The Well-Tempered Ear

Classical music: The Bach Dancing and Dynamite Society opens its 26th season with a bang worthy of its name. Plus, TONIGHT the Willy Street Chamber Players open the summer season of the Rural Musicians Forum in Spring Green

June 12, 2017
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A REMINDER: Tonight at 7:30 p.m. in the Hillside Theater at Frank Lloyd Wright’s Taliesin compound in Spring Green, six members of the Willy Street Chamber Players will open the summer season of the Rural Musicians Forum. The program features works by Johannes Brahms, American composer Charles Ives, and Argentine composer Alberto Ginastera. A free-will donation will be requested. The Hillside Theater is located at 6604 County Highway 23, Spring Green. For more information about the Rural Musicians Forum, go to: http://ruralmusiciansforum.org/home

By Jacob Stockinger

This guest review is by a new contributor, Kyle Johnson (below). As a pianist since elementary school, Johnson has devoted most of his life to music. Born and raised in Lexington, Kentucky, he is now a doctoral candidate in piano performance at the UW-Madison, where he studies with Christopher Taylor and specializes in modern and contemporary music. He participates in many festivals and events around the U.S. and Europe. Recently, he co-founded the Madison-based ensemble Sound Out Loud, an interactive contemporary music ensemble. For more information, visit: www.kyledjohnson.weebly.com

By Kyle Johnson

The Bach Dancing and Dynamite Society’s 26th season — themed “Alphabet Soup” for 26 letters — began on Friday evening at the historic Stoughton Opera House (below bottom) with a program of underprogrammed French, German and Russian works.

BDDS is led by artistic directors (below) Stephanie Jutt, UW-Madison’s newly-retired flute professor and principal flute of the Madison Symphony Orchestra, and Jeffrey Sykes, pianist of the San Francisco Piano Trio who studied at the UW-Madison. The two musicians assembled a “dynamite” group of musicians for their opening concert.

First on the program was Médailles antiques (Old Medals) for flute, violin and piano from 1916 by Philippe Gaubert (below). Like the weather throughout the day on Friday, the piece provided a sunny and spry start to the program in the centennial year of World War I.

At times, I wanted the ends of phrases to have a little more stretch and grace to them. However, the richness of sound from each musician, as well as the ensemble’s superb blend, made up for any small qualm I may have had.

The next piece, Gideon Klein’s String Trio (1944), featured three “apprentice” musicians from BDDS’s Dynamite Factory. Violinist Misha Vayman (below top), violist Jeremy Kienbaum (below middle) and cellist Trace Johnson (below bottom) are the program fellows for this year’s series.

Striking about the work was Klein’s musical optimism amid stark reality – the piece was written at the Auschwitz concentration camp just a few months before the death of the composer (below).

The Dynamite Factory artists gave a spirited rendition of the weighty work, which at times resembles the rollicking intensity of Bela Bartok’s folk dances.

Before the intermission, the audience was treated to Sergei Prokofiev’s chilling Sonata No. 1 in F Minor, Op. 80, for violin and piano. Like the preceding piece, Prokofiev’s sonata was written during the strife of World War II. (You can hear the first movement, played by Maxim Vengerov, in the YouTube video at the bottom.)

Prokofiev labeled one passage at the end of the first movement as “wind passing through a graveyard”; the passage (a series of quick violin scales) returns at the close of the piece. Under the hands of violinist Carmit Zori (below top) and pianist Jeffrey Sykes (below bottom), the sonata seemed both devastating and human.

A brief, unprogrammed presentation began the second half of the concert, which was a performance of “Arrival of the Queen of Sheba” from the oratorio Solomon by George Frideric Handel.

The work was lauded and produced by the Fourth Earl of Sandwich in the mid-1700s. Fittingly, during the music, characters clad in 18th-century attire roamed the Stoughton Opera House to hand out sandwiches.

Last on the program was Johannes Brahms’s Piano Quartet No. 2 in A Major, Op. 26, played by violinist Zori; Pro Arte Quartet violist Sally Chisholm (below top); Toronto Symphony principal cellist Joseph Johnson (below bottom); and pianist Sykes.

The quartet brimmed with musical swells and overlapping layers of sound. There are a number of memorable themes that allow the listener to simply ride the wave of sound throughout the 40-minute work.

All of the musicians were fully deserving of the ovation (below, in a photo by Kyle Johnson) they received in Stoughton, as all technical demands were met with superb musicality and passion.

Future BDDS concerts run through June 25 and are not to be missed! For more information about programs and about performers, performance dates, times and venues, go to www.bachdancing.org


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

June 6, 2017
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By Jacob Stockinger

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

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

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

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

The venues are suitably intimate for chamber music: The Playhouse (below top) at the Overture Center at 201 State St.; the jewel box historic Stoughton Opera House (below middle) at 381 East Main St.; and Frank Lloyd Wright’s Hillside Theater (below bottom) at Taliesin on County Highway 23 in Spring Green.

