The Well-Tempered Ear

Classical music: The Salon Piano Series at Farley’s House of Piano announces its new season of four concerts

August 8, 2017
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By Jacob Stockinger

The reliably virtuosic and musically enjoyable Salon Piano Series has just announced its 2017-18 season.

A piano duo, piano soloists and the Pro Arte Quartet provide traditional salon concert experiences with informal seating and restored pianos.

The 2017-18 Salon Piano Series season again includes piano soloists and ensembles typical of 19th-century European salon concerts, with well-known concert artists from Italy, Russia, Israel and Ireland.

According to a press release, the season’s offerings are:

Roberto Plano and Paola Del Negro Duo (below) on Sunday, Sept. 24, 2017 at 4 p.m.

Italian husband and wife piano duo Roberto Plano and Paola Del Negro kick off the season with Schumann’s “Pictures from the East” (Bilder aus Osten, Op. 66), Brahms’ Hungarian Dances 1-5, “The Moldau” by Smetana, and Brahms’ Sonata for Two Pianos, Op. 34b, the earlier version of his great Piano Quintet. The duo will perform on one piano for the first half of the program and on two for the second half. (You can hear them perform Hungarian Dances by Brahms in the YouTube video at the bottom.)

Ilya Yakushev (below) on Sunday, Nov. 12, 2017 at 4 p.m.

Returning by popular demand, Ilya Yakushev will perform an exhilarating program of Haydn’s Piano Sonata in D Major, Tchaikovsky’s “Sentimental Waltz,” Gershwin’s “Rhapsody in Blue” and Mussorgsky’s “Pictures at an Exhibition” in his November concert.

Alon Goldstein (below top) and the UW-Madison’s Pro Arte Quartet (below bottom in a photo by Rick Langer) on Saturday night, March 10, 2018 at 7:30 p.m. and Sunday afternoon, March 11, 2018 at 4 p.m.

To accommodate the crowds, Salon Piano Series booked two performances for Alon Goldstein and the UW-Madison’s Pro Arte Quartet in March. Goldstein will perform selected Scarlatti sonatas solo, then the Pro Arte Quartet and bassist David Scholl will join him for Mozart Concerto No. 23 in A Major, K. 488, in a reduced arrangement, and the Brahms Piano Quintet, Op. 34.

John O’Conor (below) on Saturday, May 12, 2018, 7:30 p.m.

To cap off the season in May, the great Irish pianist John O’Conor will perform Haydn, Beethoven and Schubert in his first Salon Piano Series appearance.

Visit salonpianoseries.org for complete concert programs, and artist information.

All concerts are at Farley’s House of Pianos, at 6522 Seybold Road, on Madison’s far west wide near West Towne Mall. All concert includes a post-concert artist reception.

Tickets are $50 at the door or $45 in advance; season tickets are $150.

You can purchase tickets online at brownpapertickets.com or in-person at Farley’s House of Pianos. Service fees may apply.

About the Salon Piano Series

Now in its fifth season, Salon Piano Series was 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 offers audiences the chance to hear artists whose inspiring performances are enhanced by the setting and the fine pianos.

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Classical music: Which well-known composers or works can’t you stand and consider overrated?

August 5, 2017
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By Jacob Stockinger

We all have them: Composers and well-known works we just don’t like and consider highly overrated.

Composers whose musical works are deemed masterpieces by some but just don’t speak to others.

The Ear recently saw a blog post on the Internet in which a musically sophisticated British listener ranted against Johannes Brahms (below) – the epitome for so many of carefully crafted, soulful late Romanticism — and about how unlistenable and overwritten Brahms’ music is.

The Ear also knows several people who think that the music of the Classical pioneer Franz Joseph Haydn (below) is boring beyond bearable, that his music is thoroughly second-rate or forgettable – even though the great contemporary American composer John Harbison calls Haydn the most undervalued and underplayed of the great composers.

The 12-tone, serial and atonal composers – Arnold Schoenberg, Anton Webern and Alan Berg – also come in for more than their fair share of dismissal.

