The Well-Tempered Ear

Classical music: Here are the classical music nominations for the 2018 Grammy Awards. They make a great holiday gift list of gives and gets

December 2, 2017
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By Jacob Stockinger

This posting is both a news story and a holiday gift guide of recordings you might like to give or get.

It features the classical music nominations for the Grammy Awards that were just announced this past week.

The winners will be announced on a live broadcast on Sunday night, Jan. 28, on CBS.

Read them and then in the COMMENT section tell us which title you think will win in a specific category and what you think of the recordings you know firsthand.

HISTORICAL ALBUMS:

  • “The Goldberg Variations — the Complete Unreleased Recording Sessions June 1955” — Robert Russ, compilation producer; Matthias Erb, Martin Kistner & Andreas K. Meyer, mastering engineers (Glenn Gould)
  • Leonard Bernstein — the Composer” — Robert Russ, compilation producer; Martin Kistner & Andreas K. Meyer, mastering engineers (Leonard Bernstein)

ENGINEERED ALBUM, CLASSICAL

  • “Danielpour: Songs of Solitude & War Songs” — Gary Call, engineer (Thomas Hampson, Giancarlo Guerrero & Nashville Symphony)
  • “Kleiberg: Mass for Modern Man” — Morten Lindberg, engineer (Eivind Gullberg Jensen, Trondheim Vokalensemble & Trondheim Symphony Orchestra)
  • “Schoenberg, Adam: American Symphony; Finding Rothko; Picture Studies” — Keith O. Johnson & Sean Royce Martin, engineers (Michael Stern & Kansas City Symphony)
  • “Shostakovich: Symphony No. 5; Barber: Adagio” — Mark Donahue, engineer (Manfred Honeck & Pittsburgh Symphony Orchestra)
  • “Tyberg: Masses” — John Newton, engineer; Jesse Brayman, mastering engineer (Brian A. Schmidt, Christopher Jacobson & South Dakota Chorale)

PRODUCER OF THE YEAR, CLASSICAL

  • Blanton Alspaugh
  • Manfred Eicher
  • David Frost
  • Morten Lindberg
  • Judith Sherman (below)

ORCHESTRAL PERFORMANCE

  • “Concertos for Orchestra” — Louis Langrée, conductor (Cincinnati Symphony Orchestra)
  • “Copland: Symphony No. 3; Three Latin American Sketches” — Leonard Slatkin, conductor (Detroit Symphony Orchestra)
  • “Debussy: Images; Jeux & La Plus Que Lente” — Michael Tilson Thomas, conductor (San Francisco Symphony)
  • “Mahler: Symphony No. 5” — Osmo Vänskä, conductor (Minnesota Orchestra)
  • “Shostakovich: Symphony No. 5; Barber: Adagio” — Manfred Honeck, conductor (Pittsburgh Symphony Orchestra)

OPERA RECORDING

  • “Berg: Lulu” — Lothar Koenigs, conductor; Daniel Brenna, Marlis Petersen & Johan Reuter; Jay David Saks, producer (The Metropolitan Opera Orchestra)
  • “Berg: Wozzeck” — Hans Graf, conductor; Anne Schwanewilms & Roman Trekel; Hans Graf, producer (Houston Symphony; Chorus of Students and Alumni, Shepherd School of Music, Rice University & Houston Grand Opera Children’s Chorus)
  • “Bizet: Les Pêcheurs de Perles” — Gianandrea Noseda, conductor; Diana Damrau, Mariusz Kwiecień, Matthew Polenzani & Nicolas Testé; Jay David Saks, producer (The Metropolitan Opera Orchestra; The Metropolitan Opera Chorus)
  • “Handel: Ottone” — George Petrou, conductor; Max Emanuel Cencic & Lauren Snouffer; Jacob Händel, producer (Il Pomo D’Oro)
  • “Rimsky-Korsakov: The Golden Cockerel” — Valery Gergiev, conductor; Vladimir Feliauer, Aida Garifullina & Kira Loginova; Ilya Petrov, producer (Mariinsky Orchestra; Mariinsky Chorus)

CHORAL PERFORMANCE

  • “Bryars: The Fifth Century” — Donald Nally, conductor (PRISM Quartet; The Crossing)
  • “Handel: Messiah” — Andrew Davis, conductor; Noel Edison, chorus master (Elizabeth DeShong, John Relyea, Andrew Staples & Erin Wall; Toronto Symphony Orchestra; Toronto Mendelssohn Choir)
  • “Mansurian: Requiem” — Alexander Liebreich, conductor; Florian Helgath, chorus master (Anja Petersen & Andrew Redmond; Münchener Kammerorchester; RIAS Kammerchor)
  • “Music of the Spheres” — Nigel Short, conductor (Tenebrae)
  • “Tyberg: Masses” — Brian A. Schmidt, conductor (Christopher Jacobson; South Dakota Chorale)

