The Well-Tempered Ear

Classical music: Organist Greg Zelek, of the Madison Symphony Orchestra, will give a FREE celebratory recital at First United Methodist Church this coming Tuesday night

November 10, 2017
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By Jacob Stockinger

The Ear has received the following announcement to post:

“Greg Zelek (below), the new principal organist of the Madison Symphony Orchestra and Curator of the Overture Concert Organ and Series, will present a FREE public organ recital on this coming Tuesday night, Nov. 14, at 7 p.m. at First United Methodist Church, 203 Wisconsin Avenue, in downtown Madison.

“The evening’s program of masterpieces includes: the Toccata and Fugue in D minor, BWV 565, by Johann Sebastian Bach; the Organ Sonata in F minor, Op. 65, No. 1, by Felix Mendelssohn; the Prelude and Fugue in A minor, BWV 543, by J.S. Bach (heard performed by Zelek in the YouTube video at the bottom); and the Organ Sonata in D minor, Op. 42, No. 1, by Alexandre Guilmant.

“A public reception follows the recital where people can share their thoughts about the program and meet the artist.

“Zelek says he relishes the creative aspect of playing the organ. Because no two instruments are alike, every time he sits down at a new console he reinvents the repertoire that he has played thousands of times for that specific instrument and that specific space.

“Zelek adds: “It gives me the opportunity to be as creative as possible when it comes to the selecting of different sounds and colors for each individual instrument and composition.”

“The First Church organ console (below top), as well as the one (below bottom) at the Overture Center, is in front of the audience, offering the organist opportunities to interact and engage with them.

“I speak to the audience in between pieces,” Zelek explains. “Having a greater understanding of the music sheds light onto its immense beauty and enhances the listener’s appreciation of the performance.

“The organ is also such a physical instrument. When the audience can see what the organist is doing, it draws everybody in. There is so much going on. It’s not just the hands and the feet, but also the different buttons we’re pushing and sounds we’re generating from the instrument. It is a full body workout when I play! The audience should never be bored.”

“Zelek’s recital is part of the 180th anniversary celebration of First United Methodist Church as well as the 25th anniversary of its Austin organ.

“Admission for the recital is FREE with donation envelopes available to support The Arts program at First Church. The church has a deep tradition in featuring varied musical offerings and provides much needed rehearsal and performing space for local music and performing arts groups.”

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Classical music: Despite overly traditional staging, the Madison Opera’s “Carmen” beguiled and bewitched through the outstanding singing

November 7, 2017
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By Jacob Stockinger

The Opera Guy attended Sunday’s sold-out performance of “Carmen” by the Madison Opera and filed the following review, with photos by James Gill:

By Larry Wells

When I learned that Madison Opera was going to produce Bizet‘s “Carmen,” I was not surprised. It is annually one of the most frequently performed operas internationally, and it is a surefire vehicle for filling seats. It is safe.

On the other hand, once one watches repeated performances of an old favorite, the appeal can diminish. One advantage of an opera is that novel approaches to the production can prevent a warhorse from becoming stale.

I would love to say that the approach both musically and dramatically to this production of “Carmen” broke new ground, but it did not. In fact, the production was as traditional as could be. (Below is the main set, rented from the Lyric Opera of Kansas City.)

I attended a performance of “Carmen” in Tucson a couple of years ago, and the conductor Keitaro Harada breathed new life into the familiar music through interesting tempi and finely nuanced dynamics.

Maestro John DeMain (below, in a photo  by Prasad) conducted the Madison Symphony Orchestra in a perfectly fine and occasionally uplifting manner, but there was little new to learn from his approach. The purely instrumental entr’actes shimmered, but during the rest of the opera the singing was at the forefront.

Maestro Harada (below), whom Madison should be actively courting, is currently conducting “Carmen” in Sofia, and the accompanying publicity clip in the YouTube video at the bottom (bear with the Bulgarian commentary) shows that the production is unconventional in its approach although it clearly is still “Carmen.” I would have enjoyed something other than the ultra-traditional staging and sets experienced here in Madison.