For The Ear, one of those composers who divide the world in two – into those who love him and those who hate him – is Alexander Scriabin (below), the late Russian Romantic (1872-1915).

Oh, some of the early piano preludes and etudes are OK, largely thanks to the obvious influence of Chopin.

But even though Scriabin died young, he developed his own mature style, including the use of a mystical chord and a taste for apocalyptic and visionary frenzy .

To The Ear, those late works seem way too over-the-top and out-of-control, lacking in discernible structure and significance.

Not long ago, Wisconsin Public Radio played Scriabin’s symphonic tone poem “The Poem of Ecstasy.” (You can hear it in the YouTube video at the bottom.)

Is The Ear the only person who finds it more like “The Poem of Agony”?

And then there are the late, virtuosic and pretentious piano sonatas called “White Mass” and “Black Mass” – favorites of the great Russian piano virtuoso Vladimir Horowitz (below) who, as a child played for Scriabin.

When it comes to the Russian school, The Ear far prefers the emotion in the music of Sergei Rachmaninoff, Sergei Prokofiev and even Peter Tchaikovsky.

Well, what can you do? Such is taste.

So today, The Ear wants to know: Are there famous composers or famous works that you just can’t stand and consider highly overrated?

Leave the name and the reason you hate it so much in the COMMENT section.

Here’s hoping for some interesting and surprising responses.

The Ear wants to hear.


Classical music: What is your favorite Sousa march for the Fourth of July? What other classical music celebrates the holiday?

July 4, 2017
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By Jacob Stockinger

Today is the Fourth of July, Independence Day, when we mark the day and the Declaration of Independence when the U.S officially separated from Great Britain to become not a colony but its own country.

Over the past decade The Ear has chosen music from many American composers to mark the event – music by Edward MacDowell, Charles Ives, William Grant Still, George Gershwin, Aaron Copland, Samuel Barber, Leonard Bernstein, William Schuman, Joan Tower, John Adams and so many others.

And of course also featured around the nation will be the “1812 Overture” by Peter Tchaikovsky.

You will probably hear a lot of that music today on Wisconsin Public Radio and other stations, including WFMT in Chicago and WQXR in New York City.

Here is a link to nine suggestions with audiovisual performances:

http://www.classical-music.com/article/nine-best-works-independence-day

But The Ear got to thinking.

It is certainly a major achievement when a composer’s name becomes synonymous with a genre of music. Like Strauss waltzes. Bach cantatas and Bach fugues. Chopin mazurkas and Chopin polonaises.

The Ear thinks that John Philip Sousa is to marches what Johann Strauss is to waltzes. Others have done them, but none as well.

So on Independence Day, he asks: Which of Sousa’s many marches is your favorite to mark the occasion?

The “Stars and Stripes Forever” — no officially our national march — seems the most appropriate one, judging by titles. “The Washington Post” March is not far behind.

But lately The Ear has taken to “The Liberty Bell” March.

Here it is a YouTube video with the same Marine Band that Sousa, The March King, once led and composed for:

And if you want music fireworks in the concert hall to match the real thing, you can’t beat the bravura pyrotechnical display concocted and executed by pianist Vladimir Horowitz, a Russian who became an American citizen and contributed mightily to the war effort during World War II.

Horowitz wowed the crowds – including fellow virtuoso pianists – with his transcription of “The Stars and Stripes Forever” in which it sounds like three or four hands are playing. Judge for yourself. Here it is:

Of course, you can also leave the names of other American composers and works to celebrate the Fourth. Just leave a word and a link in the COMMENT section.

The Ear wants to hear!


Classical music: Prodigy violinist Julian Rhee performs a recital of Bach, Beethoven and others in Spring Green on Monday night

June 24, 2017
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By Jacob Stockinger

The Ear has received the following announcement from the Rural Musicians Forum:

“His performance knocked our socks off.”

