The Well-Tempered Ear

Classical music: Leon Fleisher, the inspirational pianist and teacher who died a week ago, had ties to Madison

August 9, 2020
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By Jacob Stockinger

Famed American pianist and teacher Leon Fleisher (below, in a photo by Chris Hartlove), who also conducted, died of cancer at 92 last Sunday, Aug. 2.

Wisconsin Public Radio, like many other media outlets including National Public Radio (NPR) and most major newspapers and television stations, devoted a lot of time to tributes to and remembrances of Fleisher.

That is as it should be. If any musician deserved it, Fleisher did.

Fleisher (1928-2020) was a titan who became, over many years and despite major personal setbacks — stemming from an almost paralyzed right hand — a lot more than a keyboard virtuoso.

But despite lots of air time, less well covered has been his relationship to Madison audiences, who had the pleasure of seeing and hearing him several times in person.

In 2003 and then again in 2016 (below top) — at age 88 — Fleisher performed with the University of Wisconsin’s Pro Arte String Quartet (below bottom).

Both times he played the Brahms Piano Quintet in F minor, Op. 34, a masterpiece of chamber music. He and his wife, Katherine Jacobson, also performed a joint recital at the Wisconsin Union Theater in 2009.

Fleisher felt at home in Baroque, Classical, Romantic and even modern music. He was renowned as an interpreter of Brahms. Indeed, his early and widely acclaimed recordings of both Brahms piano concertos as well as of the Waltzes and Handel Variations remain landmarks.

Once he was again playing with both hands, Fleisher also recorded the piano quintet for Deutsche Grammophon with the Emerson String Quartet, another frequent and favorite performer in Madison. (You can hear the finale in the YouTube video at the bottom.)

Here is a this blog’s review of his last Madison appearance: https://welltempered.wordpress.com/?s=Leon+Fleisher

Fleisher liked performing with the Pro Arte, and therein lies another historical tale.

His most influential teacher — the famed pianist Artur Schnabel, with whom the San Francisco-born Fleisher went to study in Europe when he was just 9 — also played often with the earlier members of Pro Arte Quartet. Together they recorded Schubert’s “Trout” Quintet by Franz Schubert, and that recording is still in the catalogue and available on Amazon.

Fleisher discusses studying with Schnabel in his entertaining and informative 2010 autobiography “My Nine Lives” (below).

Fleisher was a child prodigy who made his name while still young. Famed French conductor Pierre Monteux – who conducted the world premiere of Stravinsky’s “The Rite of Spring” in Paris — called Fleisher the “musical find of the century.” Fleisher made his concerto debut at 16 with the New York Philharmonic under Monteux.

Fleisher was just 36 and preparing for a tour with the Cleveland Orchestra and George Szell – a perfect pairing and a conductor with whom he recorded all the Beethoven and Brahms concertos among may others – when he found he could not uncurl the last three fingers of his right hand.

Various diagnoses and causes were offered, and many cures were tried. In the end, it seems like that it was a case of focal dystonia that was caused by over-practicing, especially octaves. “I pounded ivory six or seven hours a day,” Fleisher later said.

After a period of depression and soul-searching, Fleisher then focused on performing music for the left hand; on conducting; and especially on teaching for more than 60 years at the Peabody Institute, located in Baltimore at Johns Hopkins University.

There he helped shaped the career of many other famous pianists, including André Watts, Yefim Bronfman and Jonathan Biss (below, in a photo by Julian Edelstein), who played when Fleisher received the Kennedy Center Honors in 2007. (All three have performed with the Madison Symphony Orchestra.)

Here is an inspiring overview of Fleisher’s life and career from the Peabody Institute: https://peabody.jhu.edu/faculty/leon-fleisher/

And here is another short biography from Wikipedia: https://en.wikipedia.org/wiki/Leon_Fleisher

Here are three especially noteworthy obituaries:

NPR: https://www.npr.org/sections/deceptivecadence/2020/08/02/702978476/leon-fleisher-the-pianist-who-reinvented-himself-dies-at-92

The New York Times: https://www.nytimes.com/2020/08/02/arts/music/leon-fleisher-dead.html

The Washington Post, written by critic Anne Midgette who worked with Fleisher on his memoir: https://www.washingtonpost.com/lifestyle/style/leon-fleisher-sublime-pianist-with-one-hand-or-two-dies-at-92/2020/08/02/c7c98f90-527d-11e6-b7de-dfe509430c39_story.html

The Ear has always found Fleisher’s playing remarkable for its technical fluency combined with the utmost clarity and exacting but flexible sense of rhythm. He always managed to make a piece of music sound just right, as it was intended to sound. His musicality always seemed innate and perfectly natural.

Sample it for yourself. The Ear thinks the performance of all five Beethoven concertos with George Szell still sets a high standard with its exciting, upbeat tempi, its exemplary balance between piano and orchestra, and its exceptional engineering.

The affable Fleisher will long remain an inspiration not only for his playing and teaching, but also for his determination to overcome personal obstacles and go on to serve music — not just the piano.

Did you ever hear Leon Fleisher play live or in recordings? What did you think?

