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.
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.
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.
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.
For flutist Monica Steger (below) the vehicle was a Sonata Op. 91, No. 2, for Flute and Harpsichord duo, by Joseph Bodin de Boismortier.
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.)
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.
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.
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.
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.
The group’s next Madison concert is at St. Andrew’s on Sunday, Feb. 12, 2017. No program has been announced.
By Jacob Stockinger
Grace Presents, now entering its seventh year offering FREE public concerts at Grace Episcopal Church (below), located at 116 West Washington Avenue on the Capitol Square, will host resident organist Mark Brampton Smith with violinist Maureen McCarty on this Saturday, Nov. 19.
The concert begins at noon and ends at 1 p.m. Audience members are invited to bring their lunch.
The program — an asterisk indicates that both the violin and organ will play — includes:
Psalm 19: “The Heavens Declare the Glory of God” by Benedetto Marcello (1686-1739)
Partita on “Werde munter, mein Gemüte” (Sing not yet, my soul, to slumber) by Johann Pachelbel (1653-1706)
*”Ornament of Grace” by Bernard Wayne Sanders (b. 1957)
Variations on ‘Cwm Rhondda’ by Mark Brampton Smith (b. 1954) Introduction – Allegro – Duo – Reflection – Finale
*Meditation from “Thaïs” by Jules Massenet (1842-1912)
Concerto in a minor, after Vivaldi (BWV 593) – Johann Sebastian Bach Allegro
Toccata and Fugue in d minor (BWV 565) – Johann Sebastian Bach
The final concert of 2016 will feature the widely renowned Russian Folk Orchestra on Dec. 10.
Mark Brampton Smith Biography:
Mark Brampton Smith (below) serves as the current organist at Grace Episcopal Church. Mark began his church music career as a boy soprano at St. Paul’s Parish on K Street in Washington, D.C., eventually serving on the music staff of churches in seven states. He holds degrees in organ performance from the Eastman School of Music and the University of Michigan.
As an organist, Mark won prizes in the Fort Wayne, Ann Arbor, and American Guild of Organists National Competitions, and he’s performed solo recitals at venues such as Overture Hall. As a collaborative pianist, Mark has worked with numerous singers, instrumentalists, and ensembles, including the Ann Arbor Cantata Singers, University of Michigan choirs, Colgate University Chorus, and currently the Wisconsin Chamber Choir.
Maureen McCarty Biography:
Maureen McCarty (below) began the violin in the Madison public schools, and played in the Wisconsin Youth Symphony Orchestras for many years. She received a BA in violin performance from the University of Wisconsin-Madison.
While working on her degree, she performed as a musician with American Players Theatre for five seasons. She has extensive orchestral experience playing in such local ensembles as the Madison Symphony Orchestra and Wisconsin Chamber Orchestra, as well as various orchestras in five Midwestern states, the Barcelona City Orchestra and the Orquesta Filarmónica de Gran Canaria in Spain.
Maureen returned to UW-Madison for a teaching certificate in music education in 1999, and taught strings and general music for students in grades 3-12 in Monona Grove during her fifteen years in the district. Recently retired from public school teaching, she now teaches privately, performs with the Camerata String Quartet, tutors Spanish, and takes photographs for her local newspaper. Formative violin teachers include Eva Szekely, Sharan Leventhal, Thomas Moore and Vartan Manoogian.
For more information, visit www.GracePresents.org
By Jacob Stockinger
Today is Halloween 2015.
Trick or treat?
The Ear is giving out treats today.
Eeriness has played a role in classical music since its beginning.
So here are the 13 scariest pieces of classical music – with links to performances – as determined by Limelight magazine:
And here is another selection of Halloween music, 10 pieces also with links to performances, from The Imaginative Conservative:
Together the two websites offer a wide variety of composers: Camille Saint-Saens, Franz Liszt, Johann Sebastian Bach, Modest Mussorgsky, Hector Berlioz, Bela Bartok, Arnold Schoenberg, Sergei Rachmaninoff, Gyorgy Ligeti, Antonin Dvorak, Josef Suk, Jean Sibelius, Andre Caplet, Carl Maria von Weber and Franz Schubert.
You could stream them loudly as you do trick-or-treat with neighborhood children.
But The Ear also wants to share what he finds to be a fascinating and irresistible but nonetheless spooky way of listening to the famous Organ Toccata and Fugue in D minor by Johann Sebastian Bach, a work that made both lists of music appropriate to Halloween.
The YouTube video uses an ingenious but spooky visual bar graph bar way to follow the music. Try it and see for yourself! Over 25 million people have!
Then leave any suggestions you have for Halloween music, along with a link to a YouTube or other performance if possible, in the COMMENT section.
The Ear wants to hear.
ALERT: Tonight’s recital by pianist Marco Grieco at Farley’s House of Pianos has been CANCELLED due to visa problems.
By Jacob Stockinger
What else can you do except admire the quiet courage and persistence to keep going?
