The Well-Tempered Ear

Classical music: American music is in the spotlight this weekend as pianist Olga Kern returns in a concerto by Samuel Barber and the Madison Symphony Orchestra performs Dvorak’s “New World” Symphony

October 18, 2017
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By Jacob Stockinger

This weekend, the Madison Symphony Orchestra (MSO, below in a photo by Peter Rodgers), with music director John DeMain conducting, will present its second concert of the season, featuring music “From the New World.”

“From the New World” features the return of soloist Olga Kern in her take on an American classic — Samuel Barber’s only Piano Concerto — for her fourth appearance with the MSO. This piece is accompanied by Maurice Ravel’s Mother Goose Suite and is followed after intermission by Antonin Dvorak’s Symphony No. 9, know as the “New World Symphony,” inspired by the prairies of America.

The concerts take place in Overture Hall of the Overture Center, 201 State St., on Friday, Oct. 20, at 7:30 p.m.; Saturday, Oct. 21, at 8 p.m.; and Sunday, Oct. 22, at 2:30 p.m.

Ravel’s Mother Goose Suite was originally written as a suite of “Five Children’s Pieces for Piano Four Hands” and was later orchestrated by the composer and expanded into a ballet in 1911. The piece by Ravel (below) is comprised of 11 sections, many of which are based on five fairy tales of Charles Perrault, most specifically those of his Contes de ma Mère l’Oye (Mother Goose Tales).

The Piano Concerto was written in Samuel Barber’s mature years, and is characterized by a gain in depth of expression and technical mastery from his earlier lyrical style. The piece was met with great critical acclaim and led to Barber (below) winning his second Pulitzer Prize in 1963 and a Music Critics Circle Award in 1964. (You can hear the second and third movements in the YouTube video at the bottom.)

                                                

Russian-American Pianist Olga Kern (below) is recognized as one of her generation’s great pianists. She jumpstarted her U.S. career with her historic Gold Medal win at the Van Cliburn International Piano Competition in Fort Worth, Texas as the first woman to do so in more than 30 years.

Winner of the first prize at the Rachmaninoff International Piano Competition she was 17, Kern is a laureate of many international competitions. In 2016, she served as jury chairman of both the Seventh Cliburn International Amateur Piano Competition and first Olga Kern International Piano Competition, where she also holds the title of artistic director.

Kern has performed in famed concert halls throughout the world including Carnegie Hall, the Great Hall of the Moscow Conservatory, and the Theatre du Chatelet in Paris. She has appeared with the Madison Symphony Orchestra three times — in 2009, 2010 and 2014.

Composed in 1895 while Dvorak (below) was living in New York City, his Symphony No. 9 (often referred to as the “New World Symphony”) is said to have been inspired by the American “wide open spaces” of the prairies that he visited during a trip to Iowa in the summer of 1893.

The “New World Symphony” is considered to be one of the most popular symphonies ever written, and was even taken to the moon with Neil Armstrong during the Apollo 11 mission in 1969.

One hour before each performance, Anders Yocom (below, in a  photo by James Gill), Wisconsin Public Radio host of “Sunday Brunch,” will lead a 30-minute Prelude Discussion in Overture Hall to enhance concertgoers’ understanding and listening experience.

For more background on the music, please read the Program Notes by MSO trombonist and UW-Whitewater professor J. Michael Allsen (below), at:

http://www.allsenmusic.com/NOTES/1718/2.Oct17.html

The Madison Symphony Orchestra recommends that concert attendees arrive early for each performance to make sure they have time to pass through Overture Center’s security stations, and so they can experience the pre-concert Prelude Discussion (free for all ticket-holders) one hour before the performance.

The October concerts also coincide with UW-Madison’s Homecoming Weekend celebration — another reason that MSO patrons are advised to arrive early for the concerts this weekend, especially on Friday.

Single Tickets are $18-$90 and are on sale now at https://www.madisonsymphony.org/singletickets, through the Overture Center Box Office at 201 State Street, or by calling the Box Office at (608) 258-4141.

Groups of 15 or more can save 25% by calling the MSO office at (608) 257-3734. For more information, got to: https://www.madisonsymphony.org/groups.

Student rush tickets can be purchased in person on the day of the concert at the Overture Center Box Office at 201 State Street. Students must show a valid student ID and can receive up to two $12 or $18 tickets.

You can find more information at: https://www.madisonsymphony.org/studentrush

Seniors age 62 and up receive 20% savings on advance and day-of-concert ticket purchases in select areas of the hall.

