The Well-Tempered Ear

Classical music: This year’s Token Creek Chamber Music Festival will explore “Necessary Music” by Bach, Schubert, Schumann, Ravel, Harbison and other composers from Aug. 26 through Sept 3

August 17, 2017
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 By Jacob Stockinger

The Ear has received the following announcement to post about an annual event that puts on a lot of MUST-HEAR programs:

TOKEN CREEK, WIS. –    In what way, and for whom, is a certain kind of music necessary?

Certainly the presenters of a chamber music festival would be presumptuous to offer a program as a sort of prescription for listeners. And at Token Creek we won’t.

So often the music we need arrives by chance, and we did not even know we needed it until it appears. And other times we know exactly what we are missing. And so we offer this year’s programs of pieces that feed the soul.

Saturday, Aug. 26, at 8 p.m. and Sunday, Aug. 27, at 4 p.m., Program I: Continuo

Some works of art are so rich that they sustain a lifetime of inquiry and encounters, each time revealing fresh new insights only possible through sustained engagement, pieces so resilient they admit multiple interpretations, approaches, nuances, shadings.

We open the season with music of Johann Sebastian Bach (below), pieces we’ve played before and some we have not, music that continues to compel for the very reason that it can never be fully plumbed, music that rewards over and over again. In a concert dominated by Bach, the requirement of the other pieces is really only that they offer sufficient originality and integrity not to be dwarfed or rendered ephemeral by his authority.

Flutist Dawn Lawler (below top), cellist Sara Sitzer (below second) and pianist Jeffrey Stanek (below third join the artistic directors composer-pianist John and violinist Rose Mary Harbison (below bottom) for this opening program.

Works:
BACH Sonata in E minor for violin and continuo, BWV 1023

HAYDN    Trio in F major for flute, cello and piano XV:17

BACH   Two Fugues, from The Art of Fugue, BWV 1080

HARBISON    Mark the Date, for flute and piano (pre-premiere)

BACH Sonata in G major for violin and continuo, BWV 1021

BACH Three-Voice Ricercar, from The Musical Offering, BWV 1079

BACH Sonata in C minor, from The Musical Offering, BWV 1079

Wednesday, Aug. 30, at 7:30 p.m. Program II: Schubert

A sequel to last year’s all-Schubert program, which offered Die Schöne Müllerin and the “Trout” Quintet, this season we offer two late masterworks by  Schubert (below): the song cycle Schwanengesang (Swan Song) and the solo piano set of six Moments Musicaux (Musical Moments).

In structure, ingenuity and invention these two large works offer an eloquent counterpoint and complement to one another. We are pleased to welcome back pianist Ya-Fei Chuang (below top), and to introduce tenor Charles Blandy (below middle) with pianist Linda Osborn (below bottom).

Works:

SCHUBERT      Andante, from Sonata in C for Piano Four Hands (“Grand Duo”),  D.812

SCHUBERT     Moments Musicaux, D.780

SCHUBERT      Schwanengesang, D.957

Saturday, Sept. 2, at 8 p.m. and Sunday, Sept. 3, at 4 p.m. Program III: Waltz

This program explores the familiar form of the waltz as an unexpectedly flexible and diverse musical type, with uncommon approaches from a wide variety of composers from Schubert through Sur.

We conclude the season with Schumann’s splendid Piano Quartet, whose third movement offers one of the greatest of slow waltzes of all time. (You can hear it performed by the Faure Quartet in the YouTube video at the bottom.)

We are pleased to introduce violist Becky Menghini (below top) and cellist Kyle Price (below bottom).

Works:

FRITZ KREISLER   Three Old Viennese Melodies for Violin and  Piano

DONALD SUR        Berceuse for Violin and Piano

SCHUBERT      Waltz Sequence

RAVEL     Valses nobles et sentimentales

GEORGE CRUMB    Sonata for Solo Cello

SCHUMANN     Quartet in E-flat for Piano and Strings, Op.   47

The Token Creek Festival has been called a gem, a treasure nestled in the heart of Wisconsin cornfields, a late-summer fixture just outside of Madison.

Now in its 28th season, the Festival has become known for its artistic excellence, diverse and imaginative programming, a deep engagement with the audience, and a surprising, enchanting and intimate performance venue in a comfortable refurbished barn.