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

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

This season’s theme is Alphabet Soup, because it’s the 26th year and there are 26 letters in the alphabet. Each program is named after a combination of letters used in everyday language. Sometimes the musical interpretation of those letters is literal and sometimes it’s quite loose.

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

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

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

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

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

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

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

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

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

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

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

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

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

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


Classical music: The Madison Symphony Orchestra presents two organ concerts this week – this season’s final organ recital TONIGHT at 7:30 p.m. and this season’s final FREE community hymn sing on Saturday at 11 a.m.

March 7, 2017
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By Jacob Stockinger

The Ear has received the following information to post about two performances, put on by the Madison Symphony Orchestra, in Overture Hall this week. The first is the season’s final organ recital and the second is the  season’s final hymn sing:

ORGAN RECITAL

The Madison Symphony Orchestra welcomes acclaimed organist Erik Wm. Suter in recital, TONIGHT, March 7, at 7:30 p.m. in Overture Hall, 201 State Street.

Suter will perform works by Johann Sebastian Bach, Wolfgang Amadeus Mozart, Maurice Duruflé and William Bolcom, among others. For the specific works on the program, go to: http://madisonsymphony.org/suter

A native of Chicago, Suter (below) enjoys an international career from Tokyo to Toronto and from Massachusetts to Madison. For 10 years he served as organist at the Washington National Cathedral.

Additionally, he has won five first place awards in numerous organ competitions around the world.

His performances of the complete organ works of Maurice Duruflé have garnered high praise: “Suter’s impeccable organ playing and musicianship were certainly the highlight of the evening.” (You can sample Suter’s Duruflé project, performed at the National Cathedral, in the YouTube video at the bottom.)

HYMN SING

On Saturday, March 11, at 11 a.m., the MSO invites the entire community to sing together with the Overture Concert Organ at a free Hymn Sing in Overture Hall, 201 State Street.

All ages are welcome and no registration or tickets are required.

The Hymn Sing will feature classic hymns and spirituals such as Rock of Ages, Were You There, and I Know That My Redeemer Lives as well as solo organ works by Johann Sebastian Bach, Douglas Bristol and Louis Vierne.

Gary Lewis (below), organist at Bethel Lutheran Church in Madison, will lead the hymn singing, which will last approximately one hour.

TICKETS

General Admission for each Overture Concert Organ performance is $20. Tickets can be purchased at madisonsymphony.org/suter, (608) 258-4141 or the Overture Center Box Office.

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 $10 tickets.

The Erik Wm. Suter performance is sponsored by Mike and Beth Hamerlik.

Support for all Overture Concert Organ programs is provided by the Diane Endres Ballweg Fund. With a gift from Pleasant T. Rowland, the Madison Symphony Orchestra (MSO) commissioned the Overture Concert Organ, which is the backdrop of all MSO concerts.


Classical music education: Brother and sister alumni return to play cello and conduct in the fall concerts by Wisconsin Youth Symphony Orchestras. Plus, hear a free concert of three solo cello suites by Bach on Friday at noon

November 9, 2016
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ALERT: This week’s FREE Friday Noon Musicale at the First Unitarian Society of Madison 900 University Bay Drive, features cellist Leonardo Altino playing Suites Nos. 1, 5 and 6 for unaccompanied cello by Johann Sebastian Bach. The concert runs from 12:15 to 1 p.m.

By Jacob Stockinger

WYSO will kick-off its 51st season with the Evelyn Steenbock Fall Concerts on this Saturday, Nov. 12, and next Saturday, Nov. 19. Nearly 500 young musicians will display their talents to the community during the concerts, which are dedicated to music teachers.

WYSO Youth Orchestra

The Youth Orchestra concert on Nov. 19 will be performed at the River Arts Center in Prairie du Sac, where WYSO will welcome back two alumni guest artists: Kenneth Woods and Cynthia Woods.

Kenneth will be playing cello and Cynthia will be conducting in the Cello Concerto by British composer Philip Sawyers. (You can hear Kenneth Woods conduct the opening movement of the cello concerto in the YouTube video at the bottom.)

The Youth Orchestra, under the direction of James Smith, will also be playing Symphony No. 2 by Ralph Vaughan Williams and Overture to the opera “Der Freischuetz” by Carl Maria von Weber.

Cynthia Woods (below) is currently the Music Director of the Cambridge Symphony Orchestra and the conductor for the Youth Preparatory Orchestra at the New England Conservatory, where she serves on the violin, chamber and conducting faculty.

Along with her conducting activities, Ms. Woods is also a frequent speaker and writer. She has been a guest lecturer at institutions such as MIT and the Longy School of Music of Bard College, a panelist for radio shows such as WGBH’s Callie Crossley, and a frequent contributor to The Boston Herald’s State of the Arts blog. Cynthia was a member of WYSO from 1984–1989 in Concert, Philharmonia and Youth Orchestra.

