The Well-Tempered Ear

Classical music: This Saturday and Sunday, the Token Creek Festival explores how an unrequited love for Clara Schumann helped make Brahms and his music autumnal

August 22, 2019
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By Jacob Stockinger

Johannes Brahms (below) remains the only composer whose complete catalogue of chamber music is still in constant use. This is due to his fastidiously high standards, and to his ideal temperament for music played by smaller groups of players.

His music is universally admired for its combination of sheer craft and deep emotional impact, ranging from the most muted private conversation to the most passionate and revealing passages he ever composed.

But putting aside his own personal temperament as well as his melancholy melodies, his bittersweet harmonies, and his masterful use of strings and woodwinds, what gives Brahms’ music that quality of sadness that so many listeners and critics describe as “autumnal”?

No discussion of Brahms can take place without engaging with the most important person in his life — Clara Schumann (below, in a  Getty photo), who was born Clara Wieck and became a virtuoso pianist and a composer whose 200th birth anniversary is being celebrated this year.

Brahms was deeply in love with Clara. But unfortunately she was married to Robert Schumann (below right with Clara), one of Brahms’ closest friends and most loyal promoters. Even after a mentally ill Robert Schumann died of suicide at 46, Clara remained loyal to his memory. For the rest of her long life, she performed, edited and promoted his music and rejected Brahms as a lover or second husband.

Almost overnight, Clara’s rejection seemed to cause Brahms to turn from a handsome young man (below top) to the more familiar figure of an overweight, cigar-smoking, bearded and prematurely old curmudgeon (below bottom).

Clara Schumann’s hidden presence is involved with all of the pieces on the Token Creek Festival program, which will be performed at 4 p.m. this Saturday and Sunday, Aug. 24 and 25, in the festival’s refurbished barn (below) at 4037 Highway 19 in DeForest.

The program includes the Violin Sonata No. 1 in G major, illustrated with a performance of Brahms’ “Regenlied” (the “Rain Song” that precedes it and introduces the theme of the sonata); the Sonata No. 1 for Cello and Piano in E minor; and the Piano Quartet No 3 in C minor, a piece that retains its distinctive charge of unresolvable emotion. (You can hear that unresolved emotion in the beautiful slow movement of the Piano Quartet No. 3 in the YouTube video at the bottom.)

Performers are violinist Rose Mary Harbison, co-artistic director of the Token Creek Festival; violist Lila Brown; cellist Rhonda Rider; pianist Janice Weber; and Edgewood College mezzo-soprano Kathleen Otterson.

THE REST OF THE FEST

Upcoming programs include “Words & Music,” a belated 80th birthday tribute to artistic co-director John Harbison, on Wednesday night, Aug. 28 at 7:30 p.m. The intimate program will include readings by poet Lloyd Schwartz, the premiere of new Harbison songs, plus works by Johann Sebastian Bach, Wolfgang Amadeus Mozart and Arnold Schoenberg.

The festival closes with “The Piano” program on Saturday and Sunday, Aug. 31 and Sept. 1, both at 4 p.m. The festival welcomes back pianists Robert Levin and Ya-Fei Chuang, playing together and as soloists.

Their program explores the question of the composer-performer, here composers who were also formidable pianists:  Mozart, Maurice Ravel and Franz Liszt. Beethoven’s Piano Concerto No. 4, arranged by the composer for chamber ensemble, and excerpts of John Harbison’s Sonata No. 2, written for Levin, complete the program.

For tickets ($32) and more information, go to www.tokencreekfestival.org or call (608) 241-2525.


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Classical music: The Token Creek Chamber Music Festival starts this Friday and marks 30 years with jazz plus music by Bach, Mozart, Liszt, Brahms, Ravel, Schoenberg and John Harbison

August 13, 2019
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By Jacob Stockinger

Starting this coming Friday, Aug. 16, and running through Sept. 1, the Token Creek Chamber Music Festival will mark its 30th anniversary with the theme of “Sanctuary.” (The festival takes place in a refurbished barn, below, at 4037 Highway 19 in DeForest.)


Add the festival directors: “The term ‘sanctuary’ attempts to capture in a single word something essential about what the festival has meant to players and listeners over all these years. From the start it aspired to offer something of retreat, an oasis, a place of refreshment and nourishment in art, both for musician participants who find a welcoming environment to “re-charge” their work, and for audience attendees who engage in and become a part of it.”