That remark came two years ago from the Wisconsin Chamber Orchestra about the competition performance by violinist Julian Rhee (below, at 14) with the orchestra. This February he played the entire Violin Concerto by Johannes Brahms with the WCO.

Then in March, Rhee (below at 16) won first place in the Madison Symphony Wisconsin Young Artists Final Forte competition with his brilliant performance of the first movement of Peter Tchaikovsky’s virtuosic Violin Concerto in D Major. And that is just 2017!

Now 16 and a junior at Brookfield East High School, Julian Rhee has been winning violin competitions almost every year since he was 7.

And he has received accolades to match, such as this quote from classical music blog The Well Tempered Ear: “What makes Rhee so outstanding is that the level of his musicality matches his high technical mastery.” (You can hear him talk about himself and his playing in the YouTube video at the bottom.)

His recital on this coming Monday night, June 26, at 7:30 p.m. in Spring Green will feature beautiful works by Johann Sebastian Bach, Ludwig van Beethoven, Henryk Wieniawski and Eugene Ysaye. (Sorry, no word on specific works.)

He will be performing at Taliesin’s Hillside Theater (below), at Frank Lloyd Wright’s Taliesin compound in Spring Green.

This will be the second concert of the Rural Musicians Forum 2017 Summer Series, “Beautiful Music in a Beautiful Space.”

A free-will donation will be requested.

The Hillside Theater is located at 6604 County Highway 23, in Spring Green.

Don’t miss this concert. You’ll be able to say, “I heard him before he became famous!”

For more information about the Rural Musicians Forum, go to: http://ruralmusiciansforum.org


Classical music: The 26th season of the Bach Dancing and Dynamite Society chamber music festival opens this weekend with two programs in three locations

June 6, 2017
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By Jacob Stockinger

The Bach Dancing and Dynamite Society (BDDS) presents its 26th annual summer chamber music festival — Alphabet Soup — starting this weekend.

It will run from this Friday, June 9, through Sunday, June 25. The festival features 12 concerts over three weekends, and each weekend offers two different programs.

Concerts will be performed in The Playhouse at the Overture Center in Madison, the Stoughton Opera House in Stoughton and the Hillside Theater at Taliesin in Spring Green.

In the three-weekend festival, you can hear great classical masterpieces and fine contemporary works. A roster of musicians with national and international reputations will perform.

The 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.

Added attractions include stories about the music, mystery guests and even door prizes. As BDDS puts it, “It’s chamber music with a bang!”

BDDS is led by co-artistic directors and performers flutist Stephanie Jutt (below right), who is principal flute with the Madison Symphony Orchestra and who just retired from the UW-Madison faculty; and pianist Jeffrey Sykes (below left), who graduated from the UW-Madison and teaches in Berkeley, California,  where he is a member of the San Francisco Trio. Nineteen guest artists will also perform in the festival.

This season’s theme is Alphabet Soup, because it’s the 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.

Musicians for Week One include three veteran string players: Naumberg Award-winning violinist Carmit Zori (below top); Madison’s very own violist Sally Chisholm (below middle) of the Pro Arte Quartet; and the Toronto Symphony Orchestra’s principal cellist Joseph Johnson (below bottom).

They will be joined by young artists who are participants in the newly formed Dynamite Factory, a BDDS program for nurturing and furthering the talents of three exceptional young musicians — violist Jeremy Kienbaum, violinist Misha Vayman and cellist Trace Johnson.

In one of two “sandwich” programs this weekend, PB&J, Carmit Zori will play the haunting Violin Sonata in F minor by Sergei Prokofiev and the program includes the heavenly Piano Quartet in A Major of Johannes Brahms.

The Dynamite Factory artists are featured in the emotional String Trio by Gideon Klein (below), a work he wrote at the Auschwitz concentration camp shortly before his death. (You can hear the trio by Gideon Klein in the YouTube video at the bottom.)

PB&J will be performed at the Stoughton Opera House on Friday, June 9, at 7:30 p.m.; and in Spring Green at the Hillside Theater, Sunday, June 11, at 2:30 p.m.