For more background about Cynthia Woods, go to:

http://www.wysomusic.org/guest-artists/cynthia-woods/

https://www.wysomusic.org/events/concerts-recitals/evelyn-steenbock-fall-concerts/interview-with-cynthia-woods/

cynthia-woods

Kenneth Woods (below) is currently the Artistic Director and Principal Conductor of the English Symphony Orchestra. As a cello soloist and chamber musician, Wood’s collaborators have included members of the Toronto, Chicago and Cincinnati symphonies, the Minnesota, Gewandhaus and Concertgebouw orchestras and the La Salle, Pro Arte, Tokyo and Aubudon String Quartets.

He also  is currently cellist of the string trio Ensemble Epomeo, with whom he performs regularly in the UK, Europe, and the USA. He writes a popular blog, “A View From the Podium.” Kenneth was a member of WYSO from 1980–1986 in Concert, Philharmonia and Youth Orchestra. He also studied cello at the University of Wisconsin-Madison School of Music with Parry Karp, of the Pro Arte Quartet.

For more background and an interview with Kenneth Woods, go to:

http://www.wysomusic.org/guest-artists/kenneth-woods-cellistconductor/

https://www.wysomusic.org/events/concerts-recitals/evelyn-steenbock-fall-concerts/interview-with-ken-woods/

Avie, London 15 Feb 2011

Schedule and Programs

November 12, 2016 – 1:30 P.M., Mills Hall

Philharmonia Orchestra

  • Rimsky- Korsakov: Procession of the Nobles from Mlada 
  • Shostakovich: Finale from Symphony No. 5, Op. 47 
  • Prokofiev: Montagues and Capulets from Romeo and Juliette, 2nd suite
  • Shostakovich: Six Pieces from the First Ballet Suite Op. 84

wyso concert orchestra brass

November 12, 2016 – 4 P.M., Mills Hall

CONCERT ORCHESTRA (below)

  • Jack Bullock: Okeanos
  • James Curnow: Phoenix Overture
  • Jaromír Weinberger: Polka from the Opera Schwanda, the Bagpiper
  • Albert O. Davis: Moonlight Masquerade
  • Richard Strauss: Allerseelen (All Souls’ Day) Op. 10 No. 8

SINFONIETTA

  • Domenico Gallo: Sinfonia in G
  • Grieg: A Nordic Lullaby Op. 68, No.5 
  • Tchaikovsky: Serenade for Strings 
  • Robert S. Frost and Mary Elledge: Tales from Sherwood Forest
  • Brian Balmages: Wood Splitter Fanfare
  • Norman Leyden: Serenade for String Orchestra
  • Michael Korb and Ulrich Roever: Highland Cathedral 
  • William Owens: Carpathia
  • Sebastian Yradier: La Paloma 

wyso-youth-orchestra-2016-2

November 19, 2016 – 7 P.M., River Arts Center

YOUTH ORCHESTRA (below)

  • Symphony No.2– Ralph Vaughan Williams
  • Overture to the opera “Der Freishuetz”– Carl Maria von Weber
  • Cello Concerto– Philip Sawyers 
with Kenneth Woods – Cello, Cynthia Woods – Conductor

youth-orchestra-1

The Evelyn Steenbock Fall Concerts will be held in Mills Concert Hall in the UW Humanities Building, 455 N. Park Street, Madison, and at the River Arts Center, 105 Ninth St. Prairie du Sac, Wisconsin.

WYSO concerts generally run about an hour and a half in length, providing a great orchestral concert opportunity for families.

Tickets are available at the door, $10 for adults and $5 for youth 18 and under.

This project is supported by Dane Arts with additional funds from the Evjue Foundation, Inc., the charitable arm of The Capital Times. This project is also supported in part by a grant from the Wisconsin Arts Board with funds from the State of Wisconsin and the National Endowment for the Arts.


Classical music: The St. Lawrence String Quartet will perform works by Haydn and the Midwest premiere of the String Quartet No. 2 by John Adams this Friday night at the Wisconsin Union Theater. Plus, this Tuesday night UW-Madison alumnus and violist Elias Goldstein will perform a FREE concert of the famous Caprices by Paganini

February 1, 2016
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ALERT: University of Wisconsin-Madison School of Music 2011 alumnus and violist Elias Goldstein is on his way to Carnegie Hall in New York City to perform all the virtuosic 24 Caprices originally for solo violin by Niccolo Paganini. But first he will perform them here in a FREE concert that also includes other works with pianist Thomas Kasdorf, another UW-Madison alumnus, on Tuesday night at 7 p.m. in Morphy Recital Hall. (Sorry, no word on the rest of the program.) Goldstein will also give a FREE and PUBLIC master class on Wednesday at 2:25 p.m. in Morphy Hall.