The 2017 festival offers five events to close the summer concert season, Aug. 26–Sept. 3.

Performances take place at the Festival Barn (below), on Highway 19 near the hamlet of Token Creek (10 minutes north of Madison, near Sun Prairie) with ample parking available.

The charmingly rustic venue—indoors and air-conditioned with modern comforts—is invitingly small, and early reservations are recommended.

Concert tickets are $32 (students $12). Reservations can be secured in several ways:

More information about the Token Creek Festival and all events and artists can be found at the website, www.tokencreekfestival.org or by calling 608-241-2525.


Classical music: We should hear more encores, especially at outstanding chamber music concerts. Plus, a FREE Farmer’s Market organ recital is this Saturday at 11 a.m.

August 11, 2017
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ALERT: This Saturday at 11 a.m. in Overture Hall of the Overture Center, the Madison Symphony Orchestra will offer another FREE Farmers Market Organ Concert. The program, which runs 45 minutes, features music by Johann Sebastian Bach, Felix Mendelssohn, Charles-Marie Widor and Louis Vierne. The organist is the prize-winning Madison native Adrian Binkley.

By Jacob Stockinger

Two weeks ago, the Willy Street Chamber Players gave The Ear yet another reason to like them and be a fan.

After the season-ending program of Schubert, Osvaldo Golijov and Mozart was over, while the audience was cheering, standing and applauding loudly, two members of the young chamber music group played an encore.

The encore was “Julie-O” by Mark Summer. It was written for one cellist, as you can hear in a performance by the composer in the YouTube video at the bottom.

But this time it was performed by the two cellists of The Willys — Lindsey Crabb and Mark Bridges (below).

They agreed to play an encore only reluctantly – after some prodding by other members of The Willys, by guest clarinetist Michael Maccaferri (of the Grammy-winning group eighth blackbird) and, of course, by the audience.

But there shouldn’t have been any reluctance.

The Ear thinks we hear too few encores after so much memorable music-making.

Certain student recitals at the UW-Madison come immediately to mind. It sometimes seems that the protocol of student recitals prohibits encores, but The Ear has been told by faculty members that such is not the case.

What also comes to mind is the lack of encores at chamber music concerts by larger ensembles – piano trios, string quartets and piano or string quintets and sextets.

And rarely do you hear encores at the Madison Symphony Orchestra, Wisconsin Chamber Orchestra or Madison Opera except when they are played by concerto soloists.

But why not?

The Ear recalls that several years ago the Peruvian tenor Juan Diego Florez, performing the aria with notoriously difficult nine high C’s in the aria “Ah! Mes amis” from Donizetti’s opera “La Fille du Regiment,” then quickly repeated the same passage to frenzied approval.

What are encores but a way of saying: “You liked me, so now I like you.”

Encores are not immodest bragging. They are a reward, a gift, a way for the performer to say thank you to the audience for its attention and appreciation.

Maybe every individual or group should have some kind of encore in the back pocket and ready to go. It could be a short movement or even a section of a movement, perhaps a coda or finale.

It seems to The Ear that many instrumentalists, especially pianists who have such a rich repertory, would do well to have four encores ready: one fast and one slow, one loud and one soft.

That way, the encore can underscore —  by either complementarity or contrast — the piece or pieces that preceded it and called for it.

Have you ever wanted to hear an encore and been frustrated?

What do musicians themselves say about playing encores?

Are there unwritten guidelines or an unstated protocol about when to play encores?

The Ear wants to hear.


Classical music: The second annual Madison New Music Festival will take place this Thursday through Sunday

August 9, 2017
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By Jacob Stockinger

The summer classical season in Madison just keeps getting busier and more interesting.

The Ear has received the following announcement from Zachary Green (below), a native Madisonian and composer who graduated from Oregon High School and the Juilliard School, which awarded him a grant to start the first Madison New Music Festival last year. He now directs the event:

Dear friends, family, colleagues, and mentors,

I am extremely pleased to invite you to the second season of the Madison New Music Festival, taking place this Thursday-Saturday, Aug. 10-12.

The Madison New Music Festival is an annual weekend-long concert series dedicated to strengthening Madison’s cultural vitality through the celebration of fresh classical music from our lifetimes.