A second “sandwich” program, BLT, features the emotionally complex Cello Sonata (featuring Joseph Johnson) by Benjamin Britten (below top); all of the artists working together in the great “London” Symphony by Franz Joseph Haydn as arranged by Haydn’s contemporary and impresario Johann Peter Salomon (below bottom); and the beautiful string sextet “Souvenir de Florence” by Peter Tchaikovsky.

BLT will be performed at The Playhouse, Overture Center for the Arts, on Saturday, June 10, at 7:30 p.m. and at the Hillside Theater, Taliesin, Spring Green, on Sunday, June 11, at 6:30 p.m. 

For the seventh year, BDDS will perform two FREE family concerts, interactive events intended for all ages.

One event takes place 11–11:45 AM, on Saturday, June 10, in The Playhouse of the Overture Center.  The other will be at the Central Library Bubbler on this Thursday afternoon, June 8, from 4 to 5 p.m.

This is a performance for families with children of all ages and seating will be first come, first served. CUNA Mutual Group, Pat Powers and Thomas Wolfe and the Overture Center underwrite these performances.

Photos by Dick Ainsworth of BDDS performances and behind-the-scenes are on exhibit in The Playhouse Gallery through July 9.

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

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

For more information about the group, performers and programs, including audiovisual clips, go to: http://bachdancing.org


Classical music: Madison Symphony Orchestra’s music director John DeMain discusses the 2017-18 season with critic John W. Barker

May 11, 2017
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By Jacob Stockinger

Here is a special posting, an interview with the Madison Symphony Orchestra‘s music director John DeMain about the next season, conducted and 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

Last month, I had a welcome opportunity to sit down with John DeMain (below, in a photo by Prasad), music director of the Madison Symphony Orchestra, together with his marketing director, Peter Rodgers, to discuss the orchestra’s recently announced 2017-18 concert season. (NOTE: Today is the deadline for current subscribers to renew and keep their seats. You can call 608 257-3734 or go to https://www.madisonsymphony.org/reneworder)

This meeting allowed me new insights into the various factors that go into selecting a season’s repertoire. It also gave me further appreciation of Maestro DeMain’s personality and talents.

It further revealed the unfairness of some criticism made that the coming season is “conservative” and repetitive of familiar works. In fact, his programming involves very thoughtful awareness of the differing expectations of the varied audience.

It has become customary to make the season’s opening concert a showcase for talented members of the orchestra, rather than for guest soloists.

The September program thus offers a masterpiece I particularly relish, Hector Berlioz’s Harold in Italy, a symphony with viola obbligato — featuring the orchestra’s principal violist, Chris Dozoryst (below).

But the inclusion of the neglected Fifth or “Reformation” Symphony by Felix Mendelssohn was decided as a link to this year’s 500th-anniversary commemoration of Martin Luther’s launching of the Lutheran Reformation in 1517. Also on the program is Leopold Stokowski’s orchestral arrangement of the Toccata and Fugue in D Minor for organ by Johann Sebastian Bach.

The October program contains a notable example of a familiar and popular “warhorse,” Antonin Dvorak’s Symphony No. 9, “From the New World.” This was indeed performed by the MSO two seasons back as part of the “Beyond the Score” presentations. DeMain indicates that the close repetition is made deliberately to connect with that past event, to expand further the audiences’ understanding of the work.

He is also juxtaposing the symphony with the appearance of the acclaimed Olga Kern (below), playing the Piano Concerto by Samuel Barber and with the “Mother Goose” Suite by Maurice Ravel.

The November soloist is guitarist Sharon Isbin, in two concertos, one new (“Affinity” by Chris Brubeck) and one old (Concierto de Aranjuez by Joaquin Rodrigo)  She plays with her instrument electronically amplified, something very off-putting in my experience. But DeMain notes that all guitarists do that now in concert work, and he wanted to include the guitar to bring in new and different audience members.

Inclusion of suites by Aaron Copland and Manuel de Falla – “Billy the Kid” and “The Three-Cornered Hat,” respectively — also represent popular appeal.