The first “Club 201 Concert and After-Party” of the season takes place on Friday, Oct. 20. The $35 ticket price includes one concert ticket ($68-$90 value), plus the after-party with hors d’oeuvres, cash bar, and one drink ticket. Club 201 Events are an opportunity for music enthusiasts 21 and over to connect with each other, and meet MSO musicians, Maestro John DeMain, and special guests.

Discounted seats are subject to availability, and discounts may not be combined.

Here is a direct link to find more information and to purchase tickets online: https://www.madisonsymphony.org/kern

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Classical music: The Ancora String Quartet excels in music by Haydn, Dvorak and especially Ravel as it impressively opens its new season in two acoustically different venues

October 3, 2017
2 Comments

By Jacob Stockinger

Here is a special posting, a review written by frequent guest critic and writer for this blog, John W. Barker. Barker (below) is an emeritus professor of Medieval history at the University of Wisconsin-Madison. He also is a well-known classical music critic who writes for Isthmus and the American Record Guide, and who hosts an early music show 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.

By John W. Barker

The Ancora String Quartet offered a nicely balanced program last Saturday night to open its new season at St. Andrew’s Episcopal Church.

The program began with Haydn’s String Quartet in B-flat Major, Op. 76, No. 4, known as the “Sunrise” quartet. A work of the composer’s maturity, published in 1799, it shows him straining the boundaries of Austrian Classicism and pushing close to the proto-Romanticism of his student, Beethoven.

Each work in the program was preceded by a spoken introduction, given by a member of the ensemble, and for the Haydn quartet violist Marika Fischer Hoyt did the honors.

Then came three (Nos. 2, 5 and 10) of the 12 arrangements for quartet that Antonin Dvorak made from his song cycle, Cypresses. The spoken introduction in this case was given by first violinist Wes Luke (below), who not only spoke but also sensibly read aloud — in English translation — the words of each song. Dvorak’s deeply personal lyric expression came through the more meaningfully for that.

Finally came the Quartet in F Major by Maurice Ravel. For this, cellist Benjamin Whitcomb (below) gave a cogent spoken introduction. Ravel’s work matches Debussy’s string quartet — to be played later this season — as a chamber music contribution to so-called French “Impressionism.” But it also is one of the last great demonstrations of how initially stated themes can be quoted or re-introduced in new characters and colors throughout all the movements.

This program had special value for me because it was one I was able to hear twice on two successive evenings. I particularly profited from a double hearing of the Ravel, which allowed me to listen how the various themes popped out here and there in ever-varied differences. (You can hear the String Quartet by Ravel in the YouTube video at the bottom.)

The performances each time were beautifully precise and atmospheric, but the particular points of contrast involved instead a factor too often forgotten in evaluating a concert: the acoustic divergences of different performing sites.

The previous Friday evening, I heard the program in the Grand Hall of the Capitol Lakes Retirement Center. Its acoustics are tight and bright, bringing great clarity and immediacy to the playing.

By comparison, the sound at St. Andrew’s is bigger, richer and more reverberant, although differing in relation to how far up front or way back you sit—another variable to consider.

I spoke with the players about this, and it is clear that they must, and do, take account of such acoustic differences as they move from one performing site to another. Careful concert-goers, too, should always consider these differences as they listen.

A final thought: The Ancora String Quartet, which also includes Robin Ryan as second violin, has always played with splendid expertise and stylistic sense. But it seems clear to me by now that the settling in of Wes Luke as the new first violinist has brought added vigor and assertiveness to the group’s playing, making it an even more important ensemble than ever before in Madison’s musical life.

The concert will be repeated tonight in Janesville at 7:30 p.m. in the Kilmark Theatre of the UW-Rock County at 2909 Kellogg Avenue. The performance is FREE and OPEN to the public.

For more information about the Ancora String Quartet and its new season, go to the website: http://ancoraquartet.com


Classical music: UW’s Pro Arte Quartet and new UW clarinet professor Alicia Lee perform a sublime all-Mozart program

September 30, 2017
2 Comments

By Jacob Stockinger

Here is a special posting, a review written by frequent guest critic and writer for this blog, John W. Barker. Barker (below) is an emeritus professor of Medieval history at the University of Wisconsin-Madison. He also is a well-known classical music critic who writes for Isthmus and the American Record Guide, and who hosts an early music show once a month on Sunday morning on WORTFM 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.

By John W. Barker

The University of Wisconsin-Madison’s acclaimed Pro Arte Quartet has begun its 2017-18 season amid uncertainties.

The most notable one is the current indisposition of cellist Parry Karp, whose injury to two fingers of his left hand has prevented him from playing for the immediate future.

Quartet members (below in a photo by Rick Langer) are, from left, David Perry and Suzanne Beia, first and second violins; Sally Chisholm, viola: and Parry Karp, cello.

