family reunion where everyone is familiar and friendly, where everything is fun, and where you always leave glad that you went.

That’s not by chance.

The first thing that co-founders and co-artistic directors Stephanie Jutt and Jeffrey Sykes did last Friday and Saturday nights was to thank the loyal audience. And the audience, full of longtime fans, returned the favor by being attentive to and appreciative of the first-rate music-making as well as responsive to the horseplay and antics – such as the surreal scene of virtuoso Axel Strauss playing “The Skater’s Waltz” on his violin while rollerblading around the stage (below).

BDDS players really mean it when they say that their audiences are in for something different, something they won’t find elsewhere and won’t forget.

Last weekend that meant the return of two longtime guest performers: San Francisco cellist Jean-Michael Fonteneau and Montreal violinist Axel Strauss (below, with pianist Jeffrey Sykes). Neither disappointed as they performed very varied music by Franz Joseph Haydn, C.P.E. Bach, Johannes Brahms, Gabriel Faure, Lili Boulanger, Maurice Ravel and Ned Rorem. And as always, the amazing  pianist Jeffrey Sykes proved a chameleon who blended masterfully into the style of each period and each composer.

But for The Ear, the unexpected standout last weekend was guest accordion player Stas Venglevski from Milwaukee. Born in Russia and trained at the Moscow Conservatory, he is a virtuoso player, a sensitive arranger and a convincing composer – all done with good humor and a charismatic stage presence.

The Ear never thought of the accordion – the Russian bayan, to be specific – as an instrument for chamber music. But he does now, after hearing Venglevski play serious Russian, French and Latin American music that ran the gamut from a graceful waltz and a sprightly polka to torchy tangos. And then there were his flying fingers punching out “The Flight of the Bumblebee,” a real crowd-pleaser.

The large audience responded on both nights with wild applause and a standing ovation every time that Venglevski (below) played, and Jutt promised the audience that he will be back.

“As you can see, we have fun here,” Jutt deadpanned.

She is not exaggerating.

Which bodes well for the second weekend of three that will happen this coming weekend.

The second weekend — two programs in three venues — celebrates Jutt and Sykes, plus two of BDDS’ favorite guest artists: violinist Stephanie Sant’Ambrogio and Madison pianist Thomas Kasdorf.

Kasdorf (below) and Sykes are both featured in a program called “Rock the Sykes-o-delic Kas-bah.” Kasdorf is featured in Brahms’ Horn Trio with guest horn player Karl Kramer Johansen, and in the appealing and accessible Café Concertino by the contemporary Australian composer Carl Vine.

Sykes will perform another chamber transcription of a Classical-era symphonic work, which over the years has become a welcome specialty of BDDS. In this case it is Wolfgang Amadeus Mozart’s snappy and appealing Piano Concerto No. 9 in E-flat Major, K. 271, the “Jeunehomme” concerto. (You can hear the irresistible last movement of the piano concerto, used in the film “Amadeus,” in the YouTube video at the bottom.) Sykes will also perform in Robert Schumann’s “Fairy Tales” for clarinet and viola.

A Madison native, cellist Alison Rowe (below) — an artist from the Dynamite Factory, which is BDDS’ program for emerging talent — will be featured in the Sonata for Cello and Piano in D Major by Johann Sebastian Bach.

“Rock the Sykes-o-delic Kas-bah” will be performed at the Stoughton Opera House on Friday, June 21, at 7:30 p.m. Braisin’ Hussies Food Cart will be parked outside the Opera House prior to the performance. The program will also be performed in Spring Green at the Hillside Theater, Sunday, June 23, at 2:30 p.m.

Jutt (below top) and Sant’Ambrogio (below bottom, in a photo by Stephanie Ann Boyd) worm their musical way into the most unexpected places in the other program, “Steph Infection.” The Nocturne for flute, violin, horn and piano of Franz Doppler opens the program, which continues with Jutt’s own arrangement of Antonin Dvorak’s popular “American” String Quartet, with a flute substituting for one of the two violins.

Dmitri Shostakovich’s Five Pieces for flute, clarinet and piano add spice to the program, and the evening concludes with Ernst von Dohnanyi’s epic Sextet for clarinet, horn, violin, viola, cello and piano. A work that ranges from stormy and turbulent to tender and funny, it features an all-star cast including audience favorite clarinetist Alan Kay, horn player Karl Kramer Johansen, violist Carol Cook (principal at the Lyric Opera of Chicago), and Madison’s own cellist of the UW-Madison’s Pro Arte Quartet, Parry Karp (below).

“Steph Infection” will be performed at The Playhouse, Overture Center for the Arts, Saturday, June 22, at 7:30 p.m.; and in Spring Green at the Hillside Theater, Sunday, June 23, at 6:30 p.m.

And of course there could also be some unannounced surprises – more door prizes, perhaps a mystery guest, or more shenanigans and antics that correspond to the “Name Dropping” pun theme of the programs.

For tickets ($43-$49) and more information, go to: https://bachdancing.org


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Classical music: The Bach Dancing and Dynamite Society again brings its surefire summery approach to serious classical chamber music when it starts its 28th annual series this weekend

June 11, 2019
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By Jacob Stockinger

It’s not just the calendar that makes the Bach Dancing and Dynamite Society the official start of the increasingly busy summer classical musical season in Madison.

The real reason is that the summer chamber music series, about to start its 28th annual summer this Friday night, June 14, is downright summery in its approach.

Say “summer,” and you think of lightness, of fun, of playfulness. And those are the very same qualities – along with serious, first-rate performances of great music by outstanding musicians – that BDDS brings to its six programs spread out in 12 concerts over three weekends and three venues during the month of June.

By now both the performers (below, in a photo by Dick Ainsworth for BDDS) and the audiences know that the formula works, however finely tuned or slightly changed it is from one summer to the next.

WHAT’S THE SAME

This year much remains.

There are still door prizes, spoken introductions and stories, mystery guests and a colorful art installation by UW-Madison designer Carolyn Kallenborn.