At times the production was so hackneyed and hokey that I chuckled to myself – ersatz flamenco dancing, the fluttering of fans, all of the cigarette factory girls with cigarettes dangling from their lips, unconvincing fight scenes, annoying children running across the stage, dreary costumes that hardly reminded me of Seville. And I could go on.

Yet “Carmen” has a way of drawing one in despite oneself. The music is marvelous, and the singing was uniformly excellent.

The four principals were luminous both in their solo pieces and ensembles. Cecelia Violetta López as Micaëla (below right) was lustrous in her two arias as well as in her duet with Sean Panikkar’s Don José (below left).

Panikkar started the performance off with little flair, but from the time he became besotted with Carmen toward the end of the first act he was on fire. He then maintained a high degree of passion and zest in his vocal performance.

Corey Crider (below right) was a wonderful Escamillo, singing his toréador role with great élan despite his unfortunate costumes.

And Aleks Romano (below) as Carmen made the most of her complex character. Her singing was luscious, and her acting – particularly her use of her expressive eyes – was terrific.

Likewise, the lesser roles – Thomas Forde as Zuniga, Benjamin Liupaogo as Remendado, Erik Earl Larson as Dancaïre, a radiant Anna Polum as Fransquita, and Megan Le Romero as Mercédès – were equally well sung. The ensemble work in the quintet at the end of Act II and in the card scene was outstanding.

The chorus (below) sounded terrific throughout, although the women’s costumes and the stage direction made the choristers appear ludicrous as times.

When all is said and done, “Carmen” still beguiled me by drawing me into its characters’ complex psychologies and motivations. Likewise, its music still bewitched me in much the same way as Carmen inexplicably bewitched hapless Don José (below).

But I seem to always wish for more – more compelling productions, more daring music making, more risk-taking.

I do look forward to this coming spring’s production of “Florencia en el Amazonas.” The recording is captivating, and the opera’s performances have pleased a wide variety of audiences by all accounts. And it is something new. Hallelujah!

Did you go to “Carmen”? 

What did you think?

The Ear wants to hear.


Classical music: Should the Madison Symphony Orchestra return to a traditional Opening Gala concert with a guest soloist and big pieces, and move the all-orchestra concert to a later date?

October 28, 2017
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By Jacob Stockinger

You can’t blame longtime music director and conductor John DeMain (below, in a photo by Peter Rodgers) for wanting to put the spotlight on the players of the Madison Symphony Orchestra that he has built up over nearly 25 years.

After all, the orchestra members play well and respond superbly to DeMain’s direction, no matter what you might think of his programming and interpretations. He is proud of them with good reason.

So The Ear can easily understand why for the past few years DeMain has chosen to use an all-orchestra concert, with its principals taking the place of guest soloists, to open the season.

Yet DeMain also likes to emphasize the challenges he faces in selling tickets, filling seats and keeping the MSO a commercially successful orchestra.

The Ear noticed that this year, the all-orchestra opening concert of works by Bach-Stokowski, Mendelssohn and Berlioz, with principal violist Christopher Dozoryst as soloist, seemed to draw a smaller and less enthusiastic audience than the second concert did last weekend.

That second concert included the “Mother Goose” Suite by Ravel, the surefire “New World” Symphony by Dvorak and the Piano Concerto by Samuel Barber with guest pianist Olga Kern (below). The audience wildly cheered her and her flashy, virtuosic playing until it received an encore (the Prokofiev etude heard in the YouTube video at the bottom.)

So the question came to The Ear:

Should the MSO return to a traditional Gala Opening, with a surefire program and a high-profile guest soloist, and leave the all-orchestra concert until the second concert of the season?

The Ear checked out what other orchestras do.

This year, The Chicago Symphony Orchestra opened with violinist Anne-Sophie Mutter in the Tchaikovsky Violin Concerto. The Los Angeles Philharmonic opened with a gala program that featured pianists Yuja Wang and Jean-Yves Thibaudet teaming up in an all-Mozart program. The San Francisco Orchestra featured superstar cellist Yo-Yo Ma.