CHAMBER MUSIC/SMALL ENSEMBLE PERFORMANCE

  • “Buxtehude: Trio Sonatas, Op. 1” — Arcangelo
  • “Death & the Maiden” — Patricia Kopatchinskaja & the Saint Paul Chamber Orchestra
  • “Divine Theatre — Sacred Motets by Giaches De Wert” — Stile Antico
  • “Franck, Kurtág, Previn & Schumann” — Joyce Yang & Augustin Hadelich
  • “Martha Argerich & Friends — Live From Lugano 2016” — Martha Argerich & Various Artists

CLASSICAL INSTRUMENTAL SOLO

  • “Bach: The French Suites” — Murray Perahia
  • “Haydn: Cello Concertos” — Steven Isserlis; Florian Donderer, conductor (The Deutsch Kammerphilharmonie Bremen)
  • “Levina: The Piano Concertos” — Maria Lettberg; Ariane Matiakh, conductor (Rundfunk-Sinfonieorchester Berlin)
  • “Shostakovich: Violin Concertos Nos. 1 & 2” — Frank Peter Zimmermann; Alan Gilbert, conductor (NDR Elbphilharmonie Orchester)
  • “Transcendental” – Daniil Trifonov

CLASSICAL SOLO VOCAL ALBUM

  • “Bach & Telemann: Sacred Cantatas” — Philippe Jaroussky; Petra Müllejans, conductor (Ann-Kathrin Brüggemann & Juan de la Rubia; Freiburger Barockorchester)
  • “Crazy Girl Crazy — Music by Gershwin, Berg & Berio” — Barbara Hannigan (Orchestra Ludwig)
  • “Gods & Monsters” — Nicholas Phan; Myra Huang, accompanist
  • “In War & Peace — Harmony Through Music” — Joyce DiDonato; Maxim Emelyanychev, conductor (Il Pomo D’Oro)
  • “Sviridov: Russia Cast Adrift” — Dmitri Hvorostovsky; Constantine Orbelian, conductor (St. Petersburg State Symphony Orchestra & Style of Five Ensemble)

CLASSICAL COMPENDIUM

  • “Barbara” — Alexandre Tharaud; Cécile Lenoir, producer
  • “Higdon: All Things Majestic, Viola Concerto & Oboe Concerto” — Giancarlo Guerrero, conductor; Tim Handley, producer
  • “Kurtág: Complete Works for Ensemble & Choir” — Reinbert de Leeuw, conductor; Guido Tichelman, producer
  • “Les Routes de l’Esclavage” — Jordi Savall, conductor; Benjamin Bleton, producer
  • “Mademoiselle: Première Audience — Unknown Music of Nadia Boulanger” — Lucy Mauro; Lucy Mauro, producer

CONTEMPORARY CLASSICAL COMPOSITION

  • “Danielpour: Songs of Solitude” — Richard Danielpour, composer (Thomas Hampson, Giancarlo Guerrero & Nashville Symphony)
  • “Higdon: Viola Concerto” — Jennifer Higdon, composer (Roberto Díaz, Giancarlo Guerrero & Nashville Symphony)
  • “Mansurian: Requiem” — Tigran Mansurian, composer (Alexander Liebreich, Florian Helgath, RIAS Kammerchor & Münchener Kammerorchester)
  • “Schoenberg, Adam: Picture Studies” — Adam Schoenberg, composer (Michael Stern & Kansas City Symphony)
  • “Zhou Tian: Concerto for Orchestra” — Zhou Tian, composer (Louis Langrée & Cincinnati Symphony Orchestra)

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Classical music: Two performances of the annual Winter Choral Concert, to benefit the homeless, are this Sunday afternoon at 2 and 4. Other UW groups also perform during a busy end-of-semester week

November 29, 2017
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By Jacob Stockinger

As always happens towards the end of a semester, the tempo of the performances at the UW-Madison’s Mead Witter School of Music picks up and accelerates.

One highlight this week is two performances of a traditional choral concert.

Under conductor and UW choral program director Beverly Taylor (below), six of seven UW-Madison choirs — Chorale, Concert Choir, Madrigal Singers, University Chorus, Women’s Chorus, Masters Singers – will perform their annual winter concert twice this Sunday afternoon.

The two performances, at 2 and 4 p.m., will be at Luther Memorial Church, located at 1021 University Avenue.

Consider arriving early since these concerts are often very well attended.

Choirs will perform choral works as individual ensembles and jointly.

Holiday carols are part of the program and concert-goers are invited to sing along.

Sorry, but no composers or titles of works have been provided.

Professor John Chappell Stowe (below, in a photo by Katrin Talbot) will perform organ music for the season.

A free-will offering is accepted at the end of the program with proceeds after expenses donated to “The Road Home,” an organization that provides housing and food to homeless families.