But the group has pressed on bravely, offering an all-Mozart concert last Sunday night in Mills Hall.

The first of two works was the buoyant but challenging String Quartet in G Major, K. 387. Replacing Karp was a guest cellist, Jean-Michel Fonteneau (below right and bottom), who is familiar to Madison audiences from his many appearances with the San Francisco Trio for the Bach Dancing and Dynamite Society’s summer concerts.

Fonteneau played elegantly and fitted into the ensemble quite smoothly. And the other three players performed with their accustomed precision and style.

But just one personnel change makes a difference. Clearly missing was the robust tone and firm foundation that Karp has imparted to the ensemble’s playing for so long.

If the G major Quartet is a Mozartean model of its kind, we move to Olympian heights with the Quintet in A for Clarinet and Strings, K. 581 — a chamber work (below) with only the tiniest number of peers in this scoring.

Joining the quartet this time was a new UW-Madison faculty member, clarinetist Alicia Lee (below).

Petite but totally confident, Lee brought to the string ensemble not the edgy aggressiveness so often heard from clarinetists but rather a glowing mellowness that balanced neatly with the string sounds.

The loveliest moments seemed to me to be the slower passages, and the exquisite slow movement was truly ethereal. (You can hear the Larghetto slow movement, played by clarinetist Anthony McGill and the Pacifica Quartet, in the YouTube video at the bottom.)

Preceding the concert was an announcement by Linda Graebner of the consolidation of the Pro Arte Quartet Forward Fund, which is seeking to raise an major endowment for the quartet.

Bolstered by that effort, then, the PAQ is some five years into its second century, determined from many sides to cope with its uncertainties.

NOTE: The Pro Arte Quartet’s next performance is this coming Thursday: a FREE performance at NOON in Mills Hall of the String Quintet No. 1 in G Major, Op. 111, by Johannes Brahms. Jean-Michel Fonteneau will again be the cellist and the guest artist is the internationally renowned violist Nobuko Imai (below). Imai will also give a FREE and PUBLIC master class in strings and chamber music on Wednesday night at 7:30 p.m. in Morphy Recital Hall.


Classical music: Despite some flawed comparisons, the Madison Bach Musicians turn in brilliant performances in a concept program of “imitations” by Bach and Vivaldi

September 26, 2017
7 Comments

By Jacob Stockinger

Here is a special posting, a review written by frequent guest critic and writer for this blog, John W. Barker. Barker (below) is an emeritus professor of Medieval history at the University of Wisconsin-Madison. He also is a well-known classical music critic who writes for Isthmus and the American Record Guide, and who hosts an early music show 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.

By John W. Barker

An unusual program opened the 14th season of Trevor Stephenson’s Madison Bach Musicians (below) at the First Unitarian Society of Madison on Saturday night, and was repeated on Sunday afternoon at Holy Wisdom Monastery in Middleton.

Instead of a string of compositions with few or no connections, there was a cumulative assemblage illustrating an overriding theme, as summed up in the title of “Imitation.”

To be sure, only two composers were involved: Antonio Vivaldi and Johann Sebastian Bach. The focus was on their uses of imitative textures, including canon and fugue. There were 11 pieces in all, mostly — although not entirely — grouped in pairs, Vivaldi leading each.

The organization was fugue-like, too, beginning with two-part textures and culminating in nine parts. Thus, the nine players (four violins, two violas, two cellos and a harpsichord) were gradually built into the full company by the end.

The pairings did not evoke any direct parallelisms between Vivaldi (below top) and Bach (below bottom), though the former’s experimental and extroverted Italian style stood in regular contrast with Bach’s Germanic seriousness, even as each explored similar contrapuntal possibilities.

The entire concept of the program was intriguing. I did, however, find that two specific selections, both by Bach, did not fit well. They were given in transcriptions rather than as the composer intended. Thus, a fugue from The Well-Tempered Clavier was delivered not on the keyboard, but by five string players.

To be sure, that transformation allowed the three-voice counterpoint to be heard more distinctly, but the fact remains that it was written for keyboard and Bach’s part writing deserved to be heard as he intended.

A more serious instance was the tantalizing idea of hearing Bach’s own transcription of a work by Vivaldi. The original was the Concerto in D minor, Op. 3, No. 11, a true concerto grosso, matching a concertino of two violins and cello against a full four-part string ensemble.

Now, Bach made transcriptions of a number of Vivaldi concertos, but presenting any of them in this context posed practical concerns for these players. In this case, Bach’s adaptation was for solo organ. Instead, we heard it with Bach’s organ transcription transcribed, in turn, into a concerto for nine players by one of the group’s violists, Micah Behr.