The festival strives to affordably and accessibly share music by the world’s leading living composers with the Madison community, with special emphasis placed on Wisconsin-based composers and performers.

This year, over the course of four concerts, we will be featuring 30 performers playing the music of over 20 composers— including the music of a different living Wisconsin composer at every concert.

The concerts will take place Thursday at the Madison Museum of Contemporary Art (8 p.m.), Friday at Bethel Lutheran Church (8 p.m.), and Saturday at the Memorial Union Terrace (3 p.m.) and Robinia Courtyard (7:30 p.m.).

PROGRAM AND TICKET INFORMATION:

Thursday, Aug. 10, at 8 p.m., Madison Museum of Contemporary Art in the Overture Center. (Below is a photo at MMoCA from last year’s festival)

After an incredibly successful launch in 2016, the Madison New Music Festival is set to return to MMoCA for a concert combining contemporary visual art and new music.

The festival presents brand new pieces by emerging composers, underplayed classics of the contemporary repertoire, and shines a spotlight on new music created here in Wisconsin.

The concert at MMoCA features music with thematic ties to MMoCA’s current exhibitions, including politically charged works such as “But I Still Believe” by composer Zachary Green and inspired by Hillary Clinton’s concession speech, and “Drums of Winter” from Pulitzer Prize-winning composer and environmentalist John Luther Adams (below). You can hear “Drums of Winter” in the YouTube video at the bottom.

There will be a cash bar and opportunities to walk around the exhibits. Tickets are $10, $5 for students and FREE for MMoCA members.

Tickets: https://www.artful.ly/madison-new-music-festival/store/events/13011

Friday, Aug. 11, at 8 p.m. in Bethel Lutheran Church, 312 Wisconsin Avenue

The festival’s second night features an eclectic range of music, from the inventive, folk-inspired music of Romanian composer Doina Rotaru (below top) to the improvisatory soundscapes of recently departed legend Pauline Oliveros (below bottom).

Also featured is local composer Scott Gendel (below top) , who will present a set of his own music with frequent Madison Opera guest soprano Emily Birsan (below middle). Both are graduates of the UW-Madison.

Other performers include Chicago-based new music ensemble Chartreuse (below top), local flutist Iva Ugrcic (below middle) and local violinist Lydia Sewell (below bottom).  Tickets are $10, $5 for students.

Tickets: https://www.artful.ly/madison-new-music-festival/store/events/13028

Saturday, Aug. 12, at 3 p.m., Memorial Union Terrace

Local new music wind quintet Black Marigold (below top) will perform “Beer Music” by Brian DuFord (below bottom), inspired by different kinds of beer– and you can sip as you listen!

But first, get your groove on with rhythmic works by emerging composer Andy Akiho (below top), Wilco drummer Glenn Kotche, and local percussionist Dave Alcorn (below bottom) of Clocks in Motion — interspersed with interactive interpretations of Renaissance motets and an electroacoustic work for vibraphone. Featured musicians include percussionist Garrett Mendelow and Chicago-based new music ensemble Chartreuse.  Admission is FREE.

Saturday, Aug. 12, at 7:30 PM, Robinia Courtyard (Jardin Restaurant) at 827 East Washington Avenue. 

Join us at Jardin Restaurant, part of the newly redeveloped Robinia Courtyard to hear local ensemble Mr. Chair (below) present an eclectic, head-banging set ranging from original compositions to versions of Erik Satie, Olivier Messiaen and Igor Stravinsky.

Also featured are the genre-bending Echelon String Quartet(below) and a mesmerizing solo bass piece performed by Grant Blaschka.  Cash bar.  ($10/$5 student)

Tickets: https://www.artful.ly/madison-new-music-festival/store/events/13029


Classical music: YOU MUST HEAR THIS — the slow movement of the Violin Concerto by Gerald Finzi

August 7, 2017
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By Jacob Stockinger

The Ear has long had a fondness for the works of the 20th-century British composer Gerald Finzi (below).

His work may be relatively tweedy and conservative, but it is unmistakably modern. It is very poignant and appealing, with accessible harmonies and beautiful melodies. He seems much like a British Samuel Barber.