THURSDAY

At 7:30 p.m. in Morphy Recital Hall, guest artists flutist Patricia Surman (below) and pianist Michel Keller will give a FREE recital. There is no word on the program, but if you want to know more background about the two musicians, go to:

http://www.music.wisc.edu/event/guest-recital-patricia-surman-flute/

FRIDAY

At 7:30 p.m. in Mills Hall, UW bassoonist Marc Vallon (below top, in a photo by James Gill) will perform a FREE program called “Breaking New Ground” that features the music of Carl Philipp Emmanuel Bach, Anton Webern and Yannis Xenakis among others. UW pianist Christopher Taylor (below bottom) will also play the last piano sonata, No. 32 in C minor, Op. 111, by Ludwig van Beethoven.

For the complete program, go to: http://www.music.wisc.edu/event/breaking-ground-with-marc-vallon-and-friends/

 

SATURDAY

At 4 p.m. in Mills Hall, the All-University Strings (below in a photo by Jeff Miller of the UW-Madison), which is made up of students from all fields and not just music, will perform a FREE concert under conductor Matt Chan. No word on composers or works on the program.

SUNDAY

At 12:30 p.m. in the Brittingham Gallery No. 3 of the Chazen Museum of Art, the Wingra Wind Quartet will perform on “Sunday Live at the Chazen.” Admission is free.

The program includes: “Piano Piece” by Richard Strauss and arranged by Marc Vall0n; Wind Quintet by Theodor Blumer; “Eight Etudes and a Fantasy for Woodwind Quartet” by Elliott Carter; “Opus Number Zoo” by Luciano Berio.

Members (below, from left, in a photo by Katrin Talbot) are: Marc Vallon, bassoon; Timothy Hagen, flute;  Alicia Lee, clarinet; Aaron Hill, oboe; and Joanna Schulz, horn.

You can digitally stream the concert live by going to this website: https://www.chazen.wisc.edu/about/news/in-the-news/sunday-afternoon-live-with-the-wingra-wind-quintet/

For more background about the Wingra Wood Quintet, go to: http://www.music.wisc.edu/wingra-woodwind-quintet/

At 1 p.m in Mills Hall, the UW Concert Band (below top), under conductor Scott Teeple, will perform a FREE concert.The program features UW trombonist Mark Hetzler (below bottom). The program includes “Psalm for Band” by Vincent Persichetti (heard in the YouTube video at the bottom)  “Silver Lining” by Anne McAninch, a UW doctoral student in composition; and “Falling” by Mark Hetzler.

At 4 p.m. in Mills Hall, University Bands will perform a FREE concert. No word on the program.

MONDAY

At 8:30 p.m. in Morphy Recital Hall, the UW Early Music Ensemble, under director Jeanne Swack will mark the 250th anniversary of the death of Baroque composer Georg Philipp Telemann (below) by performing music of Telemann, Johann Joachim Quantz, Barbara Strozzi and Elisabeth Jacquet de la Guerre. No word on a specific program. For more information, go to: http://www.music.wisc.edu/event/early-music-ensemble-3/


Classical music: The Mosaic Chamber Players and the Wisconsin Baroque Ensemble open their new seasons this Saturday night

October 5, 2017
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By Jacob Stockinger

It’s another busy week at the start of the new concert season, and two more groups are giving opening concerts this Saturday night:

MOSAIC CHAMBER PLAYERS

On this Saturday night at 7:30 p.m., in the historic Frank Lloyd Wright-designed Landmark Auditorium of the First Unitarian Society of Madison, 900 University Bay Drive, the Mosaic Chamber Players will open their new season.

The Madison-based group will perform an all-Beethoven program and complete its cycle of all the string sonatas. The program is the Violin Sonata No. 2 in A Major, Op. 12, No. 2; the Violin Sonata No. 10 in G Major, Op. 96 (performed by Anne-Sophie Mutter in the YouTube video below); and the Cello Sonata No. 5 in D Major, Op. 102, No. 2.

The performers are Laura Burns (below top) and Wes Luke (below second), violins; Kyle Price, cello (below third); and Jess Salek, piano (below bottom).

Tickets are $15 for the public; $10 for seniors; and $5 for students. Check or cash only.

Adds artistic director Jess Salek: “We have been opening our seasons with the Beethoven string sonatas for five years now, so this really exciting for us!”

WISCONSIN BAROQUE ENSEMBLE

The Wisconsin Baroque Ensemble (below) will give a concert of varied baroque vocal and instrumental chamber music on Saturday night at 7:30 p.m. in Saint Andrew’s Episcopal Church, 1833 Regent Street.

Members of the WBE are Mimmi Fulmer, soprano; Nathan Giglierano, baroque violin; Brett Lipshutz, traverse flute; Eric Miller, viola da gamba; Sigrun Paust, recorder; Monica Steger, traverse flute and harpsichord; Anton TenWolde, baroque cello; and Max Yount, harpsichord.

Tickets at the door only are $20, $10 for students.