The titles of the six programs for 12 concerts over three weekends still have groan-inducing puns — “Name Dropping” in the theme for this summer — that are based on the musicians’ names like “Founteneau of Youth” after the San Francisco cellist Jean-Michel Fonteneau (below top) and “Quadruple Axel” after the Montreal-based violin virtuoso Axel Strauss (below bottom).

There are still the usual venues: the Playhouse in the Overture Center (below top); the Stoughton Opera House (below middle); and the Hillside Theater at Taliesin, the Frank Lloyd Wright compound in Spring Green.

There are still the many distinguished and accomplished musicians among the many imported guest artists and the many local musicians, including the co-founders and co-artistic directors flutist Stephanie Jutt and pianist Jeffrey Sykes (below). The Ear can’t recall ever hearing a bad BDDS performance, even of music he didn’t like.

And there is a mix of older well-known and classic repertoire along with newer and neglected composers and works.

WHAT’S NEW

But some things are different too.

The first concert this Friday will have a post-concert reception with free champagne and dessert to celebrate the 28th season.

This summer, unlike recent ones, there is no vocal music. All music is instrumental.

At both Stoughton and Spring Green, you can get food. Go to the home website for details.

Especially new and noteworthy is that the Russian virtuoso accordion player Stas Venglevski (below), from Milwaukee, will also perform on programs. Venglevski performs on the bayan, a Russian-style accordion noted for its deep bass sound and range and purity of tone.

Venglevski will be featured in works that range from polkas and heart-on-the-sleeve tangos by Argentinian composer Astor Piazzolla, Cuban composer Ernesto Lecuona and Russian composer Igor Stravinsky; down-and-dirty original works by Russian master Tatyana Sergeyeva and arrangements of favorite pieces by Johann Sebastian Bach and others.

This Wednesday night, June 12, from 7 to 9 p.m., Venglevski and Jutt will perform “Bayan-o-rama” at the Arts and Literature Lab, 2021 Winnebago Street. Tickets are $10 at the door. Refreshments will be served.

Here is a summary of the first weekend:

WEEK ONE

The elegance, charm, and finesse of French cellist Jean-Michel Fonteneau is displayed in a program called “Fonteneau of Youth.”

It includes music written by great composers in their youth, including the ravishing Elegy for cello and piano of French composer Gabriel Fauré; the rhythmically exciting Trio for flute, cello and piano of living American composer Ned Rorem; and the astonishing D’un soir triste (One Sad Evening) and D’un matin de printemps (One Spring Morning), both for piano trio, of 21-year old Lili Boulanger (below), who was the Prix de Rome-winning composer sister of famed teacher Nadia Boulanger and who died very young. (You can hear both pieces by Lili Boulanger in the YouTube video at the bottom.)

The great Franz Joseph Haydn—always the most youthful of composers, even into his late years—is represented by the masterful Piano Trio no. 28 in E major, in honor of BDDS’ 28th season.

“Fonteneau of Youth” will be performed at The Playhouse in the Overture Center for the Arts on this Friday, June 14, at 7:30 p.m. A free champagne and dessert reception will be held following the performance to celebrate the 28th season opener. It will also be performed in Spring Green at the Hillside Theater on Sunday, June 16, at 2:30 p.m.

Audience favorite Axel Strauss—not just a virtuoso violinist, but a virtuoso musician and artist of the highest distinction—will brave gravity-defying musical heights in “Quadruple Axel.” Carl Philipp Emanuel Bach’s Trio Sonata in D minor for violin, flute, cello and piano starts the program on an elegant note. Johannes Brahms’ fiery Piano Trio No. 3 in C minor, Op. 101, raises the temperature significantly. And all sorts of hijinks are on display in Maurice Ravel’s extraordinary and ravishing Sonata for Violin and Piano.

“Quadruple Axel” will be performed at The Playhouse in the Overture Center for the Arts on Saturday, June 15, at 7:30 p.m. and in Spring Green at the Hillside Theater, Sunday, June 16, at 6:30 p.m.

For more information about the full BDDS season and how to purchase tickets ($43 and $49), go to: https://bachdancing.org


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Classical music: Here are the Grammy Award nominations for 2019 in classical music. They can serve as a great holiday gift guide and many have local ties

December 8, 2018
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By Jacob Stockinger

Is there a classical recording you wish to give or get?

Perhaps the list of classical Grammy nominations for 2019, which was just released yesterday, can help you.

It is worth mentioning that many of the musicians nominated have past, present or future ties to Madison.

Flutist Stephanie Jutt, singer Timothy Jones and pianist Jeffrey Sykes perform regularly with the Bach Dancing and Dynamite Society and Jutt and Sykes also have ties to the University of Wisconsin-Madison; producer Judith Sherman recorded the centennial commissions for the Pro Arte Quartet at the UW-Madison; and Canadian violinist James Ehnes has performed several times with the Madison Symphony Orchestra and will do so again this season, while pianist Marc-André Hamelin will make his MSO debut this season.

And there are other local tie-ins including pianist Jonathan Biss and the Pulitzer Prize-winning composer John Harbison, who also co-directs the  Token Creek Chamber Music Festival. Plus, the group Apollo’s Fire makes its local debut playing Bach and Vivaldi in March at the Wisconsin Union Theater.

Here are — without record labels, curiously  — the nominees for the 61st annual Grammy Awards. The winners will be announced during a live TV broadcast on CBS on Sunday, Feb. 10, 2019, from the Staples Center in Los Angeles. For more information, go to: https://www.grammy.com


  1. Best Engineered Album, Classical
    An Engineer’s Award. (Artist names appear in parentheses.)

BATES: THE (R)EVOLUTION OF STEVE JOBS
Mark Donahue & Dirk Sobotka, engineers; Mark Donahue, mastering engineer (Michael Christie, Garrett Sorenson, Wei Wu, Sasha Cooke, Edwards Parks, Jessica E. Jones & Santa Fe Opera Orchestra)

BEETHOVEN: SYMPHONY NO. 3; STRAUSS: HORN CONCERTO NO. 1
Mark Donahue, engineer; Mark Donahue, mastering engineer (Manfred Honeck & Pittsburgh Symphony Orchestra)