The Philadelphia Orchestra programmed pianist Emanuel Ax and the music of Beethoven, Brahms and Leonard Bernstein, whose centennial is being celebrated this season. The Boston Symphony Orchestra opened with Frederica von Stade, plus other singers, in an all-Bernstein program.

True, the Sheboygan Symphony also used the all-orchestra opener, and The Ear is sure there are many other orchestras, including some prominent ones, that do the same.

But it got The Ear to wondering. So he asked some other loyal MSO fans what they thought about returning to a traditional Gala Opening – one that announces to potential subscribers that great soloists will be featured during the season – and then moving the all-orchestra concert to a different date.

All the people he spoke to agreed that such a move would probably draw bigger audiences and capture the public’s attention better. One loyal patron even said that by going to the all-orchestra opening, the MSO (below, in a photo by Greg Anderson) was “just being cheap.”

Plans are probably already being made for next season, so it is likely too late to make any changes that soon.

But what about the 2018-19 season?

What do you think?

Should the Madison Symphony Orchestra return to a traditional Gala Opening that features big-name soloists and well-known pieces?

Should it move the all-orchestra concert with principal soloists to, say, the second concert of the season?

Or should things stay the way they are?

Which way do you think would be more commercially successful and sell more seats for that concert and for the rest of the season?

And which way would be more artistically satisfying?

The Ear wants to hear.


Classical music: Farley’s underappreciated Salon Piano Series shines again with duo-pianists Robert Plano and Paola Del Negro

September 29, 2017
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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 FM. For years, he served on the Board of Advisors for the Madison Early Music Festival and frequently gives pre-concert lectures in Madison. He also took the performance photos.

By John W. Barker

Roberto Plano appeared last season in a four-piano concert in the Salon Piano Series at Farley’s House of Pianos. This year, to open the 2017-18 season in the same series on last Sunday afternoon, the Boston-based pianist brought along his pianist wife, Paola Del Negro, for a duo program of utter fascination. (They are below.)

The first half of the program was devoted to music for piano-four hands, the duo alternating between primo and secondo parts. Robert Schumann’s six “Pictures From the East,” Op. 66, are examples of the composer’s important duo output.

Burgmein was the pen name of the covert composer better known as the influential music promoter and publisher Giulio Ricordi (below). His set of six duet pieces evoking characters from the Italian Renaissance Commedia dell’Arte tradition followed.

Then came two of the Hungarian Dances (No. 2 and 5) by Johannes Brahms in their original piano-duo form. (You can hear them play Hungarian Dances by Brahms in the YouTube video at the bottom.)

Ending the program’s first half was one of its biggest hits. After composing the great orchestral cycle of six patriotic scenes called “My Country,” Bedrich Smetana (below) made four-hand piano arrangements of each. Plano and Del Negro played that for the popular “Moldau.” This arrangement managed to capture a good deal of the orchestral original’s coloristic and dramatic effects, and was played with particular power.

The entire second half was devoted exclusively to a major work by Brahms, his Sonata for Two Pianos, Op. 34b. This work was created first as a string quintet, then later discarded. But the two-piano version (below) was superseded by Brahms’ transformation of its material into a Quintet for Piano and Strings (reckoned as plain Op. 34).

The Quintet — which, by the way will be performed by the UW’s Pro Arte Quartet in the Salon Series next March — is, of course, one of the composer’s masterpieces. But the Two-Piano Sonata survives on its own merits. The parallel material is presented cogently, all of it redistributed in consistently keyboard terms, as against the mixed media of the Quintet.

The duo played it with the necessary Brahmsian burliness and power, and on Farley’s wonderful vintage pianos it sounded simply magnificent.