For more information, go to:

http://www.music.wisc.edu/event/goldstein_paganini/

By Jacob Stockinger

How does a contemporary American composer channel classic composers from more than 200 years ago?

You can find out by going to hear the St. Lawrence String Quartet (SLSQ, below). The critically acclaimed string quartet will perform this Friday night at 8 pm, in Shannon Hall at the Wisconsin Union Theater.

St.Lawrence String Quartet 2016 2 BIG USE

Tickets are $27.50 to $42.50.

For more information, including reviews and video samplings, visit:

http://uniontheater.wisc.edu/Season15-16/st-lawrence-string-quartet.html

The program features two quartets by Franz Joseph Haydn, including the popular and famed “Emperor” Quartet and the earlier “Joke” Quartet as well as the Midwest premiere of John Adams; String Quartet No. 2.

NPR, or National Public Radio, recently featured an interview with Adams discussing Beethoven:

http://www.npr.org/sections/deceptivecadence/2015/11/10/450560466/john-adams-mines-beethovens-mind

But Christopher Costanza, the cellist of the St. Lawrence String Quartet, recently gave an enlightening Q&A from the quartet’s point of view to The Ear:

christopher costanza playing cello

Can you briefly bring the public up to date since your last appearance in Madison, when you performed “The Dreams and Prayers of Isaac the Blind” by Osvaldo Golijov? Major residencies and tours? Major commissions? Major performing and recording projects?

The St. Lawrence String Quartet has been busy with a wide range of projects in the years since our last appearance in Madison.

We’ve had a personnel change – our newest quartet member is Owen Dalby, our second violinist, who joined us in the spring of last year.

We happily continue as Artists-in Residence at Stanford University, where we are involved in a great number of activities, including teaching, performing, and collaborations with a wide range of schools and departments on campus.

And our international touring schedule remains very active, with concerts throughout North America and Europe; our most recent European tour, in late summer of 2015, included concerts in Scotland, Germany, Romania, Hungary and Switzerland, and we will tour Europe twice in 2016.

We’ve performed several pieces commissioned for us, including works by such composers as Osvaldo Golijov, Ellen Taaffe Zwilich, Samuel Adams, Jonathan Berger, James Matheson and George Tsontakis.

Of particular significance, John Adams has composed three works for us, two string quartets and a quartet concerto, “Absolute Jest,” which was written for the SLSQ, the San Francisco Symphony and the SF Symphony’s music director Michael Tilson Thomas.

We’ve performed “Absolute Jest” on several national and international tours with the San Francisco Symphony, as well as with the London Symphony, the Toronto Symphony, and the New World Symphony. Our recording of the work with the San Francisco Symphony and Michael Tilson Thomas was released this past summer.

We’ve recently embarked on a recording project of the Opus 20 quartets of Haydn, and other recording projects are in development.

john adams absolute jest

Why did you choose to perform two Haydn string quartets to open and close the program, instead of a work by Beethoven, given the Beethoven influences in the String Quartet No. 2 by John Adams?

We often perform programs that begin and end with a Haydn quartet, with a contemporary work (or works) in between. This showcases the great variety and brilliance of Haydn’s gigantic contribution to the quartet repertoire.

It also provides an interesting contrast between the earliest works for quartet and current compositional offerings, stressing the fact that Haydn (below) essentially invented the string quartet and paving the way for other composers to explore creativity in their compositions for quartet.

In truth, we do often program Beethoven (below) with the Second String Quartet by Adams. For this program, I think the Adams/Haydn juxtaposition will be a meaningful comment on the evolution of quartet writing, from the early years to works of the present.

Beethoven big

As an exercise in compare and contrast programming, what would you like the public to know about the “Joke” and “Emperor” Quartets by Haydn? About Haydn’s music in general?

Haydn’s “Joke” Quartet, from his Op. 33 set, is, as you might guess, filled with humor and wit. The quartet is actually quite straightforward structurally, filled with robust and positive energy and simple, appealing melodies. It’s a compact work, inviting and charming.

The “Emperor” Quartet, from the Op. 76 set, comes from a later period of Haydn’s compositions, and it is a work of considerable length and weight. This quartet shows a natural link to Beethoven in its duration, dynamic contrast, emotional range, and overall musical substance. (You can hear Haydn’s “Emperor” Quartet performed, analyzed and discussed by the St. Lawrence Quartet in a YouTube video at the bottom.)

Of significant note, the “Emperor” is named thusly for the second movement, a theme and variations based on the tune Haydn (below) originally wrote for the Emperor Francis of Austria as a sort of national anthem.