“In our small country barn,” writes prize-winning composer John Harbison (below top, in a photo by Tom Artin) who co-directs the festival with his violinist wife Rose Mary Harbison (below bottom, in a photo by Tom Artin), “we have always remained devoted to the scale and address of much chamber music, which speaks as often in a whisper as in a shout.

“Where larger musical institutions have been habitually frustrated by trying to live in the business model of growth, we have remained devoted to the intensity of the experience, which explains why the music never goes away, rather than to claims of numbers, which begs the music itself to change its very nature.

“Our conviction is that today’s composers, just like Schubert and Mozart, are still striving to embody daily experience, to connect to the natural world, and to ask philosophically and spiritually unanswerable questions, surrounded and interrupting silence, asking only for our most precious commodity — time. We continue to look for valuable ways to offer this transaction to our listeners, and are grateful for their interest over so many years.”

The first two concerts, at 5 p.m., on Friday and Saturday nights, feature the return of a jazz cabaret featuring standard works in the Great American Songbook. For more information about the program and performers, as well as tickets, go to: www.tokencreekfestival.org or call (608) 241-2525.

Tickets for the two jazz concerts are $40 for the balcony and $45 for cafe seating. Tickets for the other concerts are $32 with a limited number of student tickets available for $12.

HERE IS THE LINEUP FOR THE REST OF THE FESTIVAL

Program 2: Music of Brahms at 4 p.m. on Saturday, Aug. 24, and Sunday, Aug. 25

Johannes Brahms is the only composer whose complete catalogue of chamber music is still in constant use.  This is due to his fastidious high standards, and to his ideal temperament for music played by smaller groups of players. His music is universally admired for the astounding combination of sheer craft and deep emotional impact.

The program includes the Regenlied (Rain Song), Op. 57 no. 3; Sonata for Violin and Piano in G major, Op. 78; the Sonata for Cello and Piano in E minor, Op. 38; and the Piano Quartet in C minor, Op. 60. (The “Rain Song” is used as the theme of the last movement of the violin sonata. You can hear it performed by violinist Leonidas Kavakos and pianist Yuja Wang in the YouTube video at the bottom, which also features the score so that you can follow along.)

Performers are Edgewood College mezzo-soprano Kathleen Otterson (below top); violinist Rose Mary Harbison; violist Lila Brown (below second); cellist Rhonda Rider (below third, in a photo by Liz Linder); and pianist Janice Weber (below bottom).

Program 3: Then and Now, Words and Music – An 80th Birthday Tribute to John Harbison. Wednesday, Aug. 28, at 7:30 p.m.

Last February, when Madison launched a citywide celebration of co-artistic director John Harbison’s 80th birthday, bitter cold and deep snow made it impossible for the festival to open up The Barn and join in the festivities.

The Wednesday program – an intimate concert of words and music curated by the Harbisons — is the festival’s belated birthday tribute. Harbison will read from his new book about Johann Sebastian Bach, and Boston poet Lloyd Schwartz (below top) will offer a reading of his poems that are the basis of a song cycle to presented by baritone Simon Barrad (below bottom). The evening will include a discussion on setting text, “Poem to Song,” and the world premiere of new Harbison songs, still in progress, on poems of Gary Snyder.

The program includes: Selections from the Violin Sonata in B minor, with violinist Rose Mary Harbison, and “The Art of Fugue” by Johann Sebastian Bach; “Four Songs of Solitude” and “Nocturne” by John Harbison; the Violin Sonata in G Major by Wolfgang Amadeus Mozart; the “Phantasy” for violin and piano by Arnold Schoenberg; the “SchwartzSongs” and “Four Poems for Robin” by John Harbison.

Program 4: The Piano , at 4 p.m. on Sunday, Aug. 31, and Sunday, Sept. 1.

The closing program welcomes back husband-and-wife pianists Robert Levin and Ya-Fei Chuang, playing together and as soloists.

Chuang (below top) is acclaimed by critics in the U.S. and abroad for performances of stunning virtuosity, refinement and communicative power. Levin (below bottom, in a photo by Clive Barda), who teaches at Harvard University, is revered for his Mozart completions and classical period improvisations.

Their program explores the question of the composer-performer — that is, composers who were also formidable pianists: Mozart, Ravel and Liszt.