January will bring a triumph for DeMain: the appearance of violinist Gil Shaham (below), after 15 years of efforts to secure him. Shaham will perform the Violin Concerto by Peter Tchaikovsky.

The all-Russian program also allows DeMain to venture for the first time into “The Love for Three Oranges” suite by Sergei Prokofiev and the Third Symphony of Sergei Rachmaninoff.

The issue of “warhorse” repetition is raised by the First Symphony by Johannes Brahms in the February program. But DeMain points out that it has been 10 years since the MSO played the work, a significant one that richly deserves performance by now.

He is also proud to include with it the outstanding Rossini opera overture (Semiramide) and the rarely heard Cello Concerto, with German cellist Alban Gerhardt (below), by the 20th-century British composer William Walton.

DeMain admits to mixed feelings about the “Beyond the Score” presentations of music and background context, but he is confident that the one offered (one night, outside subscriptions) on March 18, about the monumental Enigma Variations, by Sir Edward Elgar, (below) will work well.

The combination in April of Benjamin Britten’s powerful Sinfonia da Requiem and Robert Schumann’s First Symphony (“Spring”) with Antonin Dvorak’s sadly neglected Violin Concerto has special meanings for the maestro. It allows the return of the greatly admired Augustin Hadelich (below) as soloist.

But it also allows DeMain’s return, for his first time since 1974, to the Schumann score, with which he had a crucial encounter in a youthful appearance with the Pittsburgh Symphony.

Finally, the May program is an unusually exciting combination of Mozart’s too-little-appreciated Piano Concerto No. 22 with soloist Christopher O’Riley (below) of NPR’s “From the Top” with the roof-raising Glagolitic Mass, featuring the Madison Symphony Chorus, of Leos Janacek.

DeMain has made important commitments to the orchestral music of Janacek (below) before this, and his advance to the composer’s great blockbuster choral work is a landmark.

Amid savoring DeMain’s thoughts on the season – which also includes the MSO’s traditional Christmas concert in early December — and his wonderful recollections of past experiences, I came to recognize more than ever the remarkable combination of talents he brings to his Madison podium.

Beyond so many conductors, DeMain has had deeply engaging phases of his career in orchestral literature (large and small), in opera and musical theater, and in chamber music, while being himself an accomplished pianist.

With the breadth of his range, he brings a particular sensitivity to the contexts and diversities of what he conducts. He has become to his musicians not only a skilled guide, but also a subtle teacher, deepening their understanding without any hint of pedantry.

It cannot be said enough how truly blessed we are to have him with us in Madison.

For more information about the 2017-18 season, including specific dates and times, and about purchasing tickets for new subscribers and renewing subscribers, go to:

http://www.madisonsymphony.org/17-18


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Classical music: A new recording of Rachmaninoff’s “All-Night Vigil” captures the Russian qualities the composer prized in this sacred music

April 12, 2017
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By Jacob Stockinger

Here is a special posting, a record 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

For reasons, astronomical and cultural, the Western and Eastern Orthodox celebrations of Easter are frequently held at separate dates. But this year they coincide (on this coming Sunday, April 16). That gives good reason to direct attention beyond familiar Western Easter music and instead to that of Eastern Orthodoxy.

A new recording of one of the landmarks of Russian Orthodox music provides further stimulus to this.

Russian Orthodox practice did not encourage extensive new compositions, but stressed elaborate liturgical rituals built around the heritage of medieval monophonic chant, while benefiting from the fabulous style of Russian choral singing—those low basses (“octavists”) in particular.

Most composers who worked to enrich the liturgical literature were professional church musicians, but a number of “secular” Russian composers also made contributions. Notable among them were Nikolai Rimsky-Korsakov, Peter Tchaikovsky and Sergei Rachmaninoff (below).