JOHN WILLIAMS AT THE MOVIES
Keith O. Johnson & Sean Royce Martin, engineers; Keith O. Johnson, mastering engineer (Jerry Junkin & Dallas Winds)

LIQUID MELANCHOLY – CLARINET MUSIC OF JAMES M. STEPHENSON
Bill Maylone & Mary Mazurek, engineers; Bill Maylone, mastering engineer (John Bruce Yeh)

SHOSTAKOVICH: SYMPHONIES NOS. 4 & 11 (below)
Shawn Murphy & Nick Squire, engineers; Tim Martyn, mastering engineer (Andris Nelsons & Boston Symphony Orchestra)

VISIONS AND VARIATIONS
Tom Caulfield, engineer; Jesse Lewis, mastering engineer (A Far Cry)

 

  1. Producer Of The Year, Classical A Producer’s Award. (Artist names appear in parentheses.)

BLANTON ALSPAUGH

  • Arnesen: Infinity – Choral Works (Joel Rinsema & Kantorei
  • Aspects Of America (Carlos Kalmar & Oregon Symphony)
  • Chesnokov: Teach Me Thy Statutes (Vladimir Gorbik & PaTRAM Institute Male Choir)
  •  Gordon, R.: The House Without A Christmas Tree (Bradley Moore, Elisabeth Leone, Maximillian Macias, Megan Mikailovna Samarin, Patricia Schuman, Lauren Snouffer, Heidi Stober, Daniel Belcher, Houston Grand Opera Juvenile Chorus & Houston Grand Opera Orchestra)
  • Haydn: The Creation (Andrés Orozco-Estrada, Betsy Cook Weber, Houston Symphony & Houston Symphony Chorus)
  • Heggie: Great Scott (Patrick Summers, Manuel Palazzo, Mark Hancock, Michael Mayes, Rodell Rosel, Kevin Burdette, Anthony Roth Costanzo, Nathan Gunn, Frederica von Stade, Ailyn Pérez, Joyce DiDonato, Dallas Opera Chorus & Orchestra)
  • Music Of Fauré, Buide & Zemlinsky (Trio Séléné)
  • Paterson: Three Way – A Trio Of One-Act Operas (Dean Williamson, Daniele Pastin, Courtney Ruckman, Eliza Bonet, Melisa Bonetti, Jordan Rutter, Samuel Levine, Wes Mason, Matthew Treviño & Nashville Opera Orchestra)
  • Vaughan Williams: Piano Concerto; Oboe Concerto; Serenade To Music; Flos Campi (Peter Oundjian & Toronto Symphony Orchestra)

DAVID FROST

  • Beethoven: Piano Sonatas, Volume 7 (Jonathan Biss)
  • Mirror In Mirror (Anne Akiko Meyers, Kristjan Järvi & Philharmonia Orchestra)
  • Mozart: Idomeneo (James Levine, Alan Opie, Matthew Polenzani, Alice Coote, Nadine Sierra, Elza van den Heever, The Metropolitan Opera Orchestra & Chorus)
  • Presentiment (Orion Weiss)
  • Strauss, R.: Der Rosenkavalier (Sebastian Weigle, Renée Fleming, Elīna Garanča, Erin Morley, Günther Groissböck, Metropolitan Opera Orchestra & Chorus)

 ELIZABETH OSTROW

  • Bates: The (R)evolution Of Steve Jobs (Michael Christie, Garrett Sorenson, Wei Wu, Sasha Cooke, Edwards Parks, Jessica E. Jones & Santa Fe Opera Orchestra)
  • The Road Home (Joshua Habermann & Santa Fe Desert Chorale)

JUDITH SHERMAN (below top)

  • Beethoven Unbound (Llŷr Williams)
  • Black Manhattan Volume 3 (Rick Benjamin & Paragon Ragtime Orchestra)
  • Bolcom: Piano Music (Various Artists)
  • Del Tredici: March To Tonality (Mark Peskanov & Various Artists)
  • Love Comes In At The Eye (Timothy Jones, below bottom, Stephanie Sant’Ambrogio, Jeffrey Sykes, Anthony Ross, Carol Cook, Beth Rapier & Stephanie Jutt). An excerpt is in the YouTube video at the bottom.
  •  Meltzer: Variations On A Summer Day & Piano Quartet (Abigail Fischer, Jayce Ogren & Sequitur)
  • Mendelssohn: Complete Works For Cello And Piano (Marcy Rosen & Lydia Artymiw)
  • New Music For Violin And Piano (Julie Rosenfeld & Peter Miyamoto)
  • Reich: Pulse/Quartet (Colin Currie Group & International Contemporary Ensemble)

DIRK SOBOTKA

  • Beethoven: Symphony No. 3; Strauss: Horn Concerto No. 1 (Manfred Honeck & Pittsburgh Symphony Orchestra)
  • Lippencott: Frontier Symphony (Jeff Lippencott & Ligonier Festival Orchestra)
  • Mahler: Symphony No. 8 (Thierry Fischer, Mormon Tabernacle Choir & Utah Symphony)
  • Music Of The Americas (Andrés Orozco-Estrada & Houston Symphony)


Best Orchestral Performance

 Award to the Conductor and to the Orchestra

  • BEETHOVEN: SYMPHONY NO. 3; STRAUSS: HORN CONCERTO NO. 1. Manfred Honeck, conductor (Pittsburgh Symphony Orchestra)
  • NIELSEN: SYMPHONY NO. 3 & SYMPHONY NO. 4. Thomas Dausgaard, conductor (Seattle Symphony)

      •  RUGGLES, STUCKY & HARBISON: ORCHESTRAL WORKS. David Alan Miller, conductor (National Orchestral Institute Philharmonic)

  • SCHUMANN: SYMPHONIES NOS. 1-4. Michael Tilson Thomas (below), conductor (San Francisco Symphony)

      • SHOSTAKOVICH: SYMPHONIES NOS. 4 & 11. Andris Nelsons, conductor (Boston Symphony Orchestra)

Best Opera Recording – Award to the Conductor, Album Producer(s) and Principal Soloists.