For more information, got to www.wisconsinbaroque.org

A reception will be held after the concert at 2422 Kendall Ave, second floor

The program features:

Johann Philipp Kernberger – Sonata in C major for traverso and basso continuo

D’India – “Piangono al pianger mio” (I Shed Tears, As The Wild Animals Do)

Cipriano de Rore – “Ancor che col partire” (Although When I Part From You), arranged for viola da gamba by Riccardo Rognini

Francesca Caccini – “Io Veggio i Campi Verdeggiar Fecondi” (I See the Fertile Fields Turn Green); “Dov’io Credea de Mie Speranze” (Where I Thought My Hopes Were Real)

Georg Philipp Telemann (below) – Trio Sonata for alto recorder, violin and basso continuo TWV 42:d10 (heard in the YouTube video below)

INTERMISSION

Michel Pignolet de Montéclair – duet for two traversi without bass

Francesco Mancini – Sonata No. 1 in D Minor for recorder and basso continuo

Georg Friedrich Handel – “Süsse Stille” (Sweet Silence)

Jean-Philippe Rameau (below) – La Pantomime (The Pantomime), from Pièces de clavecin, 4th concert; “Les Surprises de l’Amour” (Love’s Surprises), selected movement from Act II, transcribed by Ludwig Christian Hesse


Classical music: Saturday night brings the Grammy Award-winning Los Angeles Guitar Quartet to the Wisconsin Union Theater and a concert of chamber works by the Wisconsin Baroque Ensemble. Plus tonight’s concert by the Madison Choral Project is at 8:30 p.m. — NOT 7:30 as originally announced.

April 21, 2017
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URGENT  CORRECTION: The time for tonight’s performance of “Privilege” by the Madison Choral Project has been moved from 7:30 p.m. to 8:30 p.m. due to noise from a nearby football game in Camp Randall Stadium. For more about the concert, go to:

https://welltempered.wordpress.com/2017/04/20/classical-music-madison-choral-project-gives-concert-of-new-music-focusing-on-the-social-and-political-theme-of-privilege-this-friday-night-and-sunday-afternoon/

THIS JUST IN: Hi Jake: We’ve got cellist Karl von Huene and bassist John Dowling at the Malt House, at 2609 East Washington Avenue on the corner of Milwaukee Street,  again this Saturday, from 3-5 p.m. Karl says the pieces they’ll play are by J.S. Bach, W. A. Mozart, Arcangelo Corelli, S. Lee, F. J. Haydn, G.F. HandelDmitri Kabalevsky, and Francesco Durante. It should be fun! Cheers, Bill Rogers

BIG ALERT: This is a reminder that, in this busy week of music, one stand-out concert is by the Grammy Award-winning Los Angeles Guitar Quartet. It will perform the annual Fan Taylor Memorial Concert this Saturday night at 8 p.m. in Shannon Hall of the Wisconsin Union Theater. (You can hear a sample of the Brandenburg Concerto No. 6 they will play in the YouTube video at the bottom.)

The acclaimed quartet will perform music by Bach, Bizet, Debussy, and Villa-Lobos as well as 17th-century Spanish music from the age of the novelist Cervantes  For more information about the group, the program and tickets ($10-$48), go to: https://union.wisc.edu/events-and-activities/event-calendar/event/los-angeles-guitar-quartet/

By Jacob Stockinger

The Wisconsin Baroque Ensemble will give a concert of baroque chamber music on Saturday night, April 22, at 7:30 p.m.

It will take place in Saint Andrew’s Episcopal Church, 1833 Regent Street.

Members of the WBE are: Mimmi Fulmer, soprano; Nathan Giglierano, baroque violin; Brett Lipshutz, traverse flute; Eric Miller, viola da gamba; Sigrun Paust, recorder; Monica Steger, traverse flute and harpsichord; Anton TenWolde, baroque cello; and Max Yount, harpsichord.

The program includes:

Georg Philipp Telemann – Quartet for two traversi, recorder and basso continuo, TWV 43:d1

Mr. De Machy – Pièces de Violle, Suite No. 3 (Pieces for Viol)

Francesca Caccini – “Lasciatemi qui solo” (Leave me here alone)

Quentin – Trio Sonata for two traversi and basso continuo, Op. 13, No. 3

INTERMISSION

Johannes Hieronymus Kapsberger – “Interrotte Speranze” (Vain Hope)

Johann Christoph Pepusch – Trio Sonata for recorder, violin and basso continuo

Georg Philipp Telemann (below) – Nouveaux Quatuors (Paris Quartets), No. 6 in E minor

Giulio Caccini – “Odi, Euterpe” (Hear, Euterpe)

Tickets at the door are $20, $10 for students.

A post-concert reception will be held after the concert at 2422 Kendall Ave, second floor.