Ever since he first heard it maybe 20 years ago, The Ear has loved Finzi’s pastoral Eclogue for Piano and String Orchestra, which was meant to be the slow movement of a piano concerto but ended up being an independent work. And, judging by how increasingly  often it gets played on Wisconsin Public Radio, the Eclogue seems to be a favorite among a growing number of fans.

But there are other works.

There is the Romance for Violin and Small Orchestra.

There is the Romance for String Orchestra.

There is the Concerto for Cello.

There is his Romance for Clarinet and String Orchestra as well as the Five Bagatelles for Clarinet and Orchestra.

And now The Ear has discovered the slow movement — appropriately marked “very serene” — of the Violin Concerto by Finzi, which you can hear in the YouTube video at the bottom.

It is performed by British violinist Tasmin Little (below, in a photo by Melanie Winning), who four seasons years ago turned in wonderful performances in Madison with the Wisconsin Chamber Orchestra under Andrew Sewell. She played Finzi’s rarely heard “Introit.”

If you want to hear the whole concerto, it is available for free on YouTube from a couple of different performers. And you can find many other works by Finzi on YouTube.

In any case, The Ear hopes the Violin Concerto gets programmed at a local concert.

This past summer, the Bach Dancing and Dynamite Society featured a song cycle by Finzi. Even so, we need to hear more music by Gerald Finzi in live performances.

Finzi was a modest and retiring man, publicity shy and not given to self-aggrandizement or self-promotion, who went underperformed and underappreciated during his lifetime. But he is an extremely welcoming and moving modern composer.

The Ear thinks he deserves a better place among other modern British composers who have become more popular, including Ralph Vaughan Williams (shown, below right, with Finzi), Benjamin Britten, Frank Bridge, William Walton and others.

Are there other Gerald Finizi fans out there?

What do you think about him?

And what is your favorite work by Gerald Finzi?

The Ear wants to hear.


Classical music: The Ancora String Quartet turns in outstanding performances of Beethoven and Shostakovich, and revives a neglected quartet by Danish composer Niels Gade

July 31, 2017
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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 radio 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. He also took the performance photos for this review.

By John W. Barker

Whether as a finale to the passing season or as a prelude to the upcoming one, the Ancora String Quartet (below) favored its admirers with a fine summer concert at St. Andrew’s Episcopal Church on Regent Street last Saturday night.

The program offered three contrasting works.

It started off boldly with Dmitri Shostakovich’s Quartet No. 7 in F-sharp minor, Op. 108, a slashing three-movement work of nervous and disturbing energy.

So many of the quartets by Shostakovich (below) are autobiographical, or at least confessional, in character, and this one is a clear expression of both personal anxieties and political apprehensions. The Ancoras tore into it with gusto.

Niels W. Gade (below) is hardly a composer of instant recognizability, but he was at the center of Leipzig’s post-Mendelssohn world and then, when he returned to his native Denmark, he became the dominant figure in its musical life until his death in 1890. This is the bicentennial year of his birth.

Gade has left us some fine orchestral music that deserves frequent hearings. And his true legacy was his advancement — if with reservations — of his prize student, Carl Nielsen.

Gade’s late String Quartet in D, Op. 63, one of his three works in the form, is steeped in the stylistic qualities of Felix Mendelssohn and Robert Schumann, without quite extending them. Still, it is altogether a listenable work, and we can thank the Ancora players for sharing with us.

The big event, however, was the concluding piece, Beethoven’s Quartet in F Major, Op. 18, No. 1, part of his set of six that marked his brilliant debut as a composer in this form.

Meant to show his extension of the work of Haydn and Mozart in this idiom, this quartet was worked on laboriously by Beethoven, to offer a kaleidoscopic array of moods and structures.

The first movement in particular is a proclamation of his lifelong skill in creating bold entities out of the most minimal motivic material, while the third and fourth movements are hectic displays of energy and imagination.

Perhaps most striking, however, is the slow movement, supposedly reflecting Shakespearian influences. Wonderfully vigorous in all movements, the Ancoras were particularly eloquent in that dark and tragic essay that looks to the tomb scene in “Romeo and Juliet.” (You can hear the slow second movement, played by the Takacs Quartet, which will perform next season at the Wisconsin Union Theater, in the YouTube video at the bottom.)