(You can compare Vivaldi’s Concerto for Four Violins to Bach’s reworking of the same concerto for four harpsichords in the YouTube video at bottom.)

Again, this third-hand edition allowed for contrapuntal clarity, but it totally distorted Bach’s intentions as a transcriber himself.

That said, the performances were all brilliant. Visiting Baroque cellist Steuart Pincombe (below) was something of a star, but all musicians played wonderfully, sitting in a circle for closest interaction and without an intermission.

Still, reservations about this program aside, this concept or idea concert is worth trying again.


Classical music: This Saturday night the Ancora String Quartet will perform a program that features works by Beethoven, Shostakovich and Niels Gade

July 25, 2017
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By Jacob Stockinger

As it has often done over its 16-year history, the Madison-based Ancora String Quartet (ASQ) will mix a relatively unknown work by a neglected composer into a program of more established chamber music by more well-known composers.

The program it will perform this coming weekend — and then again at “Sunday Afternoon Live From the Chazen” on Sunday, Aug. 6 — is no exception.

The program features: the String Quartet No. 7 in F-sharp minor, Op. 108, by Dmitri Shostakovich; the String Quartet No. 1 in D Major, Op. 63, by Danish composer Niels Wilhelm Gade; and the String Quartet No. 1 in F Major, Op. 18, No. 1, by Ludwig van Beethoven. (You can hear the melodious opening of the quartet by Niels Gade in the YouTube video at the bottom.)

Members of the Ancora String Quartet (below, from left, in a photo by Barry Lewis) are violinists Wes Luke and Robin Ryan; violist Marika Fischer Hoyt; and cellist Benjamin Whitcomb.

Various members the Ancora String Quartet perform with such professional groups as the Madison Symphony Orchestra, the Wisconsin Chamber Orchestra, the Madison Bach Musicians;  members also teach both privately and publicly, including at the University of Wisconsin-Whitewater.

The first performance takes place this coming Saturday night (NOT Friday night, as mistakenly listed earlier in a erroneous headline),  July 29, at 7:30 p.m., at St. Andrew’s Episcopal Church, 1833 Regent St., on Madison’s near west side. There will be a FREE champagne reception after the concert

Tickets will be available at the door, and are for general seating. Ticket prices are $15 for the general public; $12 for seniors and students; and $6 for children under 12.

NOTE: The Ancora String Quartet will perform the same program on “Sunday Afternoon Live From The Chazen” in Brittingham Gallery No. 3  at the Chazen Museum of Art on Sunday, Aug. 6, starting at 12:30 p.m. It will be live-streamed that day from the museum’s website,  and then re-broadcast two weeks later at 3 p.m. on Sunday, Aug. 20, on WVMO, 98.7 FM, the “Voice of Monona.”

Here is a description of the program from the quartet:

“The ASQ offers a summer program of music from Europe’s northern, eastern and western corners. The Danish composer Niels Gade (below) reveals influences of Mendelssohn and Schumann in his lyrical and dreamy quartet. Seemingly from another planet, Shostakovich’s Quartet No. 7 is a masterpiece of ambivalent modernist paranoia, telling his story with brevity and wit.

“Last on the program is Beethoven’s first published string quartet, written on the cusp of the 18th century. It combines Haydn’s witty Classicism, and Mozart’s lyricism,​ with a vigor, brilliance and expansive vision that is Beethoven’s own. The second movement Adagio depicts in stark terms the tragic tomb scene from Shakespeare’s tragedy “Romeo and Juliet,” while the other movements are distinguished by confidence, contrast, and contrapuntal complexity. ”

For more information about the performance and the quartet, including detailed biographies, go to:

http://ancoraquartet.com


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
2 Comments

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: A NEW summer concert series of chamber music in Allen Centennial Garden starts this coming Sunday afternoon

June 21, 2016
3 Comments

By Jacob Stockinger

The Ear has received the following announcement:

This coming Sunday, June 26, kicks off the inaugural season of “Summer Sundays in the Garden: Afternoon Concerts in the English Garden,” a new outdoor concert series, FREE and open to the public.

It will feature local classical and jazz musicians in the inspiring natural setting of the stately English Garden at Allen Centennial Garden at 620 Babcock Drive, on the campus of the University of Wisconsin-Madison in the heart of Madison.

Summer Sundays Concerts in the Garden 1

The concerts will take place on every other Sunday through Sept. 18 from 4 to 5:30 p.m. They are sponsored by the Friends of Allen Centennial Garden.

Attendees are encouraged to bring a blanket or lawn chair for these free concerts.