It is exactly what the 20th-century French poet Paul Eduard described as “Le dur désir de durer,” or the hard desire to endure.
Perhaps that is one of the enduring appeals and rewards of great art – to help all of us, artists and audiences alike, get through difficult times, to bear the unbearable.
Last summer, you may recall, the Karp family lost pianist patriarch Howard Karp, a wonderful talent and personality who died suddenly of heart failure at 84 while on vacation in Colorado.
Karp (below, in a photo by Katrin Talbot) had been a longtime piano teacher and beloved performer at the University of Wisconsin-Madison School of Music. He also was a devoted first-rate chamber music partner who performed frequently with the other members of his family.
Here is a link to the blog post about that death that drew so many readers and reader comments:
You can also use the blog’s search engine to see several posts about the memorial held for Howard Karp.
Now the remaining family members – apart from the three granddaughters who have participated in previous concerts – will take to the stage of Mills Hall this Saturday night at 8 p.m. to continue the longtime Karp tradition of performing.
He will be joined by his pianist mother Frances, and his brother Christopher, a gifted pianist and violinist (one-time concertmaster of the Wisconsin Chamber Orchestra) who is also a medical officer with the Bill and Melinda Gates Foundation.
Here is the program:
Second Suite for Solo Cello, Op. 80 (1967) by Benjamin Britten (below)
Scherzo: Allegro molto
Sonata in F Major for Piano and Violin, Op. 24 “Spring” (1801-2) by Ludwig van Beethoven; transcribed for Piano and Cello by Parry Karp
Adagio molto expressivo
Scherzo: Allegro molto
Rondo: Allegro ma non troppo
With pianist Frances Karp (below bottom, on left beside the late Howard Karp, and below bottom playing with Parry Karp, Pro Arte violinist and Wisconsin Chamber Orchestra concertmaster Suzanne Beia, and daughter-in-law violist Katrin Talbot, who also plays with the Madison Symphony Orchestra)
Sonata for Solo Cello (1955) by George Crumb (below)
Fantasia: Andante espressivo e con molto rubato
Tema pastorale con variazioni
Toccata: Largo e drammatico-Allegro vivace
Sonata in G Major for Piano and Violin, Op. 96 (1812) by Ludwig van Beethoven; transcribed for Piano and Cello by Parry Karp. (At bottom in a YouTube video with a performance by violinist Isabelle Faust and pianist Alexander Melnikov of the appealing first moment of the original version of Beethoven’s Violin Sonata, Op. 96. The work is one of The Ear’s all-time favorites.)
with pianist Christopher Karp (below top and bottom, playing with his brother Parry)
By Jacob Stockinger
For quite some time now, NPR has featured “Tiny Desk Concerts” — classical, jazz, folk, roots music — during which major performers play live in the crowded NPR studio. They are easy to link to and stream over your computer or maybe even your TV set these days. (NPR books great guests, including, below bottom, superstar cellist Yo-Yo Ma.)
You can also find NPR links to and archives of other live performances -– often through radios stations such as WQXR-FM in New York City and WGBH in Boston –- and include a recital of live music in major halls and venues, including one of Franz Joseph Haydn, Ludwig van Beethoven, Claude Debussy and Frederic Chopin by the acclaimed Norwegian pianist Leif Ove Andsnes at Carnegie Hall (below). And there are many, many others.
And now Deceptive Cadence seems to be acting like musical anthropologist. The time they went out “into the field” – that is, not in the usual venues and concert halls.
That’s not unheard of, of course. That is how the great composer Bela Bartok (below) started out as a musical anthropologist or ethnologist of Hungarian and Romanian folk music, and then used his research to morph into one of the pioneers of musical modernism. Chopin used Polish music like the mazurka to create a new Romanticism. And in American folk music, the musical anthropology of Alan Lomax is legendary.
Specifically, NPR went to the piano factory of Steinway and Sons in New York City and recorded the red-hot glam pianist Yuja Wang playing the fiercely difficult Toccata in D Minor, Op. 11, with all its hypnotic repetition of a single note, by Russian composer Sergei Prokofiev on a brand new Steinway concert grand. (You can see and hear it in a YouTube video at the bottom. Don’t forget to click on the icon that is second from the right to enlarge the video image to fill your computer screen.)
The music and the physical virtuosity or dexterity is amazing to behold.
It is also kind of cute and informal to watch the diminutive figure of the glamorous Wang playing difficult cert music in a cold, wood-strewn and equipment-strewn warehouse in fingerless wool hobo gloves that go up her forearm –- but only after she uses the reflective fallboard above the keys to put on glossy lipstick and so complete her outfit of black fur-like boa, black stiletto heels and geometrically high fashion black-and-white dress.
Ah! Those tribal ceremonies and native attire!
Anyway, here is a link to the performance by Yuja Wang at the Steinway and Sons factory in the borough of Queens, not the usual Steinway showroom in Manhattan where most pianists test and choose pianos for their performances.