It has become the custom with this group for one member to give a brief spoken introduction to each composition, and that practice worked particularly well for this program, giving the audience a comfortable sense of welcome and valuably pointing up things to listen for. (Below is violist Marika Fischer Hoyt explaining and deconstructing the Beethoven quartet.)

If you missed the concert, the Ancora String Quartet will repeat the program this coming Sunday afternoon at 12:30 p.m. for the “Afternoon Live at the Chazen” program. You can attend the concert in Brittingham Gallery 3 of the Chazen Museum of Art for FREE or live-stream it from the Chazen website.

Here is a link to the website with more information and a portal for streaming:

https://www.chazen.wisc.edu/visit/programs/#section6


Classical music: Read a rave review of John DeMain’s current production of George Gershwin’s “Porgy and Bess” at the Glimmerglass Festival in upstate New York

July 29, 2017
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By Jacob Stockinger

Some readers have asked The Ear:

How come John DeMain (below, in a photo by Prasad), music director of the Madison Symphony Orchestra and artistic director of the Madison Opera, wasn’t conducting at last Saturday’s Opera in the Park?

The reason is not that DeMain was taking time off and enjoying a summer vacation.

Rather, he was busy guest-conducting an acclaimed production of George Gershwin’s African-American opera “Porgy and Bess” (below top) at the prestigious Glimmerglass Festival (below bottom) in upstate New York at Cooperstown.

DeMain has enjoyed a long association with both George Gershwin’s opera and the Glimmerglass Festival (below top and bottom).

And Madison music critic Greg Hettmansberger (below), who is writing a biography of DeMain, traveled there to hear and see the production.

He filed the following review on his website “What Greg Says”:

https://whatgregsays.wordpress.com/2017/07/21/porgy-casts-a-special-glow-over-glimmerglass/

Now you know.

And can share in the pride.


Classical music: The Willy Street Chamber Players wrap up their third season this Friday night at 6 with music by Mozart, Schubert and Osvaldo Golijov

July 27, 2017
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By Jacob Stockinger

This Friday night, the acclaimed Willy Street Chamber Players (below) wrap up their third summer series.

The 90-minute performance is at 6 p.m. in the Immanuel Lutheran Church, 1021 Spaight St., on Madison’s near east side.

A post-concert reception will be held with snacks from the Underground Food Collective and the Willy Street Coop.

Tickets are $15 at the door.

The program is typical for the relatively new group – a small ensemble making big waves — in that it features regular members with a guest performer, and also mixes old music and new music, sometimes with an unusual twist.

The program offers three works.

The dramatic “Quartettsatz” (1820), or “quartet movement,” by Franz Schubert (below) was intended be a part of another string quartet. It never found that home, and now exists as a popular work on its own. (You can hear it played by the Amadeus Quartet in the YouTube video at the bottom.)

“The Dreams and Prayers of Isaac the Blind” (1994), by the eclectic contemporary Argentinean-American composer Osvaldo Golijov (below, in a photo by Kayana Szymczak for the New York Times), has proven to be among contemporary music’s more popular works. (It has been performed in Madison at the Wisconsin Union Theater and by the Bach Dancing and Dynamite Society.)

As you can gather from the title, it has Hebraic or Yiddish elements typical of Golijov, who is Jewish and has lived in Israel, and it possesses an appealing klezmer sound. The featured soloist is guest clarinetist Michael Maccaferri (below)

Ending the concert is the popular and supremely beautiful “Sinfonia Concertante” for Violin and Viola in E-flat Major, K. 364, by Wolfgang Amadeus Mozart. It was composed originally for a string orchestra and is usually performed that way.

But The Willys, always inventive, will use an anonymous “house music” reduction for string sextet that was done in 1808, almost 30 years after the composer’s death.

The Bach Dancing and Dynamite Society has done many similar reductions of piano concertos by Mozart and symphonies by Franz Joseph Haydn with great success.

So The Ear is very anxious to hear this transcription or arrangement, which could make yet another great masterpiece even more accessible with smaller forces at less expense.

To The Ear, it has all the makings of yet another MUST-HEAR concert by a MUST-HEAR group.

See you there.