Do you have a comment to leave about the legacy of Fleisher?


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Classical music: A good pandemic project for the Beethoven Year is to follow Boris Giltburg as he learns and posts all 32 piano sonatas in one year

May 27, 2020
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By Jacob Stockinger

There are a lot of ways that musicians are celebrating the Beethoven Year of 2020 – the 250th anniversary of the birth of the composer (below).

One of the most interesting ways also makes for an engaging and ongoing coronavirus pandemic project.

The prize-winning Russian-Israeli pianist Boris Giltburg (below in a photo by Sasha Gusov) is learning all 32 piano sonatas in one year.

It is a formidable challenge, not only because most of the sonatas are technically and musically difficult, but also because the pianist says he has played only nine of the 32 sonatas before.

Giltburg’s videos feature not only fine playing and interpretations, but also a very readable and informative diary he writes that includes notes – also available in German on the website — about the sonatas and about what the process of learning and playing them has been like.

His approach works and makes you a vicarious participant in the major undertaking.

He posts performances of the sonatas every few weeks. He is learning and posting them in chronological order so you get a sense of the evolution. Giltburg is now up to Sonata No. 9 in E Major, Op. 14, No. 1.

Here is some background about Giltburg from Wikipedia: https://en.wikipedia.org/wiki/Boris_Giltburg

And here is a link to more background at his personal website where you can also find information about his other recordings for Naxos (he is known for his Liszt, Rachmaninoff, Scriabin and Prokofiev) and concerts: https://borisgiltburg.com

But the heart of the project is at Beethoven32.com where you can find the sonatas starting from the first.

The Ear likes hearing them this way.

Listening to them one at a time and reading about them seems a less overwhelming way to become familiar with what is called “The New Testament” – as compared to the Old Testament of the 48 preludes and fugues in Bach’s “The Well-Tempered Clavier.”

The Ear finds the playing first-rate and the sound quality excellent with great close-up videos of the keyboard and Giltberg’s playing.

Here is a link to the main website, which is easier than hunting for individual sonatas on YouTube: https://beethoven32.com

The Ear suggests starting at the bottom with Giltberg’s introduction and then working your way up one at a time, allowing time to appreciate both the music and his diary notes.

To get you started, here his introduction to the project:

https://www.youtube.com/watch?v=qeBrn_kwvfg

And below is his performance the Sonata No. 1 in F minor, Op. 2, No. 1.

Let us know what you think of Giltberg as a Beethoven interpreter and what you think of his sonata project.

The Ear wants to hear.

 


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Classical music: Here’s how to apply Madison Symphony Orchestra cancellation refunds to a subscription ticket for next season. Plus, the Oakwood Chamber Players cancel two concerts in May

April 17, 2020
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ALERT: In accordance with the state’s Stay at Home order, concerts by the Oakwood Chamber Players (below) that were scheduled for Saturday night, May 16, and Sunday afternoon, May 17, at Oakwood Village University Woods, on the far west side, have been CANCELED.

By Jacob Stockinger

Now that the Madison Symphony Orchestra (below in a photo by Peter Rodgers) has canceled the rest of its current season, The Ear and others have wondered how to apply refunds to a subscription ticket for the MSO’s 2020-21 season, with the theme of “Ode to Joy: Beethoven and Beyond.” (See the YouTube promotional video at the bottom.)

The MSO recently announced cancellations because of the COVID-19 pandemic and closing of the Overture Center with detailed descriptions of how you could donate the tickets to benefit musicians or exchange them for vouchers to one concert in the next season.

Here is a link: https://welltempered.wordpress.com/2020/04/13/classical-music-the-madison-symphony-orchestra-cancels-concerts-and-events-through-june-here-are-details-and-links-about-donations-exchanges-and-refunds/

But missing was the possibility of applying the cost of tickets to this season’s cancellations to a subscription ticket for next year.

So The Ear called Peter Rodgers, the marketing director for the MSO, to get a clarification.

It turns out that the MSO administrative staff met with representatives of the box office at the Overture Center to discuss various refund options.

Rodgers said the box office is very busy handling refunds from other events that have been canceled. That has made for complex mechanical or technical difficulties in applying one season’s subscription tickets to another.

It is true that you can apply this season’s ticket or tickets to one subscription concert next season, but there is no guarantee of securing your current seat preference, according to Rodgers.

If you want apply this season’s refunds and keep your seat for all the concerts or selected one next season, Rodgers said that the best solution is to ask for the refund and then pay in full for the next season’s subscription tickets.

Here is a link to more information about the MSO’s next season with performers and programs: https://madisonsymphony.org/concerts-events/2020-2021-symphony-season-concerts/

Single tickets go on sale Aug. 15.

You can renew online, by mail and by calling (608) 257-3734. The deadline for subscription renewals or new subscriptions, with a discount of up to 50 percent, is Thursday, May 7.