  • ADAMS: DOCTOR ATOMIC. John Adams, conductor; Aubrey Allicock, Julia Bullock, Gerald Finley & Brindley Sherratt; Friedemann Engelbrecht, producer (BBC Symphony Orchestra; BBC Singers)

      •   BATES: THE (R)EVOLUTION OF STEVE JOBS. Michael Christie, conductor; Sasha Cooke, Jessica E. Jones, Edwards Parks, Garrett Sorenson & Wei Wu; Elizabeth Ostrow, producer (The Santa Fe Opera Orchestra) 

  • LULLY: ALCESTE. Christophe Rousset, conductor; Edwin Crossley-Mercer, Emiliano Gonzalez Toro & Judith Van Wanroij; Maximilien Ciup, producer (Les Talens Lyriques; Choeur De Chambre De Namur) 
  • STRAUSS, R.: DER ROSENKAVALIER. Sebastian Weigle, conductor; Renée Fleming, Elīna Garanča, Günther Groissböck & Erin Morley; David Frost, producer (Metropolitan Opera Orchestra; Metropolitan Opera Chorus) 
  • VERDI: RIGOLETTO. Constantine Orbelian, conductor; Francesco Demuro, the late Dmitri Hvorostovsky (below) & Nadine Sierra; Vilius Keras & Aleksandra Keriene, producers (Kaunas City Symphony Orchestra; Men Of The Kaunas State Choir)

 

  1. Best Choral Performance

Award to the Conductor, and to the Choral Director and/or Chorus Master where applicable and to the Choral Organization/Ensemble. 

  • CHESNOKOV: TEACH ME THY STATUTES. Vladimir Gorbik, conductor (Mikhail Davydov & Vladimir Krasov; PaTRAM Institute Male Choir) 
  • KASTALSKY: MEMORY ETERNAL. Steven Fox, conductor (The Clarion Choir) 
  • MCLOSKEY: ZEALOT CANTICLES. Donald Nally, conductor (Doris Hall-Gulati, Rebecca Harris, Arlen Hlusko, Lorenzo Raval & Mandy Wolman; The Crossing)

      •  RACHMANINOV: THE BELLS. Mariss Jansons (below), conductor; Peter      Dijkstra, chorus master (Oleg Dolgov, Alexey Markov & Tatiana Pavlovskaya; Symphonieorchester Des Bayerischen Rundfunks; Chor Des Bayerischen Rundfunks) 

  • SEVEN WORDS FROM THE CROSS. Matthew Guard, conductor (Skylark)
  • Best Chamber Music/Small Ensemble Performance 

For new recordings of works with chamber or small ensemble (twenty-four or fewer members, not including the conductor). One Award to the ensemble and one Award to the conductor, if applicable.

  • ANDERSON, LAURIE: LANDFALL. Laurie Anderson & Kronos Quartet
  • BEETHOVEN, SHOSTAKOVICH & BACH. The Danish String Quartet
  • BLUEPRINTING. Azure Quartet 
  • STRAVINSKY: THE RITE OF SPRING CONCERTO FOR TWO PIANOS Leif Ove Andsnes & Marc-André Hamelin (below)
  • VISIONS AND VARIATIONS. A Far Cry

 

  1. Best Classical Instrumental Solo

Award to the Instrumental Soloist(s) and to the Conductor when applicable. 

  • BARTÓK: PIANO CONCERTO NO. 2. Yuja Wang (below); Simon Rattle, conductor (Berliner Philharmoniker)
  • BIBER: THE MYSTERY SONATAS. Christina Day Martinson; Martin Pearlman, conductor (Boston Baroque). 
  • BRUCH: SCOTTISH FANTASY, OP. 46; VIOLIN CONCERTO NO. 1 IN G MINOR, OP. 26. Joshua Bell (The Academy Of St. Martin In The Fields) 
  • GLASS: THREE PIECES IN THE SHAPE OF A SQUARE. Craig Morris 
  • KERNIS: VIOLIN CONCERTO. James Ehnes; Ludovic Morlot, conductor (Seattle Symphony)

  1. Best Classical Solo Vocal Album 

Award to: Vocalist(s), Collaborative Artist(s) (Ex: pianists, conductors, chamber groups) Producer(s), Recording Engineers/Mixers with 51% or more playing time of new material.

  • ARC. Anthony Roth Costanzo; Jonathan Cohen, conductor (Les Violons Du Roy) 
  • THE HANDEL ALBUM. Philippe Jaroussky; Artaserse, ensemble
  • MIRAGES. Sabine Devieilhe; François-Xavier Roth, conductor (Alexandre Tharaud; Marianne Crebassa & Jodie Devos; Les Siècles)

      • SCHUBERT: WINTERREISE. Randall Scarlata; Gilbert Kalish,     accompanist

 SONGS OF ORPHEUS – MONTEVERDI, CACCINI, D’INDIA & LANDI.          Karim Sulayman; Jeannette Sorrell, conductor; Apollo’s Fire, ensembles 

  1. Best Classical Compendium 

Award to the Artist(s) and to the Album Producer(s) and Engineer(s) of over 51% playing time of the album, if other than the artist. 

  • FUCHS: PIANO CONCERTO ‘SPIRITUALIST’; POEMS OF LIFE; GLACIER; RUSH. JoAnn Falletta, conductor; Tim Handley, producer 
  • GOLD. The King’s Singers; Nigel Short, producer 
  • THE JOHN ADAMS (below) EDITION. Simon Rattle, conductor; Christoph Franke, producer
  • JOHN WILLIAMS AT THE MOVIES. Jerry Junkin, conductor; Donald J. McKinney, producer 
  • VAUGHAN WILLIAMS: PIANO CONCERTO; OBOE CONCERTO; SERENADE TO MUSIC; FLOS CAMPI. Peter Oundjian, conductor; Blanton Alspaugh, producer

 

  1. Best Contemporary Classical Composition 

A Composer’s Award. (For a contemporary classical composition composed within the last 25 years, and released for the first time during the Eligibility Year.) Award to the librettist, if applicable.