As an encore, the duo played a two-piano arrangement of an energetic tango piece by Astor Piazzolla, but then followed with another, in this case, an eight-hand piano trifle in which the Plano-Del Negro duo were joined as parents by their two young daughters (below). The audience could hardly resist that!

Plano and Del Negro are great discoveries. And once again, the Salon Piano Series has shown itself as one of the exciting, if too-little-known of Madison’s musical treasures.

For more information about the Salon Piano Series and its upcoming concerts, go to: http://salonpianoseries.org


Classical music: Voces Aestatis — Summer Voices — will perform early and Baroque vocal music this Friday night

August 22, 2017
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By Jacob Stockinger

The Ear has received the following information to post from Ben Luedcke, the artistic director of the choral group Voces Aestatis (Summer Voices, below).

Luedcke writes:

Voces Aestatis (Summer Voices) will present its third annual summer concert this Friday night, Aug. 25, at 7:30 p.m. at Saint Andrew’s Episcopal Church (below top and below bottom), 1833 Regent Street in Madison.

Tickets are $20 and available at the door. (Cash and check only; sorry, no credit or debit card sales.)

Artistic Director Ben Luedcke (below) and Assistant Director Ena Foshay have carefully selected singers with a pure blend to perform in this intimate concert venue.

Voces Aestatis is Madison’s only professional choir that specializes in early music.

The group will maintain its tradition of favoring a cappella repertoire of the 16th century, but new this year will be a collaboration with Saint Andrew Episcopal’s music director, Ken Stancer (below).

Stancer will accompany the choir on organ in four 17th-century pieces, including works by Heinrich Schütz, Giovanni Gabrieli, Henry Purcell and Marc-Antione Charpentier.

While the Purcell is the familiar, powerful and climactic “Hear My Prayer,” Gabrieli’s “O Jesu mi dulcissime” and Charpentier’s “Te Deum,” H.147, are rarely performed and are not to be missed.

The Gabrieli setting is for double-choir. But rather than two equal choirs, there are separate low-voice and high-voice choirs that provide a unique and sonorous texture of men and women. Additionally, the Charpentier is full of variety, including solos and quartets within the larger 10-minute piece.

Other a cappella works round out the program, including music by Tomás Luis de Victoria and William Byrd (below).

Most noteworthy will be the group’s fresh look at the double-choir motet “Super flumina babylonis,” by Phillipe de Monte (below). Although the work is typically performed rather slowly and lamentingly, the group will bring a decisively different interpretation with a quicker tempo and active articulations. (You can hear a traditional performance in the YouTube video at the bottom.)

Also of note on the first half are pieces by Giovanni Pierluigi da Palestrina (below top) and Orlando di Lasso (below bottom), with texts from the “Song of Solomon” — a collection of bible passages that allege to describe the love between Christ and the Church, though they are in fact favorites of choral composers as they are known for their rather erotic descriptive passages.

Finally, Jacob Obrecht’s “Salve Regina” for six voices is likely to stun listeners not only for its beauty, but also because it was written almost 100 years earlier than anything else on the program.

It features a noticeably different and almost austere harmonic palette with overlapping thick textures, as well as many complicated rhythms and chants in between major sections.

Please visit VocesAestatis.org for more information or to support the organization. The group relies on individual donations, so we thank you in advance for supporting the arts in Madison.


Classical music: Madison Opera’s festive and fun 16th annual Opera in the Park is this Saturday night

July 17, 2017
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By Jacob Stockinger

It serves as a preview of the indoor winter opera season.

But one of the summer’s major events in Madison is primarily a fun time unto itself — with outdoors picnicking and socializing, and lots of outdoor music making, some of it with the audience helping to “conduct” with glow-in-the-dark light sticks.

The Madison Opera’s annual FREE Opera in the Park concert will take place this coming Saturday night starting at 8 p.m. in Garner Park, on Madison’s west side near the junction of Mineral Point Road and Rosa Road. (You can get a taste of the event in the YouTube video from 2010 at the bottom.)

The park opens at 7 a.m. Blankets, chairs, food and beverages are allowed. The rain date is the next day — Sunday, July 23.