Here is a link to the page for online renewals or new subscriptions: https://madisonsymphony.org/concerts-events/subscribe-now/

 


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Classical music: Bach Around the Clock 2020 goes virtual and wants your audio-video contribution. Plus TONIGHT, the Wisconsin Chamber Orchestra streams its Dec. 27 concert at the UW

March 27, 2020
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ALERT: TONIGHT, March 27, at 7:30 p.m., the Wisconsin Chamber Orchestra will be streaming its sold-out premiere performance (below) on Dec. 27 in the Mead Witter Foundation Concert Hall at the UW-Madison’s new Hamel Music Center. If you couldn’t get seats for the in-person performance, you can tune in for FREE tonight.

The program is: “Poet and Peasant Overture” by Suppe; the Introduction and Allegro appassionato, Op. 92, by Robert Schumann with pianist Jason Kutz; the Overture to “Orpheus in the Underworld” by Offenbach; the “Habanera” from the opera “Carmen” by Bizet and “What a movie” from the opera “Trouble in Tahiti” by Leonard Bernstein, both with mezzo-soprano Kitt Reuter-Foss; and the Violin Concerto No. 3 in B minor, Op. 61, by Saint-Saens with Rachel Barton Pine. WCO music director Andrew Sewell conducts.

For a link and  portal to the streamed video, go to: https://wisconsinchamberorchestra.org/about/wisconsin-chamber-orchestra-live/

By Jacob Stockinger

The Ear has received the following message from artistic director Marika Fischer Hoyt (below) about the decision to make this year’s Bach Around the Clock a virtual event with a call for community submissions:

The BATC Board of Directors shares the keen disappointment that all music lovers feel at the sudden, shocking collapse of the current concert season.

The BATC 2020 Festival was fully booked, and we had looked forward to 12 hours of music by Johann Sebastian Bach, performed by musicians ranging from young students to adult amateurs to seasoned professionals, all to celebrate the composer’s 335th birthday.

Sadly, that was not to be.

But thinking outside of the box, the Board has decided to try something new: the BATC 2020 Virtual Festival.

We invite local musicians to submit video or audio recordings of themselves singing or playing a selection by Bach. If you’d like, you can also talk at the beginning of your recording, explaining what music by Bach (below) means to you, and why you chose this particular piece. Or feel free to write your thoughts on this subject, and we’ll include that text with your recording.

We reach out especially to those who were scheduled to perform at this year’s festival, and those who have performed with us in the past. But we are very happy to include newcomers to our BATC community as well.

Performers can click on Performers Guide for Media Submissions to find instructions for audio or video file submission.

We request that files be of musical selections 20 minutes or less. If a piece is longer than that, please record the piece in two files.

Our tech team will preview clips for technical quality, upload them to the BATC YouTube channel, and post them on our website and then on our Facebook page, for everyone to enjoy.

BATC plans to launch the Virtual Festival this Saturday, March 28, at 10 a.m., the time the original in-person Festival was scheduled to begin.

We will add new videos every day at 10 a.m., as long as submissions keep coming in. (Below are the Suzuki Strings of Madison performing during a past BATC.)

The BATC Board hopes this Virtual Festival gives local musicians an outlet for sharing their talent and passion with the warmly appreciative local community.

Live music nourishes the soul of performer and audience member alike, and the transcendent, life-giving joy woven into the music of Bach is something we need, now more than ever. (Below is a performance from last year’s Bach Around the Clock.)

For more information, go to: https://bachclock.com and https://www.facebook.com/batcmadison


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Classical music: The Karp family turns in a memorable and moving 40th annual Labor Day concert that also took listeners back in time

September 5, 2019
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By Jacob Stockinger

If you missed the free 40th annual Karp Family Labor Day Concert on Tuesday night in Mills Hall, you missed more than music. You missed the kind of event that makes for long and precious memories.

Sure, you can nitpick the program and the performers, who also included daughter-in-law violist Katrin Talbot (below right) and guest violinist Suzanne Beia (below left), who performs with the Pro Arte Quartet, the Madison Symphony Orchestra and the Wisconsin Chamber Orchestra.

You could ask, for example, which cello transcription worked better – the Violin Sonatina, Op. 100, by Dvorak or the Violin Sonata No. 10, Op. 96, by Beethoven. (The Ear votes for the Dvorak.)

And you could also ask which performer stood out the most. (The Ear thinks that is the great-grandmother and matriarch pianist Frances Karp playing in a Mozart piano quartet. At 90, Frances still possesses beautiful tone, the right volume and balance, and the necessary technical chops. They say there is nowhere to hide in Mozart, but Frances Karp did need any place to hide. Her Mozart was, simply, sublime.)

But, in the end, those kinds of questions and critiques really seem beside the bigger point.

What mattered most was the sheer enjoyment of hearing a family perform live some wonderful music by Mozart, Beethoven, Dvorak and Schumann (the passionate Adagio and Allegro in A-flat Major, Op. 70, played by Lynn Harrell in the YouTube video at the bottom).

And what mattered more as The Ear thought about it was the kind of time travel the concert involved.

There were two kinds, really.

One had to do with having watched the various performing Karps – clearly Madison’s First Family of Music – over four decades. It was touching to realize that The Ear has seen cellist Parry Karp, to take one example, evolve from son to husband to father to grandfather. And through it all, the music remained.