For more information, go to: www.wisconsinbaroque.org


Con Vivo performs rarely heard chamber music by Milhaud, Medtner and Zemlinsky this Sunday afternoon. Plus, a FREE concert of flute music is this Friday at noon

February 9, 2017
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ALERT: This week’s FREE Friday Noon Musicale at the First Unitarian Society of Madison features Danielle Breisach and Taya König-Tarasevich playing music for baroque and modern flutes. They will play works by Johann Sebastian Bach, Georg Philipp Telemann, Jacques-Martin Hottetere and Yuko Uebayashi. The concert runs from 12:15 to 1 p.m.

By Jacob Stockinger

“Con Vivo! … music with life,” (below) continues its 15th season with a chamber music concert entitled “Capital Europeans” on this Sunday afternoon, Feb. 12, at 2:30 p.m. at First Congregational United Church of Christ, 1609 University Ave. across from Camp Randall Stadium.

con-vivo-2016

Tickets can be purchased at the door. Admission is $18 for adults and $15 for seniors and students.

The winter concert, called, “Capital Europeans,” features pieces from three distinct European composers, each with his own style.

Representing Paris, the program includes selections from the Organ Preludes by French composer Darius Milhaud.

darius milhaud

Representing Vienna is the Trio for Clarinet, Cello and Piano by Austrian composer Anton Zemlinsky. (You can sample Zemlinsky’s Clarinet Trio in the YouTube video at the bottom.)

Alexander Zemlinsky

The concert will end with a piece that was 46 years in the making: from Moscow, the Piano Quintet for strings and piano by Russian composer Nikolai Medtner (below).

nikolai-medtner

Audience members are invited to join the musicians after the concert for a free reception to discuss the concert.

Adds Con Vivo’s artistic director Robert Taylor: “With this concert, we are performing a Sunday matinee with three unique composers, each with his own musical language. Our Madison audience will be able to hear our musicians up close and personal playing music of extreme delight and depth.”

Con Vivo is a professional chamber music ensemble comprised of Madison area musicians assembled from the ranks of the Madison Symphony Orchestra, the Wisconsin Chamber Orchestra and various other performing groups familiar to Madison audiences.

con-vivo-on-the-balcony

For more information about Con Vivo and its upcoming concerts, go to: http://www.convivomusicwithlife.org


Classical music: Madison Bach Musicians perform their sixth annual Baroque holiday concert this coming Saturday night. Plus, the Wisconsin Chamber Orchestra’s “Messiah” on Friday night is close to selling out

December 5, 2016
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ALERT: The Wisconsin Chamber Orchestra and its acclaimed music director Andrew Sewell are pretty busy these days playing the accompanying music for the Madison Ballet‘s multiple performances of Peter Tchaikovsky‘s holiday ballet “The Nutcracker.”

Then on this coming Friday night at 7 p.m. at the Blackhawk Church in Middleton, the WCO, the WCO Chorus, the Festival Choir of Madison and guest soloists, all under the baton of Sewell, also give their annual and usually sold-out performance of George Frideric Handel‘s oratorio “Messiah.” The Ear has been told that this year’s performance is also close to selling out to. For more information and tickets, go to: 

http://www.wisconsinchamberorchestra.org/performances/messiah-at-blackhawk-church-middleton/

By Jacob Stockinger

At 8 p.m. this Saturday night, Dec. 10, the Madison Bach Musicians (below top) will give their sixth annual Baroque Holiday Concert.

mbm-baroque-holiday-2015-all-singing

The event will once again be held in the beautiful and sonorous sanctuary (below) of the First Congregational United Church of Christ, 1609 University Avenue.

mbm-baroque-holiday-2015-audence-and-players

MBM holiday 2014 Marc Vallon on bassoon JWB

There is a free pre-concert lecture by the always witty, informative and entertaining MBM founder, artistic director and harpsichordist Trevor Stephenson (below) at 7:15 p.m. NOTE: Trevor Stephenson will also discuss the upcoming holiday concert and play excerpts from past ones TODAY AT NOON on The Midday program aired by Wisconsin Public Radio.

Trevor Stephenson full face at keyboard USE

The program will feature: a cappella (solo vocal) masterworks by Orlando di Lassus and Josquin des Prez performed by a vocal quartet; a Christmas Cantata for soprano and strings by Alessandro Scarlatti—featuring soprano soloist Chelsea Morris (below top); a trio sonata by Johann Joseph Fux; an intriguing  Partita for two scordatura violins (scordatura means the open strings are re-tuned into a new interval configuration!) by Heinrich Biber; the Sonatina in A minor for baroque bassoon and continuo by Georg Philipp Telemann ― with soloist and UW-Madison professor Marc Vallon (below bottom, in a photo by James Gill); one of the Christmas Cantatas, BWV 122Das neugeborne Kindelein (The Newborn Baby) by Johann Sebastian Bach (heard in the YouTube video at the bottom); and a bonus feature ― a preview of MBM’s upcoming April performance of Bach’s oratorio  St. John Passion, the tenor aria Ach, mein Sinn.