Here is what Kathryn Smith (below, in a photo by James Gill), the general director of Madison Opera, has to say about the event:

“Opera in the Park has become a Madison summer tradition since the first concert in 2002. When the weather is good, we have over 15,000 people in the audience, which is the highest per-capita attendance of any such opera event in the U.S.

“I think there are many reasons for its success, from the beautiful music to the beautiful park, and the fact that our community enjoys spending time together outside in the summer.

“We don’t make massive changes each year, but it is of course a new set of singers and a new program, so it’s a fresh musical experience.

“This year, for example, we have two arias from zarzuelas or traditional Spanish musical comedies,, including the zarzuela version of “The Barber of Seville” – which will be complemented by an aria from Rossini’s “The Barber of Seville,” naturally.

“Audience members might also choose to vary the contents of their picnic basket each year – perhaps with Bizet’s “Carmen” and “The Barber of Seville” on the concert, they might want to include Spanish foods.

“I try to invite principal artists from our upcoming season when possible, so that audiences can get to know singers they can then hear in full roles later in the year.

“This summer our singers include soprano Cecilia Violetta López (below), who will be in “Carmen” in November;

tenor David Walton (below), who will be in Mozart’s “The Abduction from the Seraglio” in February;

and mezzo-soprano Adriana Zabala (below), who will be in Daniel Catan‘s “Florencia en el Amazonas” in April.

“Baritone Will Liverman (below) is not in the upcoming season, but he has had major success here as “The Barber of Seville” and in last season’s “Charlie Parker’s Yardbird,” so I’m delighted he is able to join us this summer in the park.

“Putting on Opera in the Park is a complex production, from renting the generators and the stage to coordinating with the City Parks Department and the Madison Police.

Full Compass Systems and Bag End donate the sound system and their services to run it every year, and there are hundreds of people involved, from our production team to our volunteers, from the IATSE (International Alliance of Theatrical Stage Employees) stage crew to the Madison Opera Chorus and Madison Symphony Orchestra.

“I often say that Opera in the Park is the most important thing Madison Opera does, and I think everyone involved believes that as well.

Now if only the weather will cooperate …”

For more information about Opera in the Park, including the times; the complete concert program that includes selections from Leonard Bernstein’s “West Side Story” on the occasion of the composer’s centennial; detailed biographies of the soloists and the guest conductor Joseph Mechavich (below); reservations for the supporters’ Prelude Dinner at 6:30 p.m.; rules about reserving seating in the park; and how to become a volunteer, go to:

http://www.madisonopera.org/performances-2016-2017/park/


Classical music: Today brings the release of an impressive CD of clarinet duos and trios with UW-Madison cellist Uri Vardi and his clarinetist son Amitai Vardi

July 14, 2017
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By Jacob Stockinger

Today is when another outstanding recording by UW-Madison cellist Uri Vardi gets released by Delos Records.

The recording, which features clarinet trios by Ludwig van Beethoven and Johannes Brahms and clarinet-cello duos by contemporary composer Jan Radzynski, has all the makings of another winner.

For one, the repertoire is a fine mix of the late Classical style (Beethoven), the  late Romantic style (Brahms) and modernistic nationalism (Radzynski).

It is, of course, a family affair, as  you can read about here in a story about the premiere of the Concerto Duos by Radzynski:

http://news.wisc.edu/music-deepens-connection-for-father-son-performers/

The Ear also finds the playing first-rate and the sound engineering exemplary.

None of that should come as a surprise. You may recall that last year Vardi (below) and his colleague UW-Madison violin professor David Perry, along with pianist Paulina Zamora, released a recording of the three piano trios by Brahms. It was acclaimed by no less than Gramophone magazine. Here is a link to that review:

https://reader.exacteditions.com/issues/49269/page/3

The title of the new CD is Soulmates, and it seems fitting in so many ways that crisscross in many directions.