  • BATES: THE (R)EVOLUTION OF STEVE JOBS. Mason Bates, composer; Mark Campbell, librettist (Michael Christie, Garrett Sorenson, Wei Wu, Sasha Cooke, Edwards Parks, Jessica E. Jones & Santa Fe Opera Orchestra) 
  • DU YUN: AIR GLOW. Du Yun, composer (International Contemporary Ensemble) 
  • HEGGIE: GREAT SCOTT. Jake Heggie, composer; Terrence McNally, librettist (Patrick Summers, Manuel Palazzo, Mark Hancock, Michael Mayes, Rodell Rosel, Kevin Burdette, Anthony Roth Costanzo, Nathan Gunn, Frederica von Stade, Ailyn Pérez, Joyce DiDonato, Dallas Opera Chorus & Orchestra) 
  • KERNIS: VIOLIN CONCERTO. Aaron Jay Kernis, composer (James Ehnes (below), Ludovic Morlot & Seattle Symphony) 
  • MAZZOLI: VESPERS FOR VIOLIN. Missy Mazzoli, composer (Olivia De Prato)


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Classical music: Superb music-making offset awkward acting and dancing in a concert that the Bach Dancing and Dynamite Society gave last weekend. This summer’s last BDDS concerts are tonight, Saturday and Sunday 

June 22, 2018
13 Comments

By Jacob Stockinger

Here is a special posting, published belatedly but in time for this weekend’s upcoming closing concerts – two performances each of two programs — of the current summer season by the Bach Dancing and Dynamite Society.

It is 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 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.

Performance photos were taken by Dick Ainsworth for BDDS.

By John W. Barker

One of the two programs of the Bach Dancing and Dynamite Society’s second weekend this season was held in the Overture Center’s Playhouse last Saturday night.

The associations of its three works with war were somewhat strained, most of all for Robert Schumann’s Three Romances, Op. 94. They were composed in 1849 for the options of oboe and violin or clarinet with piano.

On this occasion they were presented in a transcription for bassoon, made by the performer, Adrian Morejon (below). He played these brief and lovely pieces beautifully, but I confess I would have liked them more if one of the stipulated, higher-range instruments had been used.

The first major work was from the contemporary American composer Kevin Puts (below), called Einstein on Mercer Street. It is a kind of cantata, a half-hour in length, cast in five sections, each beginning with spoken words but moving to singing.

The text, whose origins were not made clear, purports to represent the thinking of Albert Einstein in his last years in Princeton, N.J., as he contemplates his place in science and in the creation of the atomic bomb.

The vocal part was written for baritone Timothy Jones (below center), who performed it this time, delivering it with confident eloquence. To tell the truth, though, a lot of his words, spoken and sung, did not come through clearly, at least for where I sat.

Though the vocal writing goes through one ear and out the other, there is a lot of very pleasant melodic music in the score, and it occurred to me that, with a little tightening, the work could nicely be left just to the instrumental ensemble (violin, cello, flute, clarinet, trumpet, percussion and piano), the vocal part dispensed with — heresy, of course.

The second half of the program was devoted to the classic work of 1918, L’Histoire du Soldat (The Soldier’s Tale), originally with a French text by the Swiss writer Charles Ferdinand Ramuz, and with brilliant music, in the style of blues, jazz and ragtime by Igor Stravinsky.

The spoken text, in a rhymed English translation, calls for three actors: a narrator, a Soldier and the Devil. Jones was quite good as the narrator, but well enough could not be left alone.

With utter arbitrariness, the character of the Soldier was turned into the soldierette “Josie,” so that the Prince he woos and wins becomes a “Princess.”

This absurdity was absolutely pointless, save, perhaps, to allow the two co-directors of the festival, Stephanie Jutt and Jeffrey Sykes (below) to play soldierette and the Devil against each other. In hilarious costumes, the two did well enough, Sykes especially, but the gender change grated all the way through the piece.

And there was another problem. The work was not only written for actors and musicians, but also with dancers in mind. No choreography survives, and the use of dancers in performances of the work is patchy.

Here we had hip-hop dancer Blake Washington introduced during the Three Dances movement as the recovering “Prince,” with a lot of spastic shivering and shaking that suggested more of painful decomposition than recovery.

The stars of the piece, however, were the seven outstanding instrumentalists: violinist Axel Strauss; David Scholl, double bass; Alan Kay, clarinet; Morejon, bassoon; Matt Onstad, trumpet; Dylan Chmura-Moore, trombone; and Anthony di Sanza, percussion. With truly superb playing, they upheld the high standards of the musicians that the BDDS brings us.

For more information about BDDS’ closing concerts this weekend – featuring guest soprano and critically acclaimed UW-Madison alumna Emily Birsan and music by Mozart, Schumann, Saint-Saens, Fauré, Ravel, Prokofiev, Barber and other composers in Madison, Stoughton and Spring Green tonight, Saturday and Sunday, go to: http://bachdancing.org/concerts/festival-concerts/


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Classical music: The Bach Dancing and Dynamite Society offers an clever program that mixes outstanding performances of “primitivistic” modern music with rarely heard cabaret songs

June 19, 2017
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By Jacob Stockinger

This review is by guest contributor Kyle Johnson (below), who also took the performance photographs. As a pianist since elementary school, Kyle Johnson has devoted most of his life to music. Born and raised in Lexington, Kentucky, he is now a doctoral candidate in piano performance at the UW-Madison, where he studies with Christopher Taylor and specializes in modern and contemporary music. He participates in many festivals and events around the U.S. and Europe. Recently, he co-founded the Madison-based ensemble Sound Out Loud, an interactive contemporary music ensemble. For more information, visit: www.kyledjohnson.weebly.com

By Kyle Johnson

If the rule of real estate is “location, location, location,” perhaps the rule for concert planning is “programming, programming, programming.”

Until the finale of Friday night’s Bach Dancing and Dynamite Society performance, the directors lived up to that mantra.

The first half of the program was primarily devoted to greats of the modernist chamber music repertoire: Chansons madécasses (Madagascan Songs) by Maurice Ravel (1875-1937) and the Contrasts by Bela Bartok (1881-1945).