CHELSEA Shephard

Marc Vallon 2011 James Gill (baroque & modern)[2]

Advance-sale discount tickets: $28 for general admission, $23 for students and seniors 65 and over. They are available at Orange Tree Imports, Farley’s House of Pianos, Room of One’s Own, and Willy Street Co-op (East and West) . You can also find online advance-sale tickets at madisonbachmusicians.org 

Tickets at the door are: $30 for general admission; $25  for students and seniors 65 and over.
 Student Rush tickets are $10 at the door and go on sale 30 minutes before lecture (student ID is required)

Musicians will include: Chelsea Morris, soprano; Joseph Schlesinger, counter-tenor; Scott Brunscheen, tenor; Matthew Tintes, bass; Kangwon Kim and Brandi Berry, baroque violins; Marika Fischer Hoyt, baroque viola; Martha Vallon, baroque cello; Marc Vallon, baroque bassoon; and Trevor Stephenson, harpsichord


Classical music: The Wisconsin Baroque Ensemble excels again in a varied program of rarely heard Baroque vocal and instrumental music

November 30, 2016
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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.  For years, he served on the Board of Advisors for the Madison Early Music Festival and frequently gives pre-concert lectures in Madison.

John-Barker

By John W. Barker

The Wisconsin Baroque Ensemble offered its latest specimen of intimate Baroque chamber music at St. Andrew’s Episcopal Church on Regent Street last Sunday afternoon.

As always, each of the performers—six in this case—had one or two opportunities as soloist.

wbe-st-andrews-11-27-16

Mezzo-soprano Consuelo Sañudo (below), for instance, was featured in two solo cantatas.

One, by Giovanni Bononcini was on conventional emotional themes.

But the other was a real curiosity. By the French composer Louis-Nicolas Clérambault, it was written for the Nativity season, and has been given a French title as “Hymn of the Angels.” But its text was no more or less than the Latin words of the Gloria section of the Mass Ordinary.

wbe-mezzo-consuelo-sanudo

A new member in the group, recorder player Sigrun Paust (below), delivered the Sonata No. 1 from a 1716 collection of works written by Francesco Veracini alternatively for violin or flute.

wbe-sigrun-paust

For flutist Monica Steger (below) the vehicle was a Sonata Op. 91, No. 2, for Flute and Harpsichord duo, by Joseph Bodin de Boismortier.

wbe-monica-steger

The spotlight was on viola da gambist Eric Miller (below) in another duo with harpsichord, no less than the Sonata in D Major, BWV 1028, by Johann Sebastian Bach, but Miller also participated in continuo functions elsewhere. (You can hear the Bach sonata in the YouTube video at the bottom.)

wbe-eric-miller

Likewise active in continuo work was viola da gambist Anton TenWolde (below), but he had one solo, a Capriccio for cello, by Joseph Ferdinand Dall’Abaco.

wbe-anton-tenwolde

And the harpsichordist Max Yount (below), also involved in continuo roles, presented two contrasting keyboard pieces, a Toccata by Jan Pieterszoon Sweelinck and a Fantasie by Johann Jakob Froberger.

wbe-max-yount

For a colorful finale, Paust and Miller joined TenWolde and Steger (on harpsichord) in a Trio Sonata in F by Georg Philipp Telemann.

The artistry of these performers (below) was fully up to their own high standards, and their delight in trading off assignments to play together is palpable.

wbe-telemann-trio-sonata

St. Andrew’s Church (below) on Regent Street may have been a bit bigger than a Baroque salon or parlor, but still served well as a setting for this kind of amiable gentility in musical substance.

St. Andrew's Episcopal Madison Front

The group’s next Madison concert is at St. Andrew’s on Sunday, Feb. 12, 2017. No program has been announced.


Classical music: The Wisconsin Baroque Ensemble performs a varied program of French, German, Italian and Dutch music on Sunday afternoon

November 23, 2016
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ALERT: There will NOT be a Noon Musicale this Friday at the First Unitarian Society of Madison. The weekly series resumes next week.

By Jacob Stockinger

The Wisconsin Baroque Ensemble will perform a very varied concert of baroque chamber music on this coming Sunday, Nov. 27, at 3 p.m. at Saint Andrew’s Episcopal Church (below), 1833 Regent Street, on the near west side of Madison.

St. Andrew's Episcopal Madison Front

St. Andrew's Church interior

Members of the ensemble include Eric Miller, viola da gamba; Sigrun Paust, recorder; Consuelo Sañudo, mezzo-soprano; Monica Steger, traverso flute, harpsichord; Anton TenWolde, baroque cello; and Max Yount, harpsichord.

Wisconsin Baroque Ensemble composite

Tickets at the door only are $20 for the public, $10 for students.

For more information, visit www.wisconsinbaroque.org

A reception will be held at 2422 Kendall Ave, second floor after the concert.