In today’s culture of short attention spans, that kind of constancy and persistence — through the inevitable ups and downs of 40 years — is something to celebrate, admire and cherish.

Time travel happened in another way too.

The Ear first watched Frances Karp accompany her son Parry (below top), then watched son Christopher Karp accompany his older brother Parry (below bottom). And it called to mind the days when – before radio or recordings – families made music together in their homes.

Historically, that’s how many great composers and much great music got started. Wolfgang Amadeus Mozart and Felix Mendelssohn played piano duets with their gifted sisters, Nannerl and Fanny, respectively. Jean Sibelius played duets with his sister. And there were surely many more. Hausmusik, or “house music,” played a vital role.

And this is how it felt at the traditional Karp family concert. We felt invited into a loving, close and gifted musical family who were performing as much for each other as for the audience.

We could use more of that.

The musical and the familial mixed so beautifully, so convincingly, that all one can say after the event is “Thank you” with the ardent wish to hear them again next year.


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Classical music: On Saturday and Sunday, the Madison Savoyards and Central Wisconsin Ballet team up in Gilbert and Sullivan’s “Pineapple Poll” and “Trial by Jury.” Plus, the first Stoughton Chamber Music Festival starts Saturday

August 15, 2019
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ALERT: The two concerts of the first Stoughton Chamber Music Festival will take place on this Saturday afternoon, Aug. 17, at 3 p.m. and on Monday night, Aug. 19, at 7 p.m. at the Stoughton Opera House, 381 East Main Street. Admission is FREE with a suggested donation of $15.

Featured is music by Johann Sebastian Bach, Johannes Brahms, Samuel Barber, Edvard Grieg, George Gershwin and Paul Schoenfield as well as Norwegian folk music. The Ear did not receive details, but here is more information from a story in Isthmus: https://isthmus.com/events/stoughton-chamber-music-festival/

By Jacob Stockinger

This weekend, the Madison Savoyards and Central Midwest Ballet Academy team up to present two of the less well-known works by Gilbert and Sullivan: the comic ballet Pineapple Poll and the operetta Trial by Jury (below, in a photo by Kat Stiennon).

The performances of the two one-acts are in the Mitby Theater at Madison College (formerly Madison Area Technical College), located at 1701 Wright Street on Madison’s east side, at 7:30 p.m. on Saturday night, Aug. 17, and at 3 p.m. on Sunday afternoon, Aug. 18.

Tickets are $30 for adults; $28 for seniors; and $15 for young people and students. Children 3 and under get in for free.

For more information, call the Mitby Theater Box Office at (608) 243-4000 or got to: www.TrialbyPineapple.com

The music director and conductor of the professional orchestra, who is making his debut with the Madison Savoyards, is Sergei Pavlov (below), who teaches at Edgewood College and directs the Festival Choir of Madison.

The “Pineapple Poll” choreography is by Marguerite Luksik (below) of the Central Midwest Ballet Academy.

The stage director of “Trial by Jury” is J. Adam Shelton (below).

PROGRAM NOTES

Here are some program notes provided by The Madison Savoyards:

In an age of international copyright and patent tension, Pineapple Poll ballet suite is an intriguing story. The composer, Arthur Sullivan, had died in 1900. The 50-year copyright moratorium on his music expired in 1950, but his librettist partner, W.S. Gilbert, died in 1911. So in 1950, the leading 20th-century conductor, the late Sir Charles Mackerras (below), could only use the work of the former to create a new work in their honor.

From this legal oddity came the only ballet based on the works of Gilbert and Sullivan (below) and, according to The Times of London, one of the best loved of English ballets. It was first performed in the United States in 1970 by the Joffrey Ballet in New York City; and, most recently, in El Paso, Tulsa, Pittsburgh, Seattle, Livermore, Sarasota and Northampton, Mass.

The music for Pineapple Poll,as a suite, has been played in numerous venues in the U.S., including a performance with band director Mike Leckrone at the UW-Madison in 2008 and at the UW-La Crosse in 2015, thus indicating a strong Wisconsin interest in the music alone.

From its opening notes leaping off the pages of Mikado, Pineapple Poll is a vigorous listen and a visual delight. Clement Crisp of the Financial Times called it, “that rarest of delights, a true balletic comedy.” The National Association for Music Education had identified it as a model piece for elementary school children. In 2003, Christopher Rawson of the Pittsburgh Post-Gazette observed that, in its pairing with Trial by Jury, “if there’s ever been a Gilbert and Sullivan show for people who don’t like Gilbert and Sullivan, this is it.”

Trial by Jury contrasts with the non-verbal Pineapple Poll, showcasing Gilbert’s lyric style in songs that tell the Victorian tale of marital promissory breach with the resulting farcical trial ending in marriage. It was Gilbert and Sullivan’s second collaboration and established their successful reputations. (In photos by Aimee Broman, below top shows Thore Dosdall playing the defendant Edwin (at left) getting the feeling that the jury is not on his side. Below bottom shows the plaintiff Angelina, played by Megan McCarthy).