For the former, Emily Birsan, a Chicago-based soprano who was educated at the UW-Madison, provided a dynamic, sensuous rendition even in the score’s most economical, lithe moments.

At the end of the work, Ravel’s inclusion of piccolo (played by Stephanie Jutt) and cello harmonics (played by Jean-Michel Fonteneau at a much higher than the fingered pitch) created an evocatively primitive effect, as the songs detail life in newly colonized Madagascar

The final line of the piece, “The evening breeze rises; the moon begins to shine through the trees of the mountain. Go, and prepare the meal,” received nervous chuckles from several audience members.

(You can hear the Ravel songs performed by Christa Ludwig in the YouTube video at the bottom.)

The effect was also a transition to the Contrasts (1938), a trio for clarinet, violin and piano that was commissioned by jazz great Benny Goodman. As the title aptly describes, the three-movement work cycles between jovial, intense and playful moods.

Most striking in this rendition — played by Axel Strauss on violin, Alan Kay on clarinet and Christopher Taylor on piano (below) — was the second movement, entitled “Relaxation.” Moments of hushed and moody tones created an atmosphere that historians have referred to as Bartok’s “night music.” 

The audience responded with excitement, applauding through two curtain calls, to the climactic and frenzied close of the piece.

The theme this year is “Alphabet Soup” for the 26 letters marking the BDDS’ 26th anniversary. So after intermission, BDDS directors Jutt and pianist Jeffrey Sikes introduced the audience to Madison’s four-time Spelling Bee Champion, Martius Bautista).

The soon-to-be eighth-grader at Edgewood Campus School tested his spelling of a variety of musical terms like crescendo (growing louder) and sforzando (marked emphasis) while Jeffrey Sykes played the theme from Jeopardy on the keyboard. Bautista (below) was successful and, when given a paper crown, turned to place it on the head of Samantha Crownover, who is celebrating her 20th year as executive director of the BDDS.

Sykes and Birsan served the audience a collection of cabaret songs by English composer Benjamin Britten, American composer William Bolcom and Austrian-American composer Arnold Schoenberg. The only thing missing from this portion of the program was chinking wine glasses and swirling smoke.

The programming of cabaret songs with the musical “primitivism” of Ravel and Bartok was a clever idea, and one that had similar roots at a recent concert at the UW-Madison, in which the Chansons madécasses were paired with Schoenberg’s Pierrot lunaire (while some consider Pierrot a feat of highbrow expressionism, a strong case can be made for its cabaret nature – however grotesque and dark it may be).

Anyone weary of Arnold Schoenberg’s oftentimes deterring development of 12-tone and atonal music need only look as far as his own cabaret songs, which are as melodious and lush as music heard in the great black-and-white musicals of early film.

The programming of the final work, Johannes Brahms’s Piano Trio No. 2 in C Major, Op. 87 (1880-1882) – played by the San Francisco Trio (below) — was problematic in a number of ways.

The monolithic nature of the work – a staple of high Romanticism you can hear in the YouTube video at the bottom – seemed off-putting, after the intimacy of works such as the Ravel songs, the Bartok Contrasts, and especially the cabaret numbers.

In a perfect world, Friday evening’s concert would have foregone an intermission and ended with the cabaret hodgepodge. The quirky and understated close would have certainly left the audience charmed and ever-enticed to attend the remainder of BDDS’s programs – the final weekend, of which, runs June 23-25.

For more information about the concluding BDDS weekend and its dates, times, venues, programs and performers, go to:

http://bachdancing.org


Classical music: The second week of programs by the Bach Dancing and Dynamite Society offers vocal and instrumental music that spans four centuries and includes a world premiere

June 15, 2017
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By Jacob Stockinger

Last weekend, the Bach Dancing and Dynamite Society opened its 26th season with two programs in three venues that all proved highly successful.

Building on that success, the chamber music festival with top local and guest performers, now turns to vocal and instrumental music that ranges from the late 18th century up to today, including a world premiere.

As usual, the BDDS venues are suitably intimate for chamber music: The Playhouse (below top) at the Overture Center at 201 State St.; the jewel box historic Stoughton Opera House (below middle) at 381 East Main St.; and Frank Lloyd Wright’s Hillside Theater (below bottom) at Taliesin on County Highway 23 in Spring Green.

Concerts are spiked with stories about the music, mystery guests and even door prizes.

This season’s theme is Alphabet Soup, because it’s BDDS’ 26th year and there are 26 letters in the alphabet. Each program is named after a combination of letters used in everyday language. Sometimes the musical interpretation of those letters is literal and sometimes it’s quite loose.

The second weekend of concerts features the San Francisco Piano Trio (below) Axel Strauss, violin; Jean-Michel Fonteneau, cello; and Jeffrey Sykes, piano).

They are joined by UW-Madison’s pianist Christopher Taylor, soprano Emily Birsan (another Madison favorite and a graduate of the UW-Madison and Lyric Opera of Chicago) and internationally acclaimed clarinetist Alan Kay.

TWO PROGRAMS

Two Bs or not Two Bs includes evocative songs by Maurice Ravel for soprano, flute, cello and piano and an entertaining bouquet of earthy cabaret songs by composers Benjamin Britten, William Bolcom and Arnold Schoenberg, sung by Emily Birsan.

The program also features Bela Bartok’s “Contrasts” for clarinet, violin and piano, a work commissioned by the legendary jazz clarinetist Benny Goodman (below), and Johannes Brahms’ epic Piano Trio in C Major, Op. 87. (You can hear a historic recording of Benny Goodman performing the Bartok work, with the composer playing the piano, in the YouTube video at the bottom.)

Two Bs or not Two Bs will be performed at The Playhouse, Overture Center for the Arts, on Friday, June 16, 7:30 p.m., and at the Hillside Theater, Taliesin, Spring Green, on Sunday, June 18, 2:30 p.m.


Special K is a showcase for Alan Kay, principal clarinetist of the renowned Orpheus Chamber Ensemble.