The program includes:

Johann Sebastian Bach – Sonata for viola da gamba and harpsichord in D major, BWV 1028

Francesco Maria Veracini (below) – Sonata No. 1 for recorder and basso continuo in F major

Jan Peterszoon Sweelinck, Toccata in C

Johann Jakob Froberger, Fantasie

Giovanni Bononcini, “Vorrei pure pianger”

francesco-maria-veracini

Intermission

Joseph de Bodin de Boismortier – Sonata for flute and harpsichord, Opus 91, No. 2

Francois Couperin – “Le Dodo ou l’Amour au Berceau”

Evaristo Felice Dall’Abaco – Capriccio for solo violoncello No.

Louis-Nicholas Clerembault – Hymne des Anges

Georg Philipp TelemannTrio sonata for recorder, viola da gamba, and basso continuo, TWV 42:F3 (heard in the YouTube video below)


Classical music: Madison Bach Musicians offers an “Auditor’s Option” for its summer Chamber Music Workshop.

June 23, 2016
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By Jacob Stockinger

The Ear has received the following update from the Madison Bach Musicians and its founder and artistic director, early music keyboardist Trevor Stephenson:

“We just wanted to follow up about the Madison Bach Musicians Chamber Music Workshop.

“The chamber ensembles have been assigned and are now closed.

“We have 24 participants forming 7 different ensemble groups and ages ranging from age 14 to a few in their 70s. And the total number of accumulated years studying music for the participants is over 334 years!

“We are offering an “auditor option” for people who would like to attend the afternoon master classes and concerts.  I thought you might want to put some of this information on The Ear.

Our deadline for registering as an auditor is July 24.  Below is a link to a flyer on the master class offerings and the concerts.

Information about the enrolling as an auditor is on our website and “auditor passes” can be purchased on the website as well.

http://madisonbachmusicians.org/education-and-outreach/summer-workshop/

https://docs.google.com/presentation/d/15MHgnVjRFits_P7MZ3oC2Xs_vs7yDCV7fULTRmYv5PM/pub?start=false&loop=false&delayms=3000&slide=id.p


Classical music: It’s easy but wrong to underestimate Offenbach’s “Tales of Hoffmann.” It is literally fantastic but NOT light. It will be performed by Madison Opera on Friday night and Sunday afternoon. Part 2 of 2.

April 13, 2016
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ALERT: This week’s FREE Friday Noon Musicale, to be held from 12:15 to 1 p.m. in the historic Landmark Auditorium of the Frank Lloyd Wright-designed Meeting House of the First Unitarian Society of Madison, 900 University Bay Drive, will feature music for baroque and modern flute and strings  with Iva Ugrcic, Thalia Combs, Biffa Kwok, Joshua Dierigner, Mikko Rankin Utevsky, Andrew Briggs and Satoko Hayami. They will play music by Georg Philipp Telemann, Wolfgang Amadeus Mozart, Carl Philipp Emmanuel Bach, Salvatore Sciarrino and Andre Jolivet.

By Jacob Stockinger

As The Ear posted yesterday, the Madison Opera will present Jacques Offenbach’s “The Tales of Hoffmann” this weekend.

The production will be performed twice in Overture Hall of the Overture Center: on Friday at 8 p.m.; and on 
Sunday at 2:30 p.m. It will be sung in French with projected English translations

Tickets are $18-$129. Student and group discounts are available. Tickets can be purchased at the Overture Box Office, 201 State St., Madison, and by calling (608) 258-4141 or visiting www.madisonopera.org

For more information, here is a link to yesterday’s post with a plot synopsis and information about the cast:

https://welltempered.wordpress.com/2016/04/12/classical-music-jacques-offenbachs-fantastical-masterpiece-the-tales-of-hoffmann-will-be-performed-by-madison-opera-performs-friday-night-and-sunday-afternoon-here-is-part/

Today, The Ear asked the same questions to the two main figures in the production: Artistic and music director John DeMain and guest stage director Kristine McIntyre.

Here are their answers:

JOHN DeMAIN (below)

DeMainOpera

“Tales of Hoffmann” has the reputation of being a “lighter” opera. How justified and accurate is that opinion in your view, and what do you think explains it?

Hoffmann is Offenbach’s grand opus. I’ve never thought of this work as a light opera. To me, light opera has spoken dialogue and the music is distinctly lighter in nature, like operetta.

Where the confusion lies here is, for me, no different than with George Gershwin’s Porgy and Bess. Both composers use popular resources, at times, to tell the story.

Hoffmann is a serious themed piece. Two people are literally murdered, and the mechanical doll is also destroyed. Hoffmann’s soul is condemned to hell, as his pursuit of love is rebuffed at every term. The devil is present throughout as well.

What Hoffmann is, however, is highly theatrical. Magic is present, as well as the supernatural. It is at times ghoulish and macabre, but always entertaining. The Olympia scene with party guests and a mechanical doll — at bottom in a YouTube video — is the lightest scene in nature, as Hoffmann is being duped at a social gathering.