It is the last of those three who has given us the music at hand, a truly memorable sacred creation. The work is his Op. 37, entitled “The Most Important Hymns of the ‘All-Night Vigil,” and commonly called “The All-Night Vigil” (Vsenoshchnogo Bdeniya) or else, more simplistically the “Vespers.”

It was composed during the early years of World War I, which was to bring about the collapse of the Russia that Rachmaninoff knew. It was performed in 1915, and two years later, amid the upheavals of the two Revolutions, the composer left his native land for good.

Rachmaninoff prized his Op. 37 above his other works; it was his proclamation of Russian identity, and after it he wrote no more sacred music. He even hoped that one section of it could be sung at his funeral. (A moving sample can be heard in the YouTube video at the bottom.)

The Orthodox Christian celebration of the Resurrection places emphasis on the Saturday night offices of Vespers and Matins, in a prolonged and elaborate ritual. (This Vigil array can also be used for other significant feasts beyond Easter.)

Given the lengths, Rachmaninoff chose to set his selection of “the most important hymns” for his Op. 37, for a total of 15 sections. He did follow working practice by building his settings on or around traditional chant melodies. He expected that individual sections might have liturgical usage; but he understood that the totality was a grand concert work.

The Rachmaninoff All-Night Vigil, or “Vespers,” has been recorded many times, often by Russian choirs, which have the musical and liturgical style in their blood. But non-Russian groups and directors have also come to recognize the transcendent beauty of this masterwork.

Noteworthy among those was Robert Shaw, the great American choral master whose recording (on the Telarc label) has been acclaimed by his admirers for its predictably superb choral sound. But Shaw and his singers lack Russian sound or spiritual sensitivity.

Other American performers have joined in: the broadly paced recording with Charles Bruffy and his Phoenix and Kansas City choirs (for Chandos) is notable. Paul Hillier’s recording (for Harmonia Mundi) with the Estonian Philharmonic Chamber Choir has earned great respect.

I have just been taken by the brand new release (below) from Paraclete Recordings of Massachusetts, with the Gloria Dei Cantores and members of three other choirs under the direction of Peter Jermihov.

They number 77 singers in all and, as recorded in a church setting, they make a sumptuous sound. Their emphasis is less on clarifying individual voice parts and more on relishing the rich blends that make up the total texture.

While treating the work as a grand concert piece, this performance goes beyond most others by including intonations by clerical celebrants, recalling the liturgical context that was always in the composer’s mind.

One of the striking features of this release is its thick album booklet. This is not only richly illustrated but contains an unusually penetrating background essay. Further, in presenting the Russian texts (in Cyrillic and transliteration) with English translations, it also gives useful comments section by section, for the fullest understanding of the liturgical contexts.

This is a noteworthy addition to the crowded recording picture for this sumptuous and deeply moving sacred music.


Classical music: From Big 10 oboe music to Big Beethoven sonatas to a maestro’s final bow, this is a varied and busy week at the UW for faculty, guest artists and students

April 4, 2017
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By Jacob Stockinger

The Ear doesn’t see a unifying theme to this week’s events at the University of Wisconsin-Madison Mead Witter School of Music. But there is a lot of varied and appealing music and events — by acclaimed faculty members, guest performers and prize-winning students — on tap.

All concerts are FREE and OPEN TO THE PUBLIC.

Here is the lineup by day:

TODAY

At 7:30 p.m. in Mills Hall, oboist Aaron Hill (below) will give a recital featuring “Oboe Music From the Big 10.” The program includes works by three contemporary composers: Theresa Martin, Teddy Niedermaier and Daniel Black. Also performing are his UW colleagues bassoonist Marc Vallon and pianist Christopher Taylor.

For more information about the performers, the composers and the music, go to:

http://www.music.wisc.edu/event/oboist-aaron-hill-faculty-concert/

WEDNESDAY

From 11:30 to 1:30 in Music Hall, guest conductor Gary Thor Wedow (below), who will conduct the Madison Opera’s upcoming production of “The Magic Flute” by Wolfgang Amadeus Mozart, will give a public master class. Singers from the University Opera and the UW opera program will be featured.