It includes “The Shepherd on the Rock” for soprano, clarinet and piano by Franz Schubert; the hip tour-de-force “Techno Parade” by Guillaume Conneson (below) for flute, clarinet and piano; and the Midwest premiere of “Living Frescoes” for clarinet, violin, cello and piano by American composer Kevin Puts.

Many will remember that Kevin Puts (below) was the Pulitzer Prize-winning composer BDDS commissioned for the song cycle “In At The Eye” in its 25th season last summer.

The program is rounded out with Mozart’s Piano Trio in E Major and three songs by Erich Wolfgang Korngold (below) sung by Emily Birsan, accompanied by Jeffrey Sykes.

Special K will be performed at The Playhouse, Overture Center for the Arts, on Saturday, June 17, 7:30 p.m., and at the Hillside Theater, Taliesin, in Spring Green, on Sunday, June 18, 6:30 p.m.

Photos by Dick Ainsworth of BDDS performances and behind-the-scenes will be on exhibit in The Playhouse through Sunday, July 9.

Single general admission tickets are $43. Student tickets are always $10.

For tickets visit: http://www.overture.org/events/bach-dancing

For more information about the programs, performers, performances and background, visit www.bachdancinganddynamite.org or call (608) 255-9866.

Tickets can also be purchased at Overture Center for the Arts, (608) 258-4141, www.overturecenter.org (additional fees apply).

Tickets are also available at the door at all locations.


Classical music: This Thursday morning, WORT will broadcast a live performance of Gideon Klein’s String Trio, composed in a concentration camp, by three up-and-coming musicians from the Dynamite Factory of the Bach Dancing and Dynamite Society

June 14, 2017
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By Jacob Stockinger

The Ear has received the following note from blog fan and local live music documentarian Rich Samuels, who hosts his radio show “Anything Goes” on Thursday morning on WORTFM 88.9. It concerns an unusual performance of Holocaust music by a kind of apprenticeship program that The Ear really likes as a way for to provide continuity between different generations of musicians:

“At 7:26 a.m. on this Thursday morning, June 15, on my WORT broadcast I’ll be playing a performance of Gideon Klein‘s 1944 String Trio by violinist Misha Vayman, violist Jeremy Kienbaum and cellist Trace Johnson (below, from left, in a photo by Samantha Crownover).

“They are the three members of the “Dynamite Factory,” the three emerging musicians who have joined the Bach Dancing and Dynamite Society for its 2017 season.

“I recorded this performance — thanks to co-artistic director Stephanie Jutt and executive director Samantha Crownover — last Thursday at an event at the Central Library of the Madison Public Library system.

Trace and Jeremy are Madison natives and alumni of the Wisconsin Youth Symphony Orchestras (WYSO); Misha comes to Madison from the Russian Republic by way of southern California.

“I think it’s a compelling performance of a remarkable piece. It was the last work Klein (below) composed before he was transported from the Theresienstadt concentration camp to Auschwitz where, in a coal mining sub-camp, he died in early 1945.”


Classical music: Bach, Beethoven and Brahms join beer and brats at the Wisconsin Union Theater’s new FREE Summer Serenades starting this Sunday afternoon at the Union Terrace

June 13, 2017
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By Jacob Stockinger

Spread the word but get your seat early!

This coming Sunday afternoon, beer and brats are about to mix with Bach, Beethoven and Brahms at Madison’s premier summer watering hole when the new FREE Summer Serenades begin at the landmark Union Terrace (below).

The Ear likes that combination a lot along with classical concerts that last only about an hour. No details on the programs yet, but hey — for an hour you can be a sport and chance it.

“Casual high-brow” increasingly seems the way to go, especially in Madison. And fittingly, a lot of the performers chosen by the Wisconsin Union Theater have ties to the UW-Madison as professors, graduates and students.

All hour-long concerts are FREE and take place on Sundays at 5 p.m., except on July 2, which will begin at 5:30 p.m.

The Willy Street Chamber Players (below)
Sunday, June 18, 2017

Named 2016 Musicians of the Year by The Well-Tempered Ear Blog, their programming is adventurous, combining beloved classics and new music from contemporary composers.

Stephanie Jutt, flute (below top) and Thomas Kasdorf, piano (below bottom)

Sunday, July 2, 2017 at 5:30

Two of Madison’s most esteemed musicians will delight with melodies from their upcoming CD and will celebrate the Fourth of July weekend with patriotic tunes.

 Isthmus Brass

Sunday, July 16, 2017

Comprised of the finest professional brass players in the Midwest, Isthmus Brass (below) is Wisconsin’s premiere large brass ensemble. It has performed on concert series and music festivals throughout the Midwest.

An Evening of Arias and Art Songs

Sunday, July 30, 2017

Hear a fun night of comic and classic melodies from your favorite operas. It features extraordinary lead singers from the School of Music and UW Opera Theater. Among them: Katie Anderson, soprano (below top); Courtney Kayser, mezzo-soprano (below middle); José Muñiz, tenor (below bottom); and accompanist Thomas Kasdof, piano.

Sound Out Loud and Lucia String Quartet

Sunday, August 13, 2017

Sound Out Loud (below) specializes in contemporary music from the early 20th century to the present. They expand the realm of possibilities within contemporary chamber music repertoire through the implementation of experimental techniques, the incorporation of a variety of instruments and musical styles from the Middle East and Asia, innovative performance practice, and the use of live electronics.

The Lucia String Quartet (below) has been performing at events throughout the Midwest for over 15 years. The string quartet’s repertoire puts a fresh spin on many favorite rock/pop songs as well as eloquently performing classical pieces.

Summer Serenades are presented by the Wisconsin Union Directorate’s Performing Arts Committee with support from the Bill and Char Johnson Classical summer Concert Series Fund.

This is the inaugural season But Ralph Russo, director of the Wisconsin Union Theater, adds: “The 2017 Summer Serenades is a pilot program. The coordinator has put together an excellent program in a very short time and I’m confident we’ll see a good audience response.

“Assuming all goes well I’m hopeful it will continue for many summers to come. But we won’t know for certain until we do a thorough evaluation at the end of summer and determine if the donor is interested and willing to continue funding the program.”