Families are welcome.

Established in 1989, Allen Centennial Garden is situated on 2.5 acres surrounding the historic landmarked “Dean’s Residence (below),” adjacent to the Lake Mendota Lakeshore Nature Preserve and path.

Summer Sundays Concerts in the Garden Deans; House 2

This public botanical garden is open to the public free of charge 365 days a year, dawn to dusk.

Although located on the UW-Madison campus, the garden is supported entirely by private funds. In 2013, the Friends of Allen Garden formed to enhance the educational and cultural mission of the gardens and to increase awareness of this “hidden gem” by expanding programming initiatives to better serve the public.

Summer Sundays Concerts in the Garden 3

Summer Sundays in the Garden, one of many programs developed by the Friends, is the first public concert series at Allen Centennial Gardens, now in its 26th year.

Sponsored by the Friends, the series is supported by grants from the Madison Arts Commission, with additional support from the Wisconsin Arts Board; from Dane Arts, with funds from the Overture Foundation and the Pleasant T. Rowland Foundation; and from the Evjue Foundation of The Capital Times. In the event of inclement weather, concerts will be cancelled.

For more information, please visit www.allencentennialgarden.org

Summer Sundays Concerts in the Garden 4

Summer Sundays in the Garden. Afternoon Concerts in the English Garden. June 26 – Sept. 18. 4–5:30 p.m.

June 26 – Johannes Wallmann’s Quartet West. Known as a “remarkable pianist and composer” (Downbeat Magazine) and “a truly international kind of cat” (Midwest Record), Johannes Wallmann, Director of Jazz Studies at UW-Madison, opens SUMMER SUNDAYS with a quartet of top-notch guest artists from Los Angeles and San Francisco to offer up a high-energy, imaginative, and infectious kickoff for the new summer concert series.

July 10 – Quartessence (below). One of Madison’s most often heard society quartets, award-winning Quartessence String Quartet brings a stylish sophistication to a wide range of repertoire including jazz, golden oldies, and imaginative covers of current rock and pop hits, from Bach to the Beatles, Puccini to Pops, Classics to Covers.

Quartessence string quartet

July 24  – Doug Brown Group. Acoustic jazz guitarist Doug Brown brings his infectious spirit and imagination to irrepressibly joyous, finely honed swing-era jazz standards.

Aug. 7 – Willy Street Chamber Players (below). Fun and sassy chamber music by one of Madison’s newest groups, bringing a fresh, imaginative take to classical music that is appealing to both lifelong classical music fans and newcomers to the genre. Expect some serious fun!

Willy Street Chamber Players 2016 outdoors

Aug. 21 –  Clocks in Motion (bel0w). Breaking down barriers of a traditional concert performance, this groundbreaking percussion ensemble serves up virtuosic performances that include theater and art and consistently offer a joyous entertainment experience.

Clocks in Motion Group Collage Spring 2015

Sept. 4 – Harmonious Wail. Smoldering vocals laced among jazzy mandolin and guitar, Harmonious Wail offers an infectious blend of continental jazz, swing, gypsy music, and melodic vocals.

Sept. 18 – Paul Muench Quartet. Now firmly established in the Madison jazz scene, Paul Muench’s group offers up imaginative improvs and creative modern arrangements of timeless jazz standards.


Classical music: What is your favorite Easter music? There is so much to choose from. Here are two samplers.

March 27, 2016
6 Comments

By Jacob Stockinger

Today is Easter Sunday, 2016.

Easter Sunday

You don’t have to be a believer to know that the events of Easter have inspired great classical music, especially in the Baroque era but also in the Classical, Romantic and Modern eras.

Easter lily

Of course, there is the well-known and much-loved oratorio “Messiah” by George Frideric Handel, who wrote it for Easter, not Christmas as is so often assumed because of when it is usually performed. (NOTE: The Madison Bach Musicians will perform “Messiah,” with period instruments and historically informed performance practices, at the First Congregational United Church of Christ on Friday and Sunday, April 8 and 10.)

There is a lot of instrumental music, including the gloriously brilliant brass music by the Venetian composer Giovanni Gabrieli and the darker Rosary sonatas for violin by Heinrich Ignaz Franz Biber and the “Lamentation” Symphony, with its sampling of familiar tunes and intended to be performed on Good Friday, by Franz Joseph Haydn.

Heinrich Biber

Easter music cuts across all kinds of nationalities, cultures and even religious traditions: Italian, German, English, Scottish, American, Russian, French and Austrian.

