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: UW-Madison pianist Jessica Johnson celebrates International Women’s Day this Friday night with a FREE recital of all-female composers and a special keyboard for smaller hands

March 6, 2019
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ALERT: This week’s FREE Friday Noon Musicale at the First Unitarian Society of Madison, 900 University Bay Drive, features Ukrainian pianist Yana Avedyan in solo works by Ludwig van Beethoven, Sergei Prokofiev and Franz Liszt. The program will include music from her upcoming appearance at Carnegie Hall. The musicale runs from 12:15 to 1 p.m.

By Jacob Stockinger

March is Women’s History Month, and this Friday is International Women’s Day.

To mark the latter occasion, Jessica Johnson, who teaches piano and piano pedagogy at the University of Wisconsin-Madison’s Mead Witter School of Music, where she has won an award for distinguished teaching, will perform a program of all-women composers.

The FREE recital is this Friday night, March 8, at 8 p.m. in Mills Hall. Johnson (below, in a photo by M.P. King for The Wisconsin State Journal) will perform works from the 19th, 20th and 21st centuries, pairing works with interesting connections.

Here is what Johnson has to say about the program:

Dreaming, Op. 15, No. 3, by Amy Beach (below top) and The Currents by Sarah Kirkland Snider (below bottom) both feature beautiful lyricism and long-line phrases inspired by poetry.

“2019 is the bicentennial celebration of Clara Schumann’s birth, so I wanted to honor her and her tremendous legacy. Her Romance, Op. 11, No. 1, was composed in 1839 in the midst of the difficult year when Clara (below) was separated from her beloved Robert. (You can hear the Romance in the YouTube video at the bottom.)

“Bolts of Loving Thunder by Missy Mazola (below) was written in 2013 for pianist Emanuel Ax as a piece that would appear on a program of works by Brahms. Mazzoli alludes to the romantic, stormy side of “pre-beard” Brahms, with exuberant floating melodies, hand crossings and dense layers of chords.

“Troubled Water (1967) by Margaret Bonds (below) is based on the spiritual “Wade in the Water,” with hints of blues, jazz and gospel traditions throughout.

“Azuretta (2000) by Chicago-based composer, Regina Harris Baiocchi (below) describes Azuretta as a musical reaction to a debilitating stroke Dr. Hale Smith, her former composition teacher, suffered in 2000. The work honors his incredible legacy by mixing classical and jazz idioms.

“Germaine Tailleferre (below), the only female member of Les Six, the group of early 20th-century French composers, wrote her beautiful Reverie in 1964 as an homage to Debussy’s “Homage à Rameau” from Images, Book I.

“Preludes (2002) by Elena Ruehr (below) draw inspiration from Debussy’s Preludes, mimimalism and Romantic piano music.

“Also, as an advocate for the adoption of the Donison-Steinbuhler Standard — which offers alternatively sized piano keyboards for small-handed pianists  — I will perform on the Steinbuhler DS 5.5 ™ (“7/8”) piano keyboard.

“By performing on a keyboard that better fits my hands — studies suggest that the conventional keyboard is too large for 87% of women — and featuring works by female composers who are typically underrepresented in concert programming, I hope to bring awareness to gender biases that still exist in classical music.

“For more information about both me and the smaller keyboard, go to the following story by Gayle Worland in The Wisconsin State Journal:

https://madison.com/wsj/entertainment/music/a-smaller-piano-for-bigger-artistry/article_38b80090-be0f-5050-9862-32c3c36c6930.html


Posted in Classical music
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