Beethoven’s fourth piano concerto, arranged by the composer for chamber ensemble, and excerpts of Harbison’s Piano Sonata No. 2, written for Levin, will be performed. Also on the program are Mozart’s Allegro in G Major, K. 357 (completion by Robert Levin); Maurice Ravel’s “Gaspard de la Nuit”; and Franz Liszt’s “Reminiscences of Don Juan.”

Other performers are: violinists Rose Mary Harbison and Laura Burns, of the Madison Symphony Orchestra and Rhapsodie String Quartet; violists Jen Paulson and Kaleigh Acord; cellist Karl Lavine, who is principal cello of both the  Madison Symphony Orchestra and the Wisconsin Chamber Orchestra as well as the Chamber Music Director of the Wisconsin Youth Symphony Orchestras (WYSO); and double bassist Ross Gilliland.


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Classical music: Trevor Stephenson is offering a 4-part Chopin course and an all-Chopin concert on Feb. 25 (NOT Feb. 24 as first announced an mistakenly printed here). TODAY is the deadline for enrolling in the course

January 27, 2017
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By Jacob Stockinger

Trevor Stephenson (below), who founded and co-directs the Madison Bach Musicians, may be best known in the Madison area for his work with early music and Baroque music.

But Stephenson, who is known for his outstanding pre-concert lectures as well as for his performances, is also deeply involved in period instruments and historically informed performance practices concerning Romantic music.

trevor-stephenson-with-1855-bosendorfer-grand

He writes to The Ear: “In February, I’m offering a four-part course on  piano music by Frederic Chopin (below). This will meet on Thursday evenings 6-7:30 p.m. at my home studio. Information is below. Email me to enroll.

“Also, I’ll play an all-Chopin house concert on SATURDAY, FEB. 25 AT 7 P.M. — NOT Sunday, Feb. 26, at 3 p.m. as first and mistakenly printed here — which will be here at the home studio as well. Refreshments will be served. Reservations are required (trevor@trevorstephenson.com). Admission is $40.”

Chopinphoto

CHOPIN COURSE

DATES: February 2, 9, 16, 23

TIME: Thursdays 67:30 p.m.

PLACE: 5729 Forstyhia Place, Madison WI 53705

COST: Enrollment is $120

Reading knowledge of music is suggested.

Class size is limited to 15, and enrollment closes TODAY, Friday, Jan. 27.

Contact trevor@trevorstephenson.com

TOPICS:

Feb. 2: Waltzes, Preludes

Feb. 9: Nocturnes, Mazurkas

Feb. 16: Etudes, Polonaises

Feb. 23: Ballades, Scherzos

Instruments to be used are: an 18th-century Fortepiano (Sheppard after Stein)
 c. 1840; a Cottage Upright Piano (attr. C. Smart ) c. 1850; and English Parlor Piano (Collard & Collard) 
c. 1855; and a Viennese Concert Grand Piano (Bösendorfer) 

Subject matter will include: Origins of Chopin’s compositional style; tonal qualities of his pianos, early 19th-century temperaments; fingering; pedaling; articulation; touch; tempo; and tempo rubato.


Classical music: Here are the Top 10 things to know about Handel’s “Messiah.” The Madison Bach Musicians will perform it with period instruments this Friday night and Sunday afternoon.

April 4, 2016
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ALERT:  Tomorrow on Tuesday, April 5, there will be two on-air events about the Madison Bach Musicians’ performances of Handel’s “Messiah”: On Wisconsin Public Radio’s Midday program on WERN (88.7 FM) noon-12:30 p.m., MBM director Trevor Stephenson will be Norman Gilliland’s guest. They’ll play and discuss selections from “Messiah.” Then MBM will perform two arias from “Messiah” live on the CBS affiliate WISC-TV Channel 3 “Live at 4” program 4-5 p.m.

By Jacob Stockinger

This coming Friday night and Sunday afternoon, the Madison Bach Musicians will perform the well-known oratorio “Messiah” by George Frideric Handel (below). The performances feature period instruments and historically authentic performances practices.

handel big 3

Here are the details:

FRIDAY: 6:45 p.m. lecture followed by a 7:30 p.m. concert

SUNDAY: 2:45 p.m. lecture followed by a 3:30 p.m. concert

Both performances are at the First Congregational United Church of Christ (below), 1609 University Avenue, Madison, near Camp Randall Stadium.