Haydn

What should readers know about the String Quartet No. 2 by John Adams (below)? How is it similar to or different from his other works that the public knows such as “Nixon in China,” “The Death of Klinghoffer,” “Doctor Atomic” “Harmonielehre” and “On the Transmigration of Souls”? Will this performance be the Midwest premiere? Will you record the quartet?

John Adams’s Second String Quartet is very strongly based on two motivic ideas from Beethoven’s Op. 110 piano sonata, as well as a variation from Beethoven’s “Diabelli” Variations.

The Beethoven elements are clearly presented in clever and skilled ways, and I think many of them will be evident to the astute listener. Most importantly, John is brilliant in his transformation of the Beethoven quotes, and the piece is very clearly an Adams piece, characterized by driving rhythms, great energy, and a true sense of musical intent and balance.

To get a sense of the piece prior to hearing it, I suggest listening to “Absolute Jest” (our recent recording) – another of John’s pieces inspired by Beethoven and filled with late Beethoven quotes – and the Op. 110 Piano Sonata by Beethoven.

We’ve performed the Second Quartet on several occasions since we premiered it at Stanford University about a year ago, but I do think our Madison performance will be a Midwest premiere. We are currently considering the possibility of recording the work, but specific plans have not yet been made.

john adams with pencil

What else would you like to say?

We’re thrilled to be returning to Madison after a gap of several years. It’s very exciting to be bringing a program of music by two of our favorite composers, Joseph Haydn and John Adams, and we think contrasting the two will be interesting and enlightening to all.


Classical music: Is the Toronto Symphony censoring freedom of speech? Read about the Twitter Wars in Toronto that involve two pianists who have played in Madison.

April 18, 2015
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By Jacob Stockinger

Tweets — those messages that comes via Twitter — may be short, containing a maximum of only 140 characters.

Sample Tweet from space

But they can sure pack a wallop and get people riled up.

Consider what is happening in Toronto with the Toronto Symphony Orchestra  (below top, in a photo by John Loper) that canceled an appearance – with full payment of a concert fee  — by the Ukrainian-born pianist Valentina Lisitsa (below bottom).

Toronto Symphony Orchestra USE CR John Loper

Valentina Lisitsa

Lisitsa tweeted about the political situation in her native Ukraine and that apparently caused quite the stir among symphony sponsors. So the symphony canceled her performances of the Piano Concerto No. 2 in C Minor by Sergei Rachmaninoff – and paid her concert fee anyway. (Rachmaninoff and this concerto are specialties of Lisitsa, as you can hear on the YouTube video at the bottom)

Locally, Lisitsa — known for her power, endurance and phenomenal technique as well as her savvy use of YouTube to establish a career — has played several times at the Wisconsin Union Theater and at Farley’s House of Pianos.

Then the Toronto Symphony tried to engage pianist-composer Stewart Goodyear (below), who is famous for doing marathons in which he plays all 32 piano sonatas by Ludwig van Beethoven in one day. He has performed several times with the Wisconsin Chamber Orchestra.

Goodyear

Anyway, here is a terrific account of the story — with great reporting and writing from Anastasia Tsioulcas — that was posted on Deceptive Cadence, the outstanding classical music blog that is on NPR (National Public Radio).

Here is the link:

http://www.npr.org/blogs/deceptivecadence/2015/04/09/398571112/twitter-outrage-takes-toronto-canceling-two-pianists

What do you think of this dust-up?

Was Lisitsa treated fairly?

The Ear wants to hear.


Classical music: Famed music critic Andrew Porter has died at 86.

April 10, 2015
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By Jacob Stockinger

Music critic Andrew Porter, best known in this country for his 20-year tenure at The New Yorker magazine, died in London this week at the age of 86. (Below, he is seen working on “The Magic Flute” by Wolfgang Amadeus Mozart in a Toronto production in 2005.)

andrew porter magic flute toronto 2005

In his music reviews for The New Yorker magazine, critic Andrew Porter always seemed a cut above most journalistic critics.

His reviews had enough depth and substance beyond the occasion of the specific performance he was reviewing that they were collected and published in several books — unfortunately many are now out of print — that still provide terrific research possibilities and vindicate his earlier judgments.

Here is a link to a page at amazon.com that lists his essays and libretto translation:

http://www.amazon.com/s/ref=nb_sb_ss_i_1_13?url=search-alias%3Dstripbooks&field-keywords=andrew+porter+music&sprefix=andrew+porter%2Cstripbooks%2C237

Andrew Porter book

So many of us learned to appreciate classical music in more knowledgeable and sophisticated ways, thanks to Andrew Porter and his wealth of detailed knowledge as well as his superior writing style. (Below, you can see Andrew Porter in the 1970s.)

andrew porter 1970s

But I had no idea of his really erudite sides — including his command of several languages and his extensive involvement in the actual performances of music, especially translating opera librettos — until I read his obituaries.

Here is a sampling of the memorial essays about a critic who will go down as one of the greatest critics ever.