But the occasion — the most central event of Christianity — is really celebrated by the huge amount of choral music combined with orchestral music – perhaps because the total effect is so overwhelming and so emotional — that follows and celebrates Holy Week, from Palm Sunday through Maundy Thursday and Good Friday and then ultimately to Easter and the Resurrection from death of Jesus Christ.

For The Ear, the pinnacle is the music of Johann Sebastian Bach (below), especially his cantatas, oratorios and passions.

Bach1

But today The Ear wants to give you a sampler of 16 pieces of great Easter music, complete with audiovisual clips.

Here is one listing that features music by Johann Sebastian Bach, Thomas Tallis, Nikolai Rimsky-Korsakov, Gustav Mahler, Francis Poulenc and James MacMillan:

http://www.classical-music.com/article/six-best-pieces-classical-music-easter

And here is another listing that features music by Antonio Vivaldi, Hector Berlioz, Gioachino Rossini, Heinrich Ignaz Franz Biber, Franz Joseph Haydn, Ludwig van Beethoven, Bach’s “Easter Oratorio” (rather than his “St. Matthew Passion” or “St. John Passion”) and “The Resurrection” oratorio (other than “Messiah”) by Handel.

http://www.theimaginativeconservative.org/2015/04/ten-classical-music-pieces-for-easter.html

Curiously, no list mentions the gorgeous and haunting “Miserere” (below) by Gregorio Allegri. It was traditionally performed in the Vatican’s Sistine Chapel on the Wednesday and Good Friday of Holy Week, but was kept a closely guarded secret. Publishing it was forbidden. Then a 12-year-old Wolfgang Amadeus Mozart heard it and copied it down from memory.

Finally, The Ear offers his two favorite pieces of Easter music that never fail to move him. They are the passion chorale and final chorus from the “St. Matthew Passion” by Johann Sebastian Bach:

What piece of music is your Easter favorite?

Do you have a different one to suggest that you can leave in the COMMENT section, perhaps with a link to a YouTube video?

The Ear wants to hear.


Classical music: The UW-Madison School of Music has a busy weekend, including a FREE orchestra concert for the Wisconsin Academy’s marking of the centennial of the extinction of the passenger pigeon plus a FREE cello recital and a voice faculty showcase.

October 29, 2014
1 Comment

By Jacob Stockinger

It will be a busy weekend at the University of Wisconsin-Madison School of Music.

Events include a FREE orchestra concert on Sunday afternoon for the Wisconsin Academy’s marking of the centennial of the extinction of the passenger pigeon.

But there is also a FREE cello recital on Saturday night and a voice faculty showcase concert on Sunday evening.

Here are details.

SATURDAY

At 8 p.m. in Mills Hall, cello Professor Parry Karp (below left), who also plays in the Pro Arte Quartet, will play a FREE recital with his longtime pianist partner Eli Kalman (below right), who teaches at UW-Oshkosh and did his doctoral work at the UW-Madison School of Music.

Parry Karp and Eli Kalman

The program includes the Sonata in C Minor for Piano and Violin, Op; 30, No. 2 (1802), by Ludwig van Beethoven as transcribed for cello by Parry Karp, who also transcribed all the violin sonatas by Johannes Brahms; the Sonata in E-flat Major for cello and piano (1922) by Ettore Desderi; and the Concerto for Cello and Orchestra, Op 22 (1945) by Samuel Barber.

Parry Karp and Eli Kalman 2014

REMEMBERING THE PASSENGER PIGEON

On Sunday, Nov. 2, at 2 p.m. in Mills Hall, the UW Symphony Orchestra will perform the Wisconsin premiere of “The Columbiad,” preceded by a talk by acclaimed emeritus wildlife professor Stanley Temple (below).

Stanley Temple

The music program is: A. P. Heinrich, “The Columbiad, or Migration of American Wild Passenger Pigeons”; the Concerto for Orchestra by Witold Lutoslawski; and the “Tragic” Overture by Johannes Brahms.

The concert is part of a two-day symposium on the 100th anniversary of the demise of the fabled passenger pigeon. It features a short talk by Stanley Temple, Beers-Bascom Professor Emeritus in Conservation, University of Wisconsin-Madison and Senior Fellow, Aldo Leopold Foundation.

Learn more here.

On the occasion of the 2014 centenary of the extinction of the passenger pigeon, the Wisconsin Academy of Sciences, Arts and Letters and the UW-Madison Department of Forest and Wildlife Ecology invite the public to join in an exploration of the sobering story of the passenger pigeon (below is a photo of a stuffed real passenger pigeon) and what it can tell us about the ongoing extinction crisis and our relationship with other species.

passenger pigeon stuffed

Events include the Wisconsin premiere of The Columbiad, a symphony by Anthony Philip Heinrich, performed by the UW Symphony Orchestra. The Columbiad created a sensation at its premiere in Prague in 1858 and will be performed once again this fall at UW-Madison and Yale University. (You can hear the beginning of the work as performed at Yale in early October in a YouTube video at the bottom.)