Classical music: String quartets, African-American spirituals and a farewell faculty flute recital plus many graduate student recitals are FREE highlights this week at the UW-Madison

April 10, 2017
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By Jacob Stockinger

Only about a month of classes remains in the academic year, so concerts by faculty members, guest artists and students are backing up at the University of Wisconsin-Madison School of Music.

But quantity does NOT preclude quality — or variety.

Just take a look at the highlights this week:

TUESDAY

At 8:30 p.m. in Morphy Recital Hall, the Hunt Quartet will perform its spring concert.

Members of the graduate student ensemble are (below, from left, in a photo by Katrin Talbot): Kyle Price, cello; Vinicius “Vinny” Sant’Ana, violin; Blakeley Menghini, viola; and Chang-En Lu, violin.

The program is: String Quartet in G Major, Op. 77, No. 1 by Franz Joseph Haydn; String Quartet in F minor “Serioso,” Op. 95, by Ludwig van Beethoven; and the String Quartet No. 2, Op. 90, by Sergei Prokofiev. (You can hear the riveting Prokofiev quartet in the YouTube video at the bottom.)

The Hunt Quartet is sponsored by Dr. Kato Perlman and the Madison Symphony Orchestra.

For more information about the quartet and its individual members, as well as a SoundCloud audio sample of the Hunt Quartet playing a 1924 piece by Joaquin Turina, go to:

http://www.music.wisc.edu/event/the-hunt-quartet-spring-concert/

WEDNESDAY

At 7:30 p.m. in Morphy Recital Hall, guest artist Emery Stephens (below), faculty collaborative pianist Martha Fischer and UW students will perform African-American spirituals, songs and instrumental works.

For more about the visit by scholar-performer Stephens, see this blog posting done just before he cancelled the last date, which fell on a Tuesday rather than a Wednesday:

https://welltempered.wordpress.com/2017/03/13/classical-music-singer-scholar-returns-to-coach-students-about-and-perform-a-free-recital-of-african-american-songs-and-spirituals-on-tuesday-night-at-uw/

THURSDAY

At 7:30 p.m. in Mills Hall, retiring professor of flute Stephanie Jutt (below) will perform her farewell faculty recital.

Jutt will be joined by faculty colleagues violist Sally Chisholm, clarinetist Amy McCann and pianist Christopher Taylor.

Sorry, no word about the program.

Jutt (below), who has been teaching and performing at the UW-Madison for 28 years, is also the principal flutist of the Madison Symphony Orchestra and the co-founder and co-artistic director of the Bach Dancing and Dynamite Society. Jutt says she will continue with MSO and BDDS after she retires.

This week also features a plethora of degree recitals by students, most held in Morphy Recital Hall (below). The Ear counts 11 in fields from voice to percussion. For more information, check out these links:

http://www.music.wisc.edu/events/

And for the full lineup for April, visit:

https://uwmadisonschoolofmusic.wordpress.com


Classical music: Bach Dancing and Dynamite Society announces its upcoming summer season of “Alphabet Soup” this June

March 18, 2017
1 Comment

By Jacob Stockinger

The time for announcing new seasons has arrived.

Pretty soon, over the next several weeks and months, The Ear will hear from larger and smaller presenters and ensembles in the Madison area, and post their new seasons.

First out of the gate is the critically acclaimed and popular summer group, the Madison-based Bach Dancing and Dynamite Society. (You can see a short promo video about BDDS on the YouTube video at the bottom.)

It has just announced its upcoming summer season this June, and sent out brochures with the season’s details.

This will be the 26th annual summer season and it has the theme of “Alphabet Soup.”

The concept is explained online and in a brochure newsletter (also online) in an editorial essay by BDDS co-founder and co-artistic director flutist Stephanie Jutt (seen below with co-founder and co-director pianist Jeffrey Sykes).

By the way, Jutt is retiring from the UW-Madison this spring but will continue to play principal flute with the Madison Symphony Orchestra and to work and perform with BDDS.

In many ways it will be a typical season of the eclectic group. It will feature local and imported artists. Many of both are favorites of The Ear.

His local favorites include UW-Madison pianist Christopher Taylor; violist Sally Chisholm of the UW-Madison’s Pro Arte Quartet; UW violinist Soh-Hyun Park Altino (below top, in a photo by Caroline Bittencourt); and Pro Arte cellist Parry Karp (below bottom).

Among The Ear’s favorite guest artists are violinist Carmit Zori, clarinetist Alan Kay, the San Francisco Piano Trio (below top); UW alumna soprano Emily Birsan; pianist Randall Hodgkinson; and baritone Timothy Jones (below bottom).

As usual, the season features 12 concerts of six programs over three weeks (June 9-25) in three venues – the Playhouse in the Overture Center (below top), the Hillside Theater (below middle) at Frank Lloyd Wright’s Taliesin compound in Spring Green and the Stoughton Opera House (below bottom).

In addition, there is a FREE family concert in the Overture Playhouse on June 10.

What does seem somewhat new is the number of unknown composers and an edgier, more adventurous choice of pieces, including more new music and more neglected composers.

Oh, there will be classics by such composers as Joseph Haydn, Wolfgang Amadeus Mozart, Luigi Boccherini, Franz Schubert, Johannes Brahms, Peter Tchaikovsky, Sergei Prokofiev, Maurice Ravel, Bela Bartok, Arnold Schoenberg, Benjamin Britten and others. These are the ABC’s of the alphabet soup, according to BDDS.

But also represented are composers such as Philippe Gaubert, Czech Holocaust victim Gideon Klein (below), Guillaume Conneson, Carl Czerny, Paul Moravec and Franz Doppler. These are the XYZ’s of the alphabet soup.

In between come others. Contemporary American composer, and Pulitzer Prize winner, Kevin Puts (below) is a BDDS favorite and is well represented. You will also find less performed works by Ned Rorem, Erich Wolfgang Korngold and Gerald Finzi.

For the complete programs and schedules as well as the list of performers, some YouTube videos and ticket prices, both for season tickets ($109.50, $146, $182 and $219) and for individual concerts ($43), and other information, go to:

http://bachdancinganddynamite.org/concerts/festival-concerts/


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