Classical music: Madison native Ansel Norris returns to perform a FREE recital this Saturday night of songs transcribed for trumpet and piano

July 26, 2017
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CORRECTION: In some downloads of yesterday’s post, the performance by the Ancora String Quartet was mistakenly listed for Friday night. The performance is SATURDAY night. The Ear apologizes for the error. For more information, go to:

https://welltempered.wordpress.com/2017/07/25/classical-music-the-ancora-string-quartet-will-give-two-performances-this-coming-weekend-one-is-free-of-a-program-that-features-works-by-beethoven-shostakovich-and-niels-gade/

By Jacob Stockinger

On this Saturday night, July 29, at 7 p.m., trumpeter Ansel Norris and pianist Beth Wilson will perform a FREE recital of vocal music in an unusual format — for solo trumpet and piano, with the poetry that inspired the music spoken in between each song.

“In music for voice and piano there lies a special intimacy, and the composers featured each captured something close to the essence of the form,” Norris (below) told The Ear. “I wanted to see what happened if I split the songs up into a poem, read it out loud, and then played a wordless melody to follow. The result was interesting and felt meaningful, so I’ve decided to give it another go.”

The recital, in the Grand Hall at Capitol Lakes Retirement Community, 333 West Main Street, downtown and three blocks off the Capitol Square.

The program includes: Richard Strauss, “Morgen”; Robert Schumann, “Liederkreis,” Op. 24, No. 5;” Richard Strauss, “Die Nacht”: Robert Schumann, “Liederkreis,” Op. 24, No. 1; Robert Schumann, “Liederkreis,” Op. 24, No. 9; Johannes Brahms, “Die Mainacht”; Franz Schubert, “Der Einsame”; Johannes Brahms, “Unbewegte laue Luft”; Robert Schumann, “Liederkreis,” Op. 24, No. 3; Richard Strauss, “Befreit”; and Peter Tchaikovsky, “Nur wer die Sehnsucht kennt” (“None but the Lonely Heart,” sung by Elizabeth Schwarzkopf in the YouTube video at the bottom.)

Admission is FREE and open to the public.

Ansel Norris grew up on the east side of Madison, and last set foot in Capitol Lakes (below) in the spring of 2010, for his graduation recital. In recent years, he has distinguished himself as a soloist, orchestral and chamber musician of enthusiasm and diverse taste.

Norris has won a number of prizes as a soloist, including first-prize twice in the National Trumpet Competition, and has drawn acclaim as an orchestral player, performing with the Chicago and Boston Symphonies and holding a fellowship with the New World Symphony in Miami Beach, Florida.

Norris has also worked in close relationship with the Boston Symphony Orchestra, at the Tanglewood Music Center, in the summers of 2014 and 2015.

He says he is fascinated with the relationship between music and storytelling, and is currently exploring interesting formats of solo recitals to draw new connections between them. In a sense, this recital is an experiment, but one conducted with great love, care and curiosity.

While in Madison, Ansel Norris said, he was lucky to participate in a number of the diverse opportunities available to young musicians. He was a three-year member of Wisconsin Youth Symphony Orchestra’s Youth Orchestra and a four-year, inaugural member of the Winds of Wisconsin.

He was also a participant in the Madison Symphony Orchestra’s “Final Forte” was a winner of the Neale-Silva Young Artist Competition held by Wisconsin Public Radio. He was a devoted student of the UW-Madison’s recently retired professor of trumpet, John Aley (below), who to this day is one of his greatest inspirations.

As he grows older, Norris says, he often reflects on what a special place Madison was to grow up in, and he looks forward to every chance he has to be home.

Beth Wilson (below) currently lives in Madison and is a freelance musician and professional pianist. She is a member of the Wisconsin Chamber Orchestra, playing for the “Nutcracker Ballet” and “Concerts on the Square.” She also performs with Grupo Candela, a salsa band. Broadway touring shows contract her to play in the pit orchestra including the recent shows “Wicked,” “Book of Mormon,” “Sound of Music” and “Beautiful –The Carole King Musical.”

As an accompanist, Beth Wilson has collaborated with Bernhard Scully of the Canadian Brass; Diana Gannett of the University of Michigan-Ann Arbor; and Ansel Norris — with whom she is now reunited after seven years.


Classical music: More chamber music should be performed at the Goodman Community Center on the east side. Are there other underused venues?

July 21, 2017
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By Jacob Stockinger

Last Saturday morning, The Ear headed off to the Goodman Community Center (below), on the near east side just off Atwood Avenue.