Anthony Philip Heinrich

Heinrich was inspired by witnessing vast flocks of passenger pigeons in 1831. Known in his day as “the log cabin composer” and “the Beethoven of America,” Anthony Philip Heinrich is the only important composer of the early 19th century to have experienced the North American frontier as he did. He saw Niagara Falls, he encountered Native Americans and slave musicians, and he witnessed the astonishing migration of giant flocks of passenger pigeons.

To learn about the national effort, please see Project Passenger Pigeon.

Here are related events and links:

The Savage Passengers (play)

A staged reading of a new play about the passenger pigeon by The Bricks Theatre

Saturday, November 1, 2014 from 7 to 9 p.m.

UW-Madison Biotechnology Auditorium, 425 Henry Mall

From Billions to None (Documentary)

An afternoon documentary screening and panel discussion on the demise of the passenger pigeon

Saturday, November 1, 2014 from 1 p.m. to 4 p.m.

UW–Madison Union South, Marquee Theater

1308 W. Dayton St.

Stanley Temple: “A Bird We Have Lost and a Doubt We Have Gained” (Fellows Forum).

Stanley A. Temple is the Beers-Bascom Professor Emeritus in Conservation in the Department of Forest and Wildlife Ecology and former Chairman of the Conservation Biology and Sustainable Development Program in the Gaylord Nelson Institute for Environmental Studies at UW–Madison. For 32 years he held the academic position once occupied by Aldo Leopold, and during that time he won every teaching award for which he was eligible. Temple has a PhD in ecology from Cornell University where he studied at the Cornell Lab of Ornithology. (below is a photo of one mass shooting of passenger pigeons.)

passenger pigeon slaughter

VOICE FACULTY SHOWCASE CONCERT

At 7:30 p.m. on Sunday night, Nov. 2, in Mills Hall the UW-Madison voice faculty presents an evening of chamber music featuring the solo voice. Featuring a premiere, “White Clouds, Yellow Leaves,” written by composer and saxophone professor Les Thimmig (below).

Les Thimmig color

Participants includes: Mimmi Fulmer and Elizabeth Hagedorn, sopranos; Paul Rowe, baritone; with Karen Atz, harp; Thomas Kasdorf, piano; Marc Vallon, bassoon; Parry Karp, cello; and many students and faculty from the UW-Madison School of Music.

Tickets are $10 with students getting in for FREE. Tickets will be available at the door as well as online or at the box office. Please see this link.

Here is the full program:

“Don Quichotte à Dulcinée” (1934) by Maurice Ravel (1875-1937) Chanson Romanesque; Chanson épique; Chanson á boire with Paul Rowe, baritone, with Thomas Kasdorf, piano.

“La lettre” by Jules Massenet  (1842-1912)

“Absence” by Georges Bizet  (1838-1875)

“L’invitation au voyage” by Emmanuel Chabrier (1841-1894) with Elizabeth Hagedorn, soprano; Marc Vallon, bassoon, with Thomas Kasdorf, piano, and Karen Atz, harp.

“Barcarolle” by Charles Gounod  (1818-1893) with Elizabeth Hagedorn, soprano; Paul Rowe, baritone, with Thomas Kasdorf, piano.

INTERMISSION

“Long Pond Revisited” (2002) by Lori Laitman (below, b. 1955). From poetry by C.G.R. Shepard: “I Looked for Reasons,” “The Pond Seems Smaller,” “Late in the Day,” “Days Turn,” “Long Pond Revisited” with Paul Rowe, baritone; Parry Karp, cello.

lori laitman

“White Clouds, Yellow Leaves” (2013) by UW-Madison composer Les Thimmig (b. 1943) fromTexts derived from 8th- and 9th-century Chinese poetry with Mimmi Fulmer: mezzo-soprano; Mi-Li Chang: flute, piccolo, alto flute; Kostas Tiliakos,: English horn; Marc Vallon: bassoon; Sean Kleve: percussion; Karen Atz, harp; Paran Amirinizari: violin; Rachel Hauser: viola; Andrew Briggs: violoncello; and Les Thimmig: conductor.

Here is a link to the full program with program notes:

http://www.music.wisc.edu/events/voice-faculty-recital/

Tickets are $10 for the public; students get in free.

Ticket info here.

 

 

 

 


Classical music: Farley’s Salon Piano Series starts a new season this coming Sunday afternoon with the prize-winning Varshavski-Shapiro piano duo. Plus, tonight is your last chance to hear and see the University Opera’s production of Benjamin Britten’s “Albert Herring.”