Move into Antonia, and from the beginning the music is serious and profound with two thrilling trios. Giulietta, which has always been the sketchiest act, because of missing music and an incomplete libretto, nevertheless is thrillingly operatic in scope.

Hoffmann is very much like Giuseppe Verdi’s La Traviata in design, particularly in the progression of Hoffmann’s loves, as embodied in the sopranos who sings all four roles. Olympia is coloratura, just like Violetta in the first act singing “Sempre libera.” Antonia is lyric, corresponding to Violetta in the second act, and Giulietta is the most dramatic, just as in the third act of the Verdi.

The beautiful final ensemble at the end of the Epilogue is also not the stuff of light opera. Offenbach, as a composer, is true to his musical style, but achieves the greatest depth of his writing in this wonderful grand opera.

Madison Opera Hoffmann set 1

What would you like the public to know about the opera and about the musical aspects of the Madison Opera production including the singers, the orchestra and the score?

The orchestra highlights the drama at every given turn, literally changing tempos on a dime. Leitmotifs are used throughout the piece.

The music is wonderfully melodic, with the entire cast having beautiful arias, duets and trios. It has long been a favorite opera of mine because it so accurately portrays the story in vivid and unmistakable musical terms.

John DeMain and MSO from the stage Greg Anderson

KRISTINE MCINTYRE (below)

Kristine McIntyre 2016

Jacques Offenbach’s “Tales of Hoffmann” has the reputation of being a “lighter” opera? How justified and accurate is that opinion in your view, and what do you think explains it?

Well, “lighter” compared to what? Than Jake Heggie’s Dead Man Walking or Leos Janacek’s Jenufa, certainly. But it’s not a comedy either, and certainly any of the classic operatic comedies, such as Gioacchino Rossini‘s The Barber of Seville, feels perfectly frothy in comparison.

I think this is an easy opera to underestimate because the piece is so theatrical in its storytelling. But Offenbach (below) is actually exploring some very dark themes, as was E.T.A. Hoffmann before him.

E.T.A. Hoffmann’s original tales are fantastical and highly imaginative, but they are also vivid and insightful examinations of human psychology. He exposes our darkest fears and how that darkness intrudes into our everyday lives and our attempts to find love and happiness. I think E.T.A. Hoffmann is particularly insightful at revealing the fragility of his male protagonists and their insecurities where women and love are concerned.

The Olympia act, for instance, is really about a young man’s fear that he has been deceived, that he’s been made a fool of — that he can’t trust the girl he loves and doesn’t know what’s real or what’s not.

The story on which it is based, “The Sandman,” is even more horrifying than Offenbach’s setting: the young man simply can’t get over having fallen in love with the automaton, believes his very human fiancée is actually a machine, tries to kill her and eventually commits suicide by throwing himself from a balcony.

Jacques Offenbach seated

So one should not confuse creativity in storytelling with a lack of seriousness. There is a great tradition, stretching back to the early 19th century, of writers of fantastical literature and science fiction asking some of the hardest questions about human nature and providing some of the most compelling insights.

That tradition now extends to film and we’ve spent some time in rehearsal talking about how movies like Blade Runner and Ex Machina explore some of the same issues.

Offenbach is a man of the theater and gives us music that is just as compelling and theatrical as the tales themselves. This music is fun to stage and listen to, but while Offenbach is entertaining us with his delightful French melodies, his main character, Hoffmann, has his heart broken three times, causes the death of his fiancée, becomes an alcoholic, murders a rival and loses his soul. So the opera definitely has its tragic side.

And we shouldn’t forget that Offenbach balances the fantasy of the tales with the framework of the Prologue and Epilogue and the completely recognizable, human story of Hoffmann’s doomed relationship with his girlfriend Stella. They’ve had a fight and he’s terrified of losing her. In the tales, he is actually telling us Stella’s story over and over again as he tries to make sense of what has happened.

The opera could easily end in tragedy and despair, but instead Offenbach offers us a glass of champagne and a balm for the human condition. (Below is the Roaring 20s set.)

Madison Opera Hoffmann set 3

What would you like the public to know about the opera and about the theatrical aspects of the Madison Opera production including acting, costumes, sets, etc.?

Almost everyone in our cast is doing their roles for the first time, so we’re having a great time in rehearsal exploring every moment of the piece.

This will be a very high-energy, inventive and creative telling of the opera. The production is updated to the 1920s, which is great fun – beautiful costumes and lots of wonderful inspiration from art and cinema of the period.

For instance, we’ve been looking at the paintings of Otto Dix, which capture the élan and decadence of the 1920s, and classic horror films like The Cabinet of Dr. Caligari and Nosferatu to find the darker side of things for the Antonia act. It’s a very rich period visually and offers us a great deal of style as well as the chance to make something that feels very alive and fresh.

I think it will be very entertaining and also very moving.

Madison Opera Hoffmann set 2


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