The Central Midwest Ballet Academy’s Marguerite Luksik and Michael Knight have created original choreography for Pineapple Poll, and performances will feature students from the Academy’s pre-professional level.

In contrast to the tragic-dramatic plots of traditional ballets, the lighthearted nature of Pineapple Poll appeals to a broader audience. Pineapple Poll presents a combination of balanced spectacle and the challenge of experimental work.

Yoked to Trial by Jury, the two productions spark social and artistic novelty, critique and entertainment.

It is worth noting that the performances this weekend are a new collaboration between two homegrown Madison troupes. The Savoyards have been performing every summer since 1963, while Central Midwest Ballet has been active since 2015.

Here is an example of the Sullivan operetta tunes patched together in the Opening Dance of “Pineapple Poll.” (You can hear the Overture in the YouTube video at the bottom):

    1. The Mikado, Opening Act 1.
    2. Trial By Jury, “Hark, the hour of Ten is sounding.”
    3. The Mikado, “So please you, sir, we much regret” (“But youth, of course, must have its fling. . .”
    4. Patience, “The Soldiers of our Queen.”
    5. Trial by Jury, “He will treat us with awe” (“Trial-la- law”).
    6. The Gondoliers, “Good Morrow, Pretty Maids” (orchestral accompaniment).
    7. Trial By Jury, “Hark, the hour of Ten is sounding.”
    8. The Mikado, “So please you, sir, we much regret.”


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Classical music: The Oakwood Chamber Players will play music by Russian, British, Canadian and American composers this Saturday night and Sunday afternoon

March 1, 2019
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ALERT: If you attend the concert by the Cuarteto Casals tonight at 7:30 p.m. in Shannon Hall of the Wisconsin Union Theater, you night want to read local writer and amateur cellist Paul Baker’s interview with the Chicago-born violist who analyzes the interpretation of each piece on the program. Here is a link to Baker’s blog “Only Strings” where you can find the interview: https://onlystringswsum.wordpress.com/author/pbaker/  

For more information about the group and the concert, go to yesterday’s post:  https://welltempered.wordpress.com/2019/02/28/classical-music-this-friday-night-the-wisconsin-union-theater-presents-a-world-class-spanish-string-quartet-and-will-also-announce-the-special-programs-for-its-centennial-anniversary-next-season/

By Jacob Stockinger

This coming weekend, the Oakwood Chamber Players (below) continue their season theme of Vignettes with compositions that depict concepts and stories.

The program includes dances from Panama, a string quartet from Russia and interpretation of the natural world woven into a composition by an American composer.

Performances will take place Saturday night, March 2, at 7 p.m. and Sunday afternoon, March 3, at 2 p.m. Both concerts will be held at the Oakwood Center for Arts and Education, 6209 Mineral Point Road, on Madison’s far west side not far from West Towne Mall.

Tickets can be purchased with cash or personal checks at the door: $25 for general admission, $20 for seniors, and $5 for students. Visit www.oakwoodchamberplayers.com or call (608) 230-4316 for more information.

Five Novelettes for string quartet by Russian composer Alexander Glazunov (below) showcase the composer’s imagination and romantic writing. From the opening elegance in the Spanish style to the spirited Hungarian character in the finale, each of the five contrasting movements is graceful and captivating.

Red Hills Black Birds was composed by American composer Libby Larsen (below) for clarinet, viola and piano after she viewed contrasting paintings of New Mexico by Georgia O’Keeffe. Many of O’Keeffe’s works embody a sense of perspective, color and horizon. Larsen’s music uses her impressions of O’Keeffe’s art as her compositional focus. She reimagines six paintings of the southwest and shapes her composition to concepts of breadth and timelessness.

Dash for flute, clarinet and piano by American composer Jennifer Higdon (below) is a riotous musical chase. The composer chose these three instruments specifically for their capability of velocity. The unrelenting pulse creates a breath-taking technical sprint for the players.

O Albion by British composer Thomas Adès (below) is excerpted from his string quartet Arcadiana. The music has an ethereal quality and mesmerizes with its slow beauty and simplicity. (You can hear “O Albion” in the YouTube video at the bottom.)

Trio for flute, clarinet and bassoon is an upbeat piece written by Canadian composer, bassoonist and jazz pianist Bill Douglas. His writing brings together both classical and jazz influences.

The concert concludes with Danzas de Panama by William Grant Still (below) for string quintet and flute. A noted 20th century African-American composer, Still based this piece on Panamanian folk tunes collected in the 1920s. He used the lushness of the songs and compelling rhythms with great success. He was a talented orchestrator and it is hard to resist the panache and charm of the four movements: Taborita, Mejorana, Punto and Cumbia y Conga.

Oakwood Chamber Players members are Marilyn Chohaney, flute; Nancy Mackenzie, clarinet; Amanda Szyczs, bassoon; and Maggie Townsend, cello. They will be joined by guest artists Elspeth Stalter-Clouse, violin; Ariel Garcia, viola; Brad Townsend, bass; and Satoko Hayami, piano.

This is the fourth of five concerts in the Oakwood Chamber Players’ 2018-2019 season series entitled Vignettes. Remaining concerts will take place on May 18 and 19.