The Tiny Desk Concerts archive has lots of kinds of live performances.
For example, here is the famed Kronos Quartet (below) doing a recent Tiny Desk Concert featuring its latest recordings. Many other such concerts by other artists have been archived and are readily accessible:
And here is a link to the archive, with links to other older archives, of music Live in Performance housed at NPR. It includes chamber music, orchestral music (below is the Mideast peace-promoting Palestinian-Israeli West-Eastern Divan Orchestra under co-founder and director Daniel Barenboim in Carnegie Hall), operas and recitals:
ALERT: This Saturday night at 7 p.m. in the Landmark Auditorium at the historic Meeting House at the First Unitarian Society of Madison, 900 University Bay Drive, Stephen Alltop of Northwestern University will give a harpsichord recital. The program features the music of Johann Sebastian Bach (Toccata in E minor, Preludes and Fugues in D major and D minor from The Well-Tempered Clavier, Book I), Domenico Scarlatti (two sonatas), Jean-Philippe Rameau (Suite in A Minor), Franz Joseph Haydn (Sonata No. 6 in G Major) and George Frideric Handel (Suite in G Minor). A free will offering will be taken.
By Jacob Stockinger
Clocks in Motion, Madison’s cutting-edge new music ensemble, will present Unfamiliar Voices 1.0, an expansive program featuring music from both the heart of the established percussion ensemble literature and the forefront of modern percussion composition.
The FREE performance is this coming Sunday, Feb. 16, at 3 p.m. in Mils Hall. It will celebrate composer and UW-Madison student Ben Davis, the 2014 Clocks in Motion Call for Scores winner, with the world premiere of his exciting new work, “Night.”
The ensemble will also perform the meditative percussion quartet, “Threads,” by Paul Lansky and the grand percussion sextet, “Kryptogramma,” by Georges Aperghis.
Ben Davis (below), a composer, trumpeter and teacher from Richmond, Virginia, writes for unique instruments built by Clocks in Motion. His new work employs sixxen — large aluminum keyboard instruments that are tuned microtonally (vastly different from the standard repeating 12-tone scale in most western music).
The three sets of sixxen (below, in the foreground with other percussion instruments) in the piece are purposefully out of tune with each other, creating an entrancing sound cloud of beading frequencies for the listener. In contrast, the other three players in the piece each play a bombastic multi-percussion setup of tom toms, snare drums, kick drums, and china cymbals. Davis’ innovative work is sure to impress.
Paul Lansky (below) shares some insightful thoughts on his 2005 work: “Threads… is a half-hour long ‘cantata’ for percussion quartet in ten short movements. (You can hear it at the bottom in a YouTube video performance from the Peabody Conservatory of Music at Johns Hopkins University in Baltimore.)
Adds Lansky: “There are three “threads” that are interwoven in the piece: Arias and Preludes that focus on the metallic pitched sounds of vibraphones, glockenspiel and pipes; Choruses in which drumming predominates; and Recitatives made largely from John Cage-like noise instruments, bottles, flower pots, crotales, etc. The aim of the different threads is to highlight the wide range of qualities that percussion instruments are capable of, from lyrical and tender to forceful and aggressive, and weave them into one continuous ‘thread.’ The movements are performed without interruption.”
Georges Aperghis’ 1970 composition “Kryptogramma” is a massive undertaking. Puzzling instrumental combinations and bizarre rhythmic structures make this one of the most fascinating and complex percussion ensemble works ever written.
“Kryptogramma” means “concealed text/writing”. In the words of composer Aperghis (below): “Every cyptogram [in the piece] conceals a text or number sequence, behind which information is hidden…simple rhythms…are developed in a tapestry of soaring movements, and…subjected to a mass of variation.”
Clocks in Motion members are Dave Alcorn, Jennifer Hedstrom, Sean Kleve, Michael Koszewski James McKenzie, and Joseph Murfin. For the concert on Feb. 16, Clocks in Motion will welcome percussionists Vincent Mingils and Somali Wilson as guest performers.
All performers are either current or former students of the UW-Madison percussion studio.
Hailed as “nothing short of remarkable” (ClevelandClassical.com), Clocks in Motion is a group that performs new music, builds rare instruments, and breaks down the boundaries of the traditional concert program.
Formed in 2011, the ensemble is currently in residence at the University of Wisconsin School of Music. The individual members of Clocks in Motion’s unique skill sets and specialties contain an impressive mix of musical styles including, rock, jazz, contemporary classical music, orchestral percussion, marching percussion, and world music styles.
Among its many recent engagements, the group served as resident performers and educators at the Interlochen Arts Academy, Rhapsody Arts Center, University of Michigan, Baldwin-Wallace University, and the Madison Museum of Contemporary Art.
Admission is free. For more information, including repertoire, upcoming events, biographies, and media, visit http://clocksinmotionpercussion.com.