October 28, 2014
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ALERT: Tonight at 7:30 p.m. in Music Hall on Bascom Hill, is your last chance to hear the University Opera’s production of Benjamin Britten’s comic chamber opera “Albert Herring,” which is based on a short story by the 19th-century French writer Guy de Maupassant. (Below, in a photo by Michael R. Anderson, is a crucial scene.)

Tickets are available at the door. They are $22 for the public, $18 for seniors and $10 for students.

Here is a link with more information:

http://www.music.wisc.edu/events/brittens-albert-herring-3/

And here is a link to a review by John W. Barker of Isthmus. The Ear, who saw the Sunday afternoon performance instead of the opening on Friday night, agrees with Barker on the major points:

http://www.isthmus.com/daily/article.php?article=43859&sid=bd26396e522b7c37c6f143f5598af822

University Opera Albert Herring Michael R. Anderson

By Jacob Stockinger

Farley’s House of Pianos will host five concerts in the Salon Piano Series’ 2014-15 season, which starts this coming Sunday:

The Varshavski-Shapiro Piano Duo (below), this Sunday, November 2, at 4 p.m., in music by Schubert, Ravel, Milhaud, Saint-Saens and Poulenc.

varshavski shapiro duet

Pianist Ilya Yakushev (below), Sunday, January 25, 2015, at 4 p.m. in music by Beethoven, Prokofiev and Schumann.

ilya yakushev 3

Pianist Marco Grieco (below), Friday, March 13, 2015 at 7:30 p.m. in music by Johann Sebatsian Bach-Feruccio Busoni, Beethoven, Chopin and Liszt.

marco grieco

Pianist Martin Kasík (below), Saturday, April 18, 2015, at 7:30 p.m. in music by Beethoven, Ravel and Prokofiev.

martin kasik

A spring jazz concert, still to be announced

These concerts constitute the second season of the Salon Piano Series, a 501(c)(3) non-profit founded by Tim and Renée Farley to continue the tradition of intimate salon concerts at Farley’s House of Pianos.

The setting replicates that experienced by audiences throughout the 18th and 19th centuries, and enhances collaboration between performer and audience.

The Series offers audiences the chance to hear upcoming and well-known artists whose inspiring performances are enhanced by the setting and the fine pianos. Some performances are preceded by free lectures. An artists’ reception with light food and beverages follows each concert and is included in the ticket price.

VARSHAVSKI AND SHAPIRO

Here is more about the opening concert:

The program features: “Variations on a French Song”, D. 624, one piano-four hands, by Franz Schubert; “La Valse” for one piano-four hands by Maurice Ravel; the exciting and lyrical Brazil-inspired “Scaramouche” suite by Darius Milhaud (heard at the bottom played by piano superstars Martha Argerich and Evgeny Kissin in a YouTube video); “Variation on a Theme by Beethoven” for two pianos by Camille Saint-Saens; and the Sonata for Two Pianos by Francis Poulenc.

Ukrainian Stanislava Varshavski and Russian Diana Shapiro’s partnership began in 1998, while the two were students at the Jerusalem Rubin Academy in Israel. One year later, they won first prize at the International Piano Duo Competition in Bialystok, Poland.

Stanislava Varshavski-Diana Shapiro

Since then, the ensemble has participated in international festivals and performed solo recitals in at least eight different countries, and has appeared with a number of well-known orchestras, such as the Jerusalem Symphony Orchestra, Warsaw Philharmonic Orchestra, and the New World Symphony Orchestra of Miami.

In 2005, they placed first in the prestigious Murray Dranoff International Two Piano Competition. Varshavski and Shapiro both hold doctorates in Musical Arts from University of Wisconsin-Madison School of Music, where they studied under Martha Fischer. The duo appeared together at Farley’s in 2012 when they premiered the Villa Louis Steinway Centennial grand (below) that was rebuilt in the Farley workshop. Learn more about the Varshavski-Shapiro Piano Duo at www.piano-4-hands.com.

Farley 1877 piano

SALON PIANO SERIES

Visit http://salonpianoseries.org/concerts.html for complete concert programs, and artist information. Tickets are $35 for each concert and can be purchased online at www.brownpapertickets.com

Tickets are also available at Farley’s House of Pianos and Orange Tree Imports.

Farley’s House of Pianos is located at 6522 Seybold Road on Madison’s far west side near the Beltline and West Towne. Plenty of free parking is available at Farley’s House of Pianos, and it is easy to reach by bicycle or Madison Metro.

 

 


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