For more information, go to:

http://www.music.wisc.edu/event/master-class-gary-thor-wedow/

At 7:30 in Mills Hall, clarinetist Amy McCann (below) will perform a recital featuring two works: the Sonata for Clarinet and Piano by Argentinean composer Carlos Guastavino; and the Clarinet Trio by Johannes Brahms. Pianist Martha Fischer and pianist Parry Karp will perform with McCann.

SATURDAY

At 3:30 p.m. in Morphy Recital Hall, the all-student Perlman Trio will perform its annual recital.

The program includes the Piano Trio in D Major, Hob. XV/7 by Franz Joseph Haydn; the Piano Trio N. 4 in E Minor (“Dumky”), Op. 90, by Antonin Dvorak; and the Piano Trio No. 2 in C Major, Op. 87, by Johannes Brahms.

Members of the Perlman Trio, which is funded by a gift from Dr. Kato Perlman, are (below, from left, in a photo by Katherine Esposito): cellist Michael Cheng, pianist Chan Mi Jean and violinist Adam Dorn.

For more information about the performers, go to:

http://www.music.wisc.edu/event/the-perlman-trio-annual-recital/

SUNDAY

At 3:30 in Morphy Recital Hall, the winners of the 32nd annual Beethoven Sonata Competition will perform. The program is: Kangwoo Jin playing the Sonata in C Major, Op. 53 (“Waldstein”); Leah Kang playing the Sonata in E Major, Op. 109; and Alberto Peña-Cortes playing the Sonata in A Major, Op. 101.

For more information, go to:

http://www.music.wisc.edu/event/32nd-annual-beethoven-piano-competition-winners-recital/

At 7:30 in Mills Hall, the UW Symphony Orchestra will perform its last concert under professor of conducting James Smith (below), who is retiring after 34 years at the UW-Madison.

The program includes the Overture to “Romeo and Juliet” by Peter Tchaikovsky; the Sinfonia Concertante for Violin and Viola by Wolfgang Amadeus Mozart; and the music from “Fancy Free” by Leonard Bernstein.

For more information go to:

http://www.music.wisc.edu/event/uw-symphony-orchestra-6/

UW Chamber Orchestra, James Smith, conductor

For information about the many student degree recitals that were scheduled, go to:

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


Classical music: The Mosaic Chamber Players excel in piano trios by Rachmaninoff, Ives and Mendelssohn

April 3, 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 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

The Mosaic Chamber Players closed their season on Saturday night at the First Unitarian Society of Madison with a program of three trios for piano and strings.

Rather than bypassing the fact that the date was April 1, the three players—violinist Wes Luke (below top), cellist Kyle Price (below middle), and pianist-director Jess Salek (below bottom) — embraced it as a chance for an “April Fool’s” offering, in the form of the trio composed by Charles Ives.

This is a prime example of the patriotic nose thumbing and iconoclasm in which Ives (below) delighted.

As Luke pointed out in his enthusiastic introduction, the second of its three movements is a Presto bearing the title of “TSIAJ,” an anagram for “This Scherzo Is a Joke.” (You can hear the Scherzo movement, played by the Beaux Arts Trio, in the YouTube video at the bottom.)

The three players dug into it with gusto and almost made its complexities and deliberate off-putting sound plausible—but, fortunately, not quite.

The first half of the program was devoted to the “Elegaic” Trio in D Minor, Op. 9, by Sergei Rachmaninoff. This work was modeled self-consciously on Tchaikovsky’s Piano Trio, Op. 50. Each was written in memory of an admired elder colleague.

Rachmaninoff (below) was well aware of the footsteps in which he was walking—and which he could not quite fill. Cast in three movements with a lot of variations on themes, Rachmaninoff’s Trio runs to almost an hour, and sometimes suggests that the composer’s ambition outran his ideas.

As a pianist himself, Rachmaninoff made the keyboard part very much the dominant one, especially in its latter parts, with the two string players often just along for the ride. Nevertheless, it is an impressive work, and the three Mosaic musicians were quite heroic in allowing us a chance to hear it.