Here is a story from the terrific Deceptive Cadence blog of NPR )National Public Radio:

http://www.npr.org/blogs/deceptivecadence/2015/04/03/397295421/multifaceted-music-critic-andrew-porter-dies-at-86

Here is a story from The New York Times:

http://www.nytimes.com/2015/04/05/arts/music/andrew-porter-new-yorker-classical-music-critic-dies-at-86.html

And here is a story, with great background and details, from The Guardian newspaper in the United Kingdom where Porter — seen below in 1992 in a photo by Jane Bown — lived in London since retiring from the New Yorker:

http://www.theguardian.com/music/2015/apr/07/andrew-porter

Andrew Porter in 1992.

 


Classical music education: Classical music can help students study for final exams. Plus, the WYSO Harp Ensemble and Youth Orchestra perform Saturday afternoon.

December 12, 2014
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ALERT: Just a reminder that tomorrow, Saturday, Dec. 13, at 1:30 p.m. in Mills Hall, on the UW-Madison campus in the George Mosse Humanities Building at 455 North Park Street.

The Youth Orchestra (below) and the Harp Ensemble of the Wisconsin Youth Symphony Orchestras (WYSO) will perform.

The orchestra’s program includes The Roman Carnival Overture by the French composer Hector Berlioz; three excerpts from Act 3 of “Die Meistersinger von Nürnberg” by the German Opera composer Richard Wagner; and the first, third and fourth movements from the Symphony No. 1 in D Minor by Russian composer Sergei Rachmaninoff.

The Harp Ensemble will perform the traditional tune “Be Thou My Vision” as well as “Grandjany, Eleanor and Marcia”; and a medley of music by the Italian opera composer Giacomo Puccini.

Call the WYSO office at (608) 263-3320 for up-to-date concert and ticket information. Or visit http://wyso.music.wisc.edu

Tickets are $10 for adult, $5 for young people 18 and under; and they are available at the door 45 minutes prior to each concert.

WYSO Youth  Orchestra

By Jacob Stockinger

Today is officially the last day of classes for the first semester at the University of Wisconsin-Madison. The next two weeks are devoted to a study period and to final papers and exams.

That means classes are also ending at a lot of other public and private universities and colleges around the nation, The Ear suspects. And elementary schools, middle schools and high schools will not be far behind.

Final exams 2

So it is a timely time to post the results of research that shows that classical music -– not just any music, but specifically classical music, which lowers rather raises blood pressure –- can help students study and prepare for final exams.

It was published in advance of two radio stations’ scheduling of useful classical music in Los Angeles at the University of Southern California and in San Francisco.

Apparently, the secret is that it has to do with the embedded structure of the music itself.

The researchers, which range from the cancer center at Duke University and the University of San Diego to the University of Toronto, even mention some specific composers and musical genres or forms that exhibit that sense of structure in outstanding ways.

The composers cited include such Old Masters as Johann Sebastian Bach (below top), Wolfgang Amadeus Mozart (below middle) and Johannes Brahms (below bottom). Richard Strauss and George Frideric Handel also were mentioned. Surprisingly, no mention was made of music by Antonio Vivaldi, Franz Joseph Haydn or Franz Schubert.

But students should avoid loud and more scattered music, the research suggests. No “1812 Overture,” complete with cannons, by Peter Ilyich Tchaikovsky! Such music is actually disrupting and counterproductive.

Bach1

mozart big

brahms3

Hmmmm.

Maybe that same sense of structure and regularity — especially noticeable in Baroque music as well as the Classical period and early Romantic music — also explains why those composers have appealed to so many people for so long.

It may also explain why student who study music  and go through formal music education often go on to high achievement in other fields.

And the preferred forms include solo music, including the piano and the lute, and string quartets. That makes sense to me since they are more intimate and less overwhelming forms. Solo French piano by Claude Debussy, Gabriel Fauré  and Francis Poulenc come in for special mention. (I would also add the 550 sonatas by Domenico Scarlatti.)

The Ear suspects that what works for final exams also works for other studying and homework in general and other intensive intellectual tasks.

studying to music CR Holly Wilder.jpeg

And maybe what is good for college students is also good for high school or even middle school or elementary school students.

final exams 1

I do have some questions: Did the researchers take the conflicting evidence about multi-taking into account? But I assume they probably gave that some thought. Still, you have to wonder.

Here is a link to the story:

http://news.usc.edu/71969/studying-for-finals-let-classical-music-help/

Do you have favorite music to study by? (One of my favorites is the Waltz in C-Sharo minor by Frederic Chopin as played with great discernible structure, repetition and variation — listen to inner voices — as well as incredible color and nuance by Yuja Wang in a popular YouTube video at the bottom.)

Favorite composers, favorite kinds and favorite pieces?

The Ear wants to hear.