The reason was to hear a noontime concert by one of his favorite chamber music groups: The Willy Street Chamber Players.

The summer concert was part of the new and FREE Community Connect series by The Willys. And the terrific performances of works by Caroline Shaw, Daniel Bernard Roumain, Astor Piazzolla and Johannes Brahms seemed to draw in a good-sized crowd that was younger and even included some children.

Clearly, The Willys have indeed connected to the community in a different part of town than where they usually perform.

But another of the great things about The Willys is that they also explore new venues.

For the past two winters, they have performed a season preview concert in “A Place to Be” on Williamson Street.

What struck The Ear this time, however, was the Evjue Community Room (below) at the Goodman Center.

The handsomely rehabbed room sure seems an ideal venue for chamber music.

Why, The Ear wondered, was it the first time he was there for a concert?

The room seats about 100, making it ideal for intimate music.

It has lots of natural light, which the players (below) said they really like for reading music.

And the acoustics were superb, no doubt the result of the cream-colored brick, the dark wood, the glass windows and the metal ductwork – all hard surfaces that made for clarity and sufficient volume, even in the back rows. It is, as they say in the biz, a “live” space.

Take a look:

The Ear sure hopes the Goodman Center will see the return of The Willys.

More to the point, he also hopes that other chamber music groups will also use the center. It would be a wonderful spot for recitals and small groups of all kinds.

What do you think of the Goodman Center as a venue for classical music and other kinds of music?

Do you know of other underused performance spaces around the Madison area that you would recommend?

The Ear wants to hear.


Classical music education: Madison Area Youth Chamber Orchestra performs an “encore” concert of music by Corelli, Mozart and Britten this Friday night

July 18, 2017
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By Jacob Stockinger

The Ear has received the following announcement to post:

“The Madison Area Youth Chamber Orchestra (MAYCO, below) is a summer training orchestra dedicated to providing an intensive chamber orchestra experience for advanced high school and college musicians, ages 12-35.

“MAYCO was founded in 2011 by music director Mikko Rankin Utevsky (below). The ensemble prepares a full program over the course of each of its one-week summer sessions, culminating in a public concert.

“We had planned for last summer’s “Finale!” concert to be MAYCO’s last, but at the urging of disappointed students, we decided to stage a comeback. Student response has been incredible, and we hope to keep the program alive into the future.

“This summer, we will present a single concert, “Encore!”, featuring works of Wolfgang Amadeus Mozart, Benjamin Britten and Arcangelo Corelli.

“The program of bewitching atmosphere and stark contrasts will be performed this Friday night, July 21, at 7:30 p.m. in the Atrium Auditorium (below in a photo by Zane Williams) of the First Unitarian Society of Madison, 900 University Bay Drive.

“The program opens with Corelli’s vivacious Concerto Grosso Op. 6, No. 4 in D major. Corelli’s Baroque concerti grossi all feature a solo group (“concertino”) of two violins and cello opposed by the full string band (the “ripieno”).

“Our performance will feature MAYCO concertmaster Thalia Coombs (below), principal cellist (and former conducting apprentice) Majestica Lor, and violinist Glen Kuenzi (a returning high school player now entering the UW School of Music, selected by audition).

“Benjamin Britten’s nocturnal Serenade, written for his partner, tenor Peter Pears, and virtuoso hornist Dennis Brain, sets an enchanting array of English poetry, including texts by William Blake, John Keats and Ben Jonson.

“Set in seven movements bookended by a Prologue and Epilogue for unaccompanied horn, the work traverses a wide range of emotions and orchestral colors. Joining the orchestra will be tenor Dennis Gotkowski, a recent doctoral graduate of the UW) and hornist Joanna Schulz (below, a current DMA candidate), who plays with the Wingra Wind Quintet.

“The concert will conclude with Mozart’s Symphony No. 40, the so-called “Great” G minor. Long beloved for its tempestuous character and affective power, it captivates players and audiences alike with its intense chromaticism and unrelenting darkness. It is a tremendously compelling piece, and we are excited to perform it this week. (You can hear the famous opening depicted with an unusual bar graph in the YouTube video at the bottom.)

“Tickets are $10 cash at the door; by donation for students.

“More information about the MAYCO and its programming can be found on our website, http://mayco.org


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