The Oakwood Chamber Players are a group of Madison-area professional musicians who have rehearsed and performed at Oakwood Village for over 30 years. They have also played in other local groups, including the Madison Symphony Orchestra and the Wisconsin Chamber Orchestra, and at the University of Wisconsin-Madison.

The Oakwood Chamber Players is a professional music ensemble proudly supported by Oakwood Lutheran Senior Ministries and the Oakwood Foundation.


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Classical music: Tonight brings an all-Bach organ recital at Overture Hall. At the UW-Madison, this week brings music for band, brass and strings

October 23, 2018
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By Jacob Stockinger

TONIGHT, Tuesday, Oct. 23

At 7:30 p.m. in Overture Hall, Paul Jacobs (below) will perform an all-Bach program. Jacobs, who is the only organist to have won a Grammy Award, is the chair of the organ department at the Juilliard school in New York City and was the teacher and mentor of Greg Zelek, who is the new organist for the Madison Symphony Orchestra.

Heralded as “one of the major musicians of our time” by Alex Ross of The New Yorker and as “America’s leading organ performer” by The Economist, the internationally celebrated Jacobs combines a probing intellect and extraordinary technical mastery with an unusually large repertoire, both old and new. He has performed to great critical acclaim on five continents and in each of the 50 United States.

Jacobs made musical history at age 23 when he played Bach’s complete organ works in an 18-hour marathon performance on the 250th anniversary of the composer’s death. (You can hear Jacobs play Bach in the YouTube video at the bottom.) Jacobs has premiered works by Samuel Adler, Mason Bates, Michael Daugherty, Wayne Oquin, Stephen Paulus, Christopher Theofanidis and Christopher Rouse, among others.

During the 2018-19 season, Jacobs will perform the world premiere of John Harbison’s “What Do We Make of Bach?” for organ and orchestra with the Minnesota Orchestra under conductor Osmo Vanska; with the Cleveland Orchestra he will give the American premiere of Austrian composer Bernd Richard Deutsch’s “Okeanos” for organ and orchestra.

For more details about Jacobs, his complete all-Bach program and tickets ($20), go to: https://madisonsymphony.org/event/paul-jacobs/

WEDNESDAY, Oct. 24

At 7:30 p.m. in Mills Hall, the UW Concert Band will perform a FREE concert of music by Leonard Bernstein (excerpts from “Candide”), Vincent Persichetti, Percy Grainger, Mark Markowski and Steven Bryant.

For more information about the performance and the program, go to: https://www.music.wisc.edu/event/uw-concert-band-fall-concert-2/

THURSDAY, Oct. 25

At 7:30 p.m. in Mills Hall, the Wisconsin Brass Quintet and special guest UW percussionist Anthony DiSanza (below, in a photo by Katherine Esposito) will perform a ticketed concert of genre-bending music by Michael Tilson Thomas, Pat Metheny, Modest Mussorgsky, Alan Ferber, James Parker and David Sanford.

Admission is $17 for adults, $7 for students and children.

For more information about the performers, the program and how to purchase tickets, go to:

https://www.music.wisc.edu/event/wisconsin-brass-quintet-with-anthony-disanza-professor-of-percussion-2/

Members of the Wisconsin Brass Quintet (below, from left, in a photo by Michael R. Anderson) are: Daniel Grabois, horn; Mark Hetzler, trombone; Matthew Onstad, trumpet; Tom Curry, tuba; and Alex Noppe, trumpet.

SATURDAY, Oct. 27

At 8 p.m. in Mills Hall, the Pro Arte Quartet will perform a FREE concert.

The program features: the String Quartet in C Major, D. 46 (1813), by the young Franz Schubert; Three Rags for String Quartet (“Poltergeist” from 1971, “Graceful Ghost” from 1970, and “Incinteratorag” from 1967) by William Bolcom; and the String Quartet in E minor, Op. 44, No. 2 (1837), by Felix Mendelssohn.

For more information about the Pro Arte Quartet and its long, historic and fascinating background, go to: https://www.music.wisc.edu/event/pro-arte-quartet-3/

Members of the Pro Arte Quartet (below, from left, in a photo by Rick Langer, are: David Perry and Suzanne Beia, violins; Sally Chisholm, viola; and Parry Karp, cello.)


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Classical music: The Madison Symphony Orchestra concerts this weekend feature three local debuts — by a woman conductor, a Grammy-winning cellist and an immigrant composer

October 17, 2018
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IF YOU LIKE A CERTAIN BLOG POST, PLEASE FORWARD A LINK TO IT OR SHARE IT (not just “Like” it) ON FACEBOOK. Performers can use the extra exposure to draw potential audience members to an event.

By Jacob Stockinger

Three local debuts will take place this weekend in the three “Epic Romance” concerts by the Madison Symphony Orchestra (below).

Renowned Canadian guest conductor Tania Miller will lead the MSO while music director John DeMain makes his debut at the Liceu Theater in Barcelona, conducting the opera Candide in celebration of the 100th anniversary of Leonard Bernstein’s birth.