Classical music: The Milwaukee Symphony Orchestra will perform music by Rossini, Wieniawski and Tchaikovsky this Tuesday night in Edgerton.

November 15, 2014
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By Jacob Stockinger

It has been a few years since the acclaimed and impressive Milwaukee Symphony Orchestra (MSO, below) –- still in the news (a link to a story on NPR, or National Public Radio, is below) because of the attempted theft of concertmaster Frank Almond’s $3-million Stradivarius violin — played an annual concert at the Wisconsin Union Theater. The Ear always looked forward to the top-flight playing and fine programs that the Milwaukee group brought to Madison.

http://www.npr.org/blogs/deceptivecadence/2014/10/12/355623871/the-case-of-the-stolen-stradivarius

Milwaukee Symphony Orchestra 2

But this week, the MSO, playing under an assistant conductor, will perform in nearby Edgerton at the Edgerton Performing Arts Center.

Edgerton PAC

The Milwaukee Symphony Orchestra – without its music director Edo de Waart — will perform at the Edgerton Performing Arts Center on this coming Tuesday, November 18, 2014 at 7:30 p.m. Tickets are $30 in advance, $35 at the door.

Here is some information from a press release: “The Milwaukee Symphony Orchestra, under the dynamic leadership of Music Director Edo de Waart, has embarked upon a new era of artistic excellence and critical acclaim. Now in his fifth season with the MSO, Maestro de Waart has led sold-out concerts, elicited rave reviews, and conducted an acclaimed performance at Carnegie Hall. The Milwaukee Symphony Orchestra has four purposes: to comfort, educate, entertain and exhilarate the human soul.” For more information, visit www.mso.org

The concert will feature conductor Francesco Lecce-Chong and violin soloist Jeanyi Kim.

The program will include the Overture to the opera “Semiramide” by the Italian composer Gioachino Rossini (below top); the Concerto for Violin No. 2 in D Minor, Op. 22, by the well-traveled Polish violin virtuoso and composer Henryk Wieniawski (below middle); and the popular Symphony No. 5 in E minor, Opus 64, by the Russian composer Peter Ilyich Tchaikovsky (below bottom). You can hear the tuneful and melancholy Tchaikovsky symphony, played by the Boston Symphony Orchestra under Leonard Bernstein,  in a popular YouTube video at the bottom.

Rossini photo

Henryk Wieniawski

young tchaikovsky

Jeanyi Kim (below) is the associate concertmaster (third chair) of the Milwaukee Symphony Orchestra and the concertmaster of the Milwaukee Chamber Orchestra. In 2007, she served as a guest assistant concertmaster of the London Symphony Orchestra under Sir Colin Davis and Valery Gergiev.

As an orchestral musician, the Toronto native has performed in illustrious venues around the world, including Carnegie Hall, the Barbican Centre, Salle Pleyel, and the Concertgebouw.  In addition to maintaining a private studio, she has served on the faculties at the University of Wisconsin-Parkside, University of New Haven, and Neighborhood Music School, to name a few.

She holds a Doctor of Musical Arts degree from Yale University, from which she also earned her BA, MM, and MMA degrees.

Jeanyi Kim

Francesco Lecce-Chong (below), currently associate conductor of the Milwaukee Symphony Orchestra, has worked with the Atlanta, Indianapolis, and St. Louis Symphony Orchestras, Saint Paul Chamber Orchestra, and the Hong Kong, Pitesti (Romania), and Ruse (Bulgaria) philharmonic orchestras. Equally at ease in the opera house, Maestro Lecce-Chong has served as principal conductor for the Brooklyn Repertory Opera and as staff conductor for the Santa Fe Opera.

He has earned national distinction, including the Solti Foundation Career Assistance Award and The Presser Foundation Music Award. In summer 2014, he served as the associate conductor at the Grand Tetons Music Festival and had guest appearances with the Toronto Symphony Orchestra, Las Vegas Philharmonic and the Breckenridge Music Festival.

He is a graduate of the Mannes College of Music, where he received his Bachelor of Music degree with honors in piano and orchestral conducting.  Lecce-Chong also holds a diploma from the Curtis Institute of Music.

Francesco Lecce-Chong

Tickets are $30 in advance, $35 at the door. They are available at the Edgerton Pharmacy and Edgerton Piggly Wiggly; and in Janesville at Knapton Musik Knotes and Voigt Music Center, and by calling (608) 561-6093.  Online, go to at iTickets.com

All performances funded by the William and Joyce Wartmann Endowment for the Performing Arts. An additional sponsor is the Edgerton Piggly Wiggly.

 

 


Classical music: The Madison Early Music Festival turns 15 with a perfect opening concert by the Toronto Consort that explored the Italian Renaissance and the musical legacy of Leonardo da Vinci.

July 15, 2014
1 Comment

By Jacob Stockinger

The Madison Early Music Festival started as an idea.