MBM holiday 2014 singers and instrumentalists JWB

The forces and period instruments MBM has assembled for this event are similar in many respects to those used by Handel in the world premiere of “Messiah” in Dublin in April of 1742.

For more information, including a complete list of performers, visit:

http://madisonbachmusicians.org/april-8-10-2016/

The concerts feature an all-baroque orchestra ─ with gut strings, baroque oboes, natural trumpets and calf-skin timpani ─ plus eight internationally-acclaimed soloists, and the Madison Boychoir (part of Madison Youth Choirs), which will collaborate in the “Hallelujah” Chorus and Amen, under the direction of early-music specialist Marc Vallon (below, in a photo by James Gill), professor of bassoon at the University of Wisocnsin-Maidson School of Music.

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

Pre-concert lectures at both events will be given by MBM founder and artistic director Trevor Stephenson (below), who is as entertaining as he is enlightening.

Prairie Rhapsody 2011 Trevor Stephenson

Advance-sale discount tickets are: $33 general, $28 students and seniors (65+). 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 buy advance sale tickets online at www.madisonbachmusicians.org

Tickets at the door are $35 general, $30 students and seniors (65+), Student Rush: $10 on sale 30 minutes before lecture (student ID required) Visit or call www.madisonbachmusicians.org at 608 238-6092.

To prepare you to appreciate the oratorio, here is Trevor Stephenson’s Top 10 list of things – a la David Letterman — that you should know about it:

TOP 10 THINGS TO KNOW ABOUT HANDEL’S ‘MESSIAH

#10. Its title is “Messiah” not “The Messiah”

#9. Handel, at 56 years of age, wrote Messiah in just 24 days in the late summer of 1741.

#8.  Some of the pieces ─ like “For unto us a child is born” and “All we like sheep” ─ Handel borrowed or adapted from pieces he had composed earlier, usually by laying the new text over the existing musical material. This technique, known as “parody,” was employed by most composers as a way of recycling good musical material.

#7. The original words to the tune we know as “For unto us a child is born” were  (Italian) “No, di voi non vo’ fidarmi, cieco Amor, crudel Beltà” — meaning roughly “No, I won’t trust you, blind Love, cruel Beauty” (Hear the YouTube video at bottom.)

#6. Messiah premiered in 1742 in Dublin, Ireland two weeks after Easter (March 25 that year) on April 13. By uncanny dumb luck, this 2016 period-performance of Messiah by MBM will also take place two weeks after Easter (March 27) on April 8 and 10.

#5. Handel divided this oratorio into three parts. Part I: a world in need of salvation; the promise that salvation is on the way; arrival of the savior in the world; Part II: Christ’s passion and crucifixion, descent to hell and resurrection, beginnings of the church, triumph of truth over death (Hallelujah); Part III: Faith and the world to come; the awakening of all souls (The Trumpet Shall Sound), paean to the Lamb of God; closing, majestic meditation on Amen.

MBM Messiah poster

#4.  In a baroque orchestra the string instruments use gut strings—made from dried and carefully processed sheep intestine. Gut strings assist in the performance of baroque music in two important ways: 1) because gut as a material is very supple, the tone it produces is naturally “warm” in an acoustic/aesthetic sense; therefore, vibrato is not necessary in order to produce a pleasing sound and the player’s attention can focus more on pitch. 2) Gut strings, because they are very textured, produce a natural friction with the hair of the baroque bow which ensures that the instant the player’s bow hand moves the pitch is in the air. This optimizes the sense of directness in performance.

#3. The harpsichord and organ were used as continuo instruments in baroque music. MBM will be using both instruments in the upcoming Messiah performances. 18th-century keyboard tunings were generally of the un-equal/circulating variety known as Well Temperaments, as in “The Well-Tempered Clavier” of Johann Sebastian Bach. In these tunings, every tonality has a unique acoustic color, ranging from the transparently clear and harmonious keys (C major, A minor and other keys near the top of the circle of fifth, unencumbered by accidentals), then shading all the way down to the lugubriously opaque and gnarled keys in the basement of the circle of fifths, like G-flat major and E-flat minor. Notice in Messiah the contrast between the acoustical openness of the initial Sinfonia in E minor (one sharp) and the rigid density of the passion-of-Christ choruses near the beginning of Part II, “Surely, He hath borne our griefs” and “And with His stripes we are healed” both in F minor (four flats). 18th-century temperament will bring such differences into keen relief.