Grammy Award-winning American cellist Zuill Bailey will make his Madison Symphony Orchestra (MSO) solo debut in Edward Elgar’s Cello Concerto.

And Canadian composer Michael Oesterle will be performed for the first time in Madison when his work Home” opens each concert.

The second half of the program is Peter Ilyich Tchaikovsky’s Symphony No. 5.

Performances will be held in Overture Hall of the Overture Center, 2912 State Street, on Friday, Oct. 19, at 7:30 p.m.; on Saturday, Oct. 20 at 8 p.m.; and on Sunday, Oct. 21, at 2:30 p.m.

Here are more details:

Canadian Conductor Tania Miller has distinguished herself as a dynamic interpreter, musician and innovator, on the podium and off. She has been praised for “energy, grace, precision and restraint.” She has appeared as a guest conductor in Canada, the United States and Europe with such orchestras as the Bern Symphony Orchestra, Seattle Symphony, Oregon Symphony and the Vancouver Symphony, among others.

Over a 14-year tenure as the Music Director of the Victoria Symphony in Canada, Miller (below) gained national acclaim for her passion and commitment to the orchestra and community. Recipient of the 2017 Friends of Canadian Music award from the Canadian League of Composers for her acclaimed commitment to contemporary music in Canada, Miller has been an example of the impact of commitment and dedication to an orchestra and to the future of orchestral music through creative innovation and vision.

You can hear Tania Miller discuss women conductors in the informative YouTube video at the bottom.(But please be forewarned: YouTube was having major technical issues and glitches last night that affected all their videos on this blog, not just this one. If it doesn’t load when you try, wait and then try again.) 

Zuill Bailey (below), described by Classical Net as “easily one of the finest cellists today,” has been featured with symphony orchestras worldwide, including Los Angeles, Chicago, San Francisco, Toronto, Israel, Cape Town, and the Bruckner Orchestra in Linz, Austria. Bailey has also appeared at Disney Hall, the Kennedy Center, the United Nations, Lincoln Center and Carnegie Hall.

In 2017, Bailey won a best solo performance Grammy Award for his live recording of “Tales of Hemingway,” by composer Michael Daugherty. His celebrated “Bach Cello Suites” and recently released Britten Cello Symphony and Sonata CD with pianist Natasha Paremski immediately rose to the No. 1 spot on the Billboard magazine Classical Chart.

His Cello Concerto was the last notable work by Sir Edward Elgar (below), composed in 1919 in the aftermath of World Ear I. Upon regaining consciousness following a 1918 tonsillectomy, Elgar immediately asked for pencil and paper and wrote down the melody that would become the first theme in this concerto.

Despite today’s renown as a crowd favorite, the piece did not achieve wide popularity until the 1960s, when a recording by Jacqueline du Pré caught the public’s attention, and it became a classical favorite.

Michael Oesterle’s “Home” had its world premiere in November 2017 with the Royal Conservatory Orchestra and conductor Tania Miller.

The piece is an homage to the great geographical ebb and flow of humanity, also known as the immigrant experience. Oesterle (below) notes, “I wrote it through the filter of my personal impressions as an immigrant, and with the realization that this subject is humbling in its breadth.”

Composed between May and August 1888, Tchaikovsky’s Symphony No. 5 was first performed in St. Petersburg at the Mariinsky Theatre with Tchaikovsky below) conducting.

Unlike its two predecessors, there is no known program for the Fifth Symphony, save for a recurring main theme heard throughout all four movements. Over the years this theme has become known as the “fate” motive; its original ominous character undergoes various metamorphoses, emerging triumphant in the score’s concluding pages.

ABOUT ATTENDING

The lobby opens 90 minutes prior to each concert. One hour before each performance, Madison Symphony Chorus Director and UW-Madison director of choral activities Beverly Taylor (below) will lead a 30-minute Prelude Discussion in Overture Hall to enhance concertgoers’ understanding and listening experience. It is free to ticket holders.

The MSO recommends 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 Prelude Discussion.

Program notes for the concerts are available online: http://bitly.com/oct2018programnotes

Tickets can be purchased in the following ways:

  • Single Tickets are $18-$93 each and are on sale now at: https://madisonsymphony.org/ax through the Overture Center Box Office at 201 State Street, or by calling the Box Office at (608) 258-4141. Fees apply to online/phone sales.
  • Groups of 10 or more can save 25% by calling the MSO office at (608) 257-3734. For more information, visit, 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 $15 or $20 tickets. More information is 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.
  • Subscribers to 5 or more symphony subscription concerts can save up to 50% off single ticket prices. More information is available about the season at: https://madisonsymphony.org/18-19
  • Flex-ticket booklets of 10 vouchers for 18-19 symphony subscription concerts are available. Learn more at: https://madisonsymphony.org/flex

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

Find more information, go to madisonsymphony.org

Major funding for the October concert is provided by: Mirror 34 Productions and National Guardian Life Insurance Company. Additional funding is provided by John A. Johnson Foundation, a component fund of the Madison Community Foundation, Barbara J. Merz, Selma Van Eyck, and the Wisconsin Arts Board, with funds from the State of Wisconsin and the National Endowment for the Arts.