So, what better way to mark its 15th anniversary than by exploring perhaps history’s greatest Man of Ideas -– Leonardo da Vinci?

Leonardo da Vinci

And that is exactly what happened during the opening concert last Saturday  night by MEMF, which this year is exploring Italian music from 1300 to 1600.

memf banner 2014

The festival — complete with workshops, lectures and concerts -– is held each summer at the University of Wisconsin-Madison School of Music.

It started as a way to help fill the summertime void of classical music. But now summer is its own season when it comes to classical music in Madison, and much of that success is due to MEMF’s success.

Co-founders and co-artistic directors UW-Madison baritone Paul Rowe and his soprano wife Cheryl Bensman Rowe (below) had every reason to be proud and moved -– and they were, visibly and audibly.

Paul Rowe, Cheryl Bensman Rowe MEMF 2014

This summer, because Mills Hall is under construction, MEMF has had to turn to other venues, chiefly the nearby Luther Memorial Church at 1021 University Avenue and Music Hall on Bascom Hill.

The opening concert “The Da Vinci Codex” was held at Luther Memorial, and the church seemed close to full, meaning almost 400 listeners attended. This alternative venue actually seemed an improvement in that it offered a warm and acoustically superior environment with sets and a building that complemented the religious beliefs and art of that era’s music and culture.

MEMF 2014 Luther Memorial

MEMF 2014 Luther Memorial audience

The program was set up by a fine and well-attended lecture and slide show given by UW-Madison art professor Gail Geiger (below). She examined the heretofore underestimated role of music in Leonardo’s life and career as a painter, drawing master, poet, engineer, inventor and all-round genius.

MEMF 2014 Gail Geiger

MEMF Gail Geiger slide show Leonardo

What the audience then heard was a two-hour concert in which no false note was sounded, no false step was taken.

The performer was the Toronto Consort, making its Madison debut. It proved an outstanding and thoroughly professional group of eight persons (below) who are multi-talented in their ability to sing, to play instruments and to recite narration dramatically, expressively and convincingly. They were not afraid to entertain and as well as to inform. (You can hear a sample of similar music performed by the Toronto Consort in a YouTube video at the bottom.)

Toronto Consort MEMF 2014

The Ear was especially impressed by the tightness of the scissors-and-paste presentation and the uncanny way the Toronto Consort spoke to and engaged with the audience, who laughed and applauded thunderously.

MEMF 2014 Luther Memorial audience Toronto Consort

The program’s effectiveness came from the terrifically seamless and smooth narrative thread, the story that centered on the life and works of Leonardo da Vinci. It was unifying and used primary sources (Leonardo’s notebooks and letters) and secondary sources like the proto-art historian Giorgio Vasari’s “Lives” and other historians or critics. (Below is David Fallis, the artistic director, tenor and narrator.)

MEMF 2014 Luther Memorial Toronto Consort David Fallis, artistic director, tenor, narrator

The performers moved easily from historical accounts of Leonardo in Florence, Milan and France to contextual music that illustrated Leonardo –- the ultimate Renaissance Man — from birth to death. And it proved thoroughly enjoyable and often deeply moving. You did not have to be a fan of early music to be taken in by the contagious melodies and harmonies, the catchy inflections and rhythms, the facts of an amazing life and career.

Just watching these complete professionals perform took us into their world because they are full-body performers who used hands, feet and facial expressions to convey the emotional meaning of the music and get the audience to connect with the music and with them. It felt like Renaissance jazz, so free and yet also so disciplined and practiced was the performance. It is what The Ear likes to call “the well-rehearsed surprise” and is a hallmark of all great performances that are virtuosic and make what is hard seem easy or effortless. (Below is Katherine Hall, viola da gamba player and soprano, singing.)

MEMF 2014 Toronto Consort Katherine Hill soprano and viola da gamba

There is much more left of the 15th Madison Early Music Festival to hear, including “Songs of Love” by the instrumentalists and vocal ensemble Ex Umbris in Music Hall tonight at 7:30 p.m. tonight; plus other concerts including the second annual Handel Aria Competition in Music Hall on Thursday night at 7:30 p.m. (NOT 7 p.m., as the MEMF home website mistakenly said at first, and the always impressive All-Festival Concert, which focuses this year on the Trionfi of the poet Petrarch, on Saturday night at 7:30 p.m. in Luther Memorial Church. FREE pre-concert lectures by experts in art, music and history take place at 6:30 p.m.

Here is a link to a schedule and descriptions of events, with times, places and participants:

http://continuingstudies.wisc.edu/conferences/madison-early-music-festival/index.html?source=madisonearlymusic.org

Unlike many of Leonardo’s ideas, which were adventurous and even prophetic if uncompleted, MEMF has moved from idea to reality.

The Ear has no doubt, and every hope, that it is here to stay, and that it will continue to evolve and grow.


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