The program concluded with the better known of Felix Mendelssohn’s two trios, the first one in D minor, Op. 49. This is intensely serious yet beautifully melodious music, and proved just the thing to restore a sense of stability and balance.

In all of these works, the three players gave performances that would be rated as first-class anywhere. In that, they upheld the tradition that Jess Salek has created with his colleagues of making Mosaic concerts outstanding events in Madison’s chamber music life.


Classical music: Are the rules of the Madison Symphony Orchestra’s Bolz Young Artist Competition fair? Or do they need to be changed?

April 1, 2017
14 Comments

By Jacob Stockinger

Everyone The Ear has spoken to agrees: The Madison Symphony Orchestra’s concerto competition that took place last Wednesday night — and which was broadcast live over Wisconsin Public Radio (WPR) and Wisconsin Public Television (WPT) — was an extraordinary and inspiring artistic event.

All of those people had nothing but the highest praise for all four teenage finalists – (below, from left) violinist Julian Rhee, harpist Naomi Sutherland, pianist Michael Wu and violinist Yaoyao Chen — who performed under the baton of MSO music director John DeMain.

The Ear can only endorse the fantastic review of the event by local music critic Greg Hettmansberger:

https://whatgregsays.wordpress.com

And you can find out more about at the contestants at this past posting, which has links to biographies and biographical YouTube videos about them and also lists the REBROADCAST TIMES ON TODAY AND SUNDAY:

https://welltempered.wordpress.com/2017/03/25/classical-music-education-watch-it-on-public-television-or-radio-stream-it-live-or-hear-it-in-person-the-final-forte-free-finalists-concert-with-the-madison-symp/

But several people The Ear knows also raised a difficult question that the MSO, WPR, WPT and seems to have avoided:

Is it fair that the impressively talented 16-year-old violinist Julian Rhee, from Brookfield, got to win the first prize for a second time?

Curiously, there was no mention of his previous win in 2015 – a younger Rhee is seen below — when he played the first movement of the Violin Concerto by Brahms. That win went unspoken during this year’s live broadcast, and even in the pre-event publicity or in the post-event publicity.

It almost seems as if the organizers recognized that pointing it out would sound funny, awkward or questionable.

Also, no mention was made that the gifted Rhee also won a competition with the Wisconsin Chamber Orchestra and then played at Concerts on the Square; or that just a month ago, Rhee appeared on the regular season of the Wisconsin Chamber Orchestra, playing the complete Brahms concerto under WCO music director Andrew Sewell.

Such experience probably qualified Rhee – a maturing prodigy — as a professional or at least a semi-professional, assuming he got paid for the WCO appearance, rather than an amateur.

Let’s be clear: This year, Rhee played the opening movement of the Violin Concerto by Tchaikovsky stupendously well. It is hard to argue with the decision of the three judges to award him first prize.

In short, Rhee did nothing wrong and everything right. His winning was not in any way tainted. He won fair and square. He played brilliantly, beautifully and engagingly.

What some people are questioning is not Rhee’s victory, but whether the rules themselves are unfair by allowing a previous first prize-winner to compete a second time. It certainly appears to put the other young competitors with less experience at a disadvantage.

Now, the rules do allow for a performer to win multiple first prizes. Historically, a couple of contestants have indeed won again, performing on different instruments for each appearance.

And no one seems to object that a second-, third- or fourth-prize winner gets a chance to try again to do better and win.

True, the eligibility rules do require that one year passes before a first-prize winner can compete again.

But the question seems to be: Are the rules fair? Or should they be modified, so that the playing field is more even for all the young participants?

Should first-prize winners be excluded from competing again?

That is the question that is being raised, however it is answered.

So The Ear and others want to know:

What do you think?

Are the rules fair or unfair?

Should first-prize winners be allowed to compete again?

Should the rules be changed or stay the same?

Leave your point of view in the COMMENT section.

The Ear wants to hear.


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