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Classical music: The Oakwood Chamber Players open their new “Vignettes” season with concerts on Saturday night and Sunday afternoon

September 14, 2018
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A CORRECTION: The Ear wants to apologize for and correct an error he made in yesterday’s blog post. The correct time and address for the all-Schubert concert by the Mosaic Chamber Players is on Saturday night at 7:30 p.m. in the chapel of the First Congregational United Church of Christ, 1609 University Avenue, near Camp Randall Stadium.

By Jacob Stockinger

The Oakwood Chamber Players (below) will begin their 2018-2019 season series “Vignettes” with concerts on Saturday, Sept. 15, at 7 p.m. and Sunday, Sept. 16, at 2 p.m.

The concerts will both be held at the Oakwood Center for Arts and Education, 6209 Mineral Point Road, on Madison’s far west side near West Towne Mall.

Tickets can be purchased with cash or personal checks at the door: $25 for general admission, $20 for seniors 62 and over; and $5 students. Visit www.oakwoodchamberplayers.com or call (608) 230-4316 for more information for individual and season tickets.

Once again, the group will explore largely new or unknown composers and neglected music.

Each program of the 2018-19 series will focus on how composers create specific themes to tell stories, and represent emotions, places or characteristics to enhance the listening experience.

Central to the program is poetry and narration paired with music that will feature Boston-based guest soprano Mary Mackenzie (below). She has been described by The New York Times as “a soprano of extraordinary agility and concentration,” and the Boston Globe as “sensational.”

Mackenzie is a passionate performer of contemporary vocal music, and has appeared with the Chameleon Arts Ensemble of Boston, Collage New Music, the Da Capo Chamber Players, Fulcrum Point New Music Project, and The Knights.

American composer Byron Adams (below) was commissioned by renowned American clarinetist Yehuda Weiner to set Nightingales, a poem by British Victorian poet Robert Bridges, as a memorial to his brother. The composer chose a quartet of soprano, clarinet, cello and piano to evoke the breathtaking beauty of the natural world that is overlaid with a sense of loss and longing.

By contrast, the Pulitzer Prize-winning American composer Jennifer Higdon (below, in a photo by Candace DiCarlo) set four poems that have titles that reference roses by James Whitcomb Riley for the combination of flute, soprano and piano.

Bentley Roses was written as a surprise tribute for the retirement of her former music teacher, Judith Bentley. The settings are sunny and accessible, the music weaves around the words with swirling energy, coy interactions, and graceful interplay.

The yearning Vocalise by conductor, composer and pianist Andre Previn conveys emotion using the voice without words as a chamber instrument. The combination of soprano, cello and piano carries the shifting harmonies and sinuous melodic line through a series of subtle yet powerful transformations. (You can hear Previn’s beautiful “Vocalise,” with soprano Barbara Bonney and the the composer at the piano, in the YouTube video at the bottom.)

A second piece by Previn (below) piece puts the cello and soprano in conversation with his setting of Pulitzer Prize-winning writer Toni Morrison’s poem Stones.

American film composer and bassoonist Charles Fernandez (below) wrote Quatuor Parisienne (Parisian Quartet) for flute, oboe, clarinet and bassoon. It consists of three movements: a tongue-in-cheek march; a gracefully flowing reflection: and a farcical musical conversation with a dash of merriment.

Budapest-based clarinetist and composer Endre Szervanszky (below) wrote his Quintet No. 1 in 1953. Audiences will hear some characteristics similar to the writing of Kodaly and Bartok. It is a pleasing four-movement work that shows his strong understanding of each of the instruments, demanding both melodic expressiveness and technical panache.

The program concludes with poetry by British writer Roald Dahl, known for his darkly humorous children’s stories. Composer Martin Butler (below, in a photo by Katie Vandyck) incorporated The Pig, The Tummy Beast, and The Crocodile into his piece Dirty Beasts for narrator, piano and woodwind quintet. Butler mirrors the acerbic wit of the text with clever effects, closing out the program with some unexpected twists and turns.

Guest performers are soprano Mary Mackenzie, pianist Joseph Ross (below top) and oboist Laura Medisky (below bottom).

They join Oakwood Chamber Players members Marilyn Chohaney, flute; Nancy Mackenzie, clarinet; Amanda Szczys, bassoon; Anne Aley, horn; and Maggie Darby Townsend, cello.

This is the first of five concerts in the Oakwood Chamber Players’ 2018-19 season series entitled Vignettes. Remaining concerts will take place on Nov. 24 and 25; Jan. 12 and 13; March 2 and 3; and May 18 and 19. For more information about the Oakwood Chamber Players and their new season, go to: https://www.oakwoodchamberplayers.com

The Oakwood Chamber Players are a group of Madison-area professional musicians who play with the Madison Symphony Orchestra and the Wisconsin Chamber Orchestra and have rehearsed and performed at Oakwood Village for over 30 years.

The Oakwood Chamber Players are a professional music ensemble proudly supported by Oakwood Lutheran Senior Ministries and the Oakwood Foundation.


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