#2. Messiah was very successful and greatly admired in Dublin at its premiere. When Handel led performances of it in London several months later, the reception was much cooler. Nevertheless, from there on the popularity of Messiah grew steadily and it was performed often in Handel’s lifetime under his direction. Though much of Handel’s music was widely published in his lifetime, Messiah was not published until a few years after Handel’s death in 1759.

#1.  In Messiah, the balance between the sense of play and sense of purpose is unrivalled (though a different animal in many ways, a blood brother of Messiah in the movie domain might be The Wizard of Oz). Indeed, it is almost as if in Handel’s world, these two elements — play and purpose — do not oppose, but rather fuel each other. Handel’s descendent in this regard is Wolfgang Amadeus Mozart, whose also could consistently fuse melodic joy with harmonic and theatrical pacing, pushing scene after scene ever-higher until it seems the roof opens to the realms of limitless joy.


Classical music: Two concerts of great music by Bach and Schubert are on tap for Saturday afternoon and Saturday night

March 17, 2016
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ALERT: Although it is listed on the Events Calendar at the University of Wisconsin-Madison School of Music, there is NO concert TONIGHT by UW Symphony Strings.

By Jacob Stockinger

The Ear wants to draw your attention to two smaller but very worthwhile concerts this Saturday.

GRACE PRESENTS

This Saturday afternoon, from noon to 1 p.m., the Grace Presents concert series offer harpsichordist Trevor Stephenson in a FREE lecture-performance of Johann Sebastian Bach’s The Well-Tempered Clavier, Book 1.

The FREE concert takes place at Grace Episcopal Church, 116 West Washington Avenue, on the Capitol Square.

grace episcopal church ext

MBM Grace altar

Writes Stephenson who is the founder and director of the Madison Bach Musicians: “In the lecture, entitled Odyssey of the Soul, I’ll discuss the large-scale structure of the WTC – how it tells a story from the beginning of beginnings in C major out to the final frontier (and edge of tonality itself) in B minor.

“I’ll also talk about and demonstrate how 18th-century Well Temperament is made and how Bach (below) integrates the variety of its sound colors with the expressive message of each piece that I’ll be playing.”

Bach1

The program includes: Prelude and Fugue in C major; Prelude and Fugue in C minor; Prelude in C-sharp major; Prelude and Fugue in E-flat/D-sharp minor; Prelude and Fugue in F major; and Prelude and Fugue in B minor.

The harpsichord that Stephenson (below, in a photo by Kent Sweitzer) will play was made in Madison in 1999 by Norman Sheppard (sheppardkeyboards.com). It is modeled on a 4-octave Flemish instrument of 1669 by Couchet.

Trevor Stephenson at harpsicord CR Kent Sweitzer

MOSAIC CHAMBER PLAYERS

The Mosaic Chamber Players will give an all-Schubert program this Saturday night, March 19, at 7:30 p.m. in the Meeting House of the Frank Lloyd Wright-designed First Unitarian Society of Madison. The concert will conclude the group’s 2015-16 season.

The Mosaic Chamber Players will be performing two of Schubert’s late works: the Piano Trio No. 2 in E-flat Major, D. 929 (you can hear the haunting and lovely slow movement played by violist Isaac Stern, cellist Leonard Rose and pianist Eugene Istomin in a YouTube video at the bottom); and the rarely heard Fantasy for Violin and Piano in C Major, D. 934.

There will be a reception following the program.

Tickets are $15, $10 for seniors, and $5 for students. Only check or cash will be accepted.

The Mosaic Chamber Players (below, from left) is made up of pianist and founder Jess Salek; violinist Laura Burns (below middle); cellist Michael Allen; and violinist Wes Luke. The various members play with the Madison Symphony Orchestra,the Rhapsodie String Quartet; the Ancora String Quartet; the Willy Street Chamber Players;  the Wisconsin Chamber Orchestra, the Madison Youth Choirs and other local ensembles.

Mosaic Chamber Players 2016. Jess Salek piano. Laura Burns violn, Michael Allen cello. Wes Luke violin

The chamber music group has been praised as “among the finest purveyors of quality chamber music in Madison” by critic John W. Barker on The Well-Tempered Ear blog.


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