Here are notes from the educator and performer Uri Vardi:

“The title refers to friendship between composer and performer, as Jenny Kallick highlights in her liner notes.

“For his clarinet trio, Beethoven put to work the manners of a musical style that embraced the outward charm and lively sociability associated with the music of friends, interjecting his soon-to-be famous dramatic flashes only occasionally.

“Jan Radzynski (below) began his association with me in Israel, where the Vardi family from Hungary and Radzynski family from Poland first overlapped.

“Meeting once again during graduate studies at Yale School of Music, our friendship has been enriched by Jan’s project as an esteemed composer with multiple cultural ties to Poland, Israel, the US and Jewish tradition, and by my commitment as celebrated teacher and performer to collaborations across musical boundaries. Jointly, we have found ways to embrace the complexities of their origins and diaspora.

“The duo’s dedication to the entire Vardi family signals this deep connection.

“Nearly a century had passed before Brahms (below top) wrote for this same combination. Had it not been for his newly-blossomed musical friendship with clarinetist Richard Mühlfeld (below bottom, 1856-1907), a star performer in the Hofkapelle Orchestra at Saxe-Meiningen, the composer might have held to his recently announced plans to retire.

“On a more personal level, I admire composer Jan Radzynski’s music. I was moved by his gift to my son Amitai (below) — who teaches clarinet at Kent State University in Ohio — and me, and the rest of our family, of the Concert Duos. He presented the work to us in 2004, and we premiered it that same year.

“Brahms is the composer who influences me on the deepest level. Following the release of my previous CD by Delos, I was eager to record the fourth Brahms trio involving the cello, and was looking for an opportunity to add it to the other three trios.

“It is the greatest joy for me to play chamber music with my son. I was happy that both he, and my colleague and friend, pianist Arnon Erez (below), were ready to embark with me on the journey of performing and recording the three compositions on this CD.

“The UW Arts Institute awarded me the Emily Mead Baldwin Award, which helped me financially in releasing this CD. The recordings were done at the Jerusalem Music Center in Israel (which gave us their wonderful facilities free of charge).

“Sound engineer Victor Fonarov, who recorded this CD and started editing it, passed away before the completion of the work. So we decided to dedicate the album to his memory.

“Here is a promotional video, with a SoundCloud clip of the Beethoven work, for the recording:

https://delosmusic.com/recording/soulmates-cello-clarinet-piano/

“And you can hear an excerpt from Radzynski’s Duos in the YouTube video at the bottom.

“Interested readers can also purchase the album directly from Uri Vardi at: uvardi@wisc.edu”


Classical music: The Madison Early Music Festival will perform familiar and unfamiliar Spanish Renaissance music. What composers and works will be performed? And what makes them different? Part 2 of 2

July 3, 2017
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By Jacob Stockinger

This coming Friday, when the Madison Early Music Festival (MEMF) starts to explore Iberian music during the Renaissance Age of novelist Miguel de Cervantes (below) and his pioneering novel “Don Quixote,” much will be familiar but much will also be new.

To provide a look at what to expect, the longtime co-artistic directors of the festival – wife-and-husband singers Cheryl Bensman Rowe and Paul Rowe (below) – provided the following overview through an email Q&A with The Ear.

All-festival passes are $90 and tickets to individual concerts cost $20, $10 for students.

Click here to buy online, call 608-265-ARTS (2787), or visit the Campus Arts Ticket Box Offices in Memorial Union or Vilas Hall (click here for hours).

(Note: All MEMF Concert Series concerts and lectures are free for participants in the MEMF Workshop. There is a $4 transaction fee per ticket when purchasing online or by phone.)

How does early Spanish music differ from its counterparts in, say, Italy, France, Germany and England. What is the historical origin and importance of the music from that era in that part of the world?

The music from the Iberian Peninsula reflects the influences and changes that were happening all over Europe throughout the period that MEMF is examining this summer.

From the “romances” and “villancicos” of Juan del Encina during the time of Columbus to the Baroque era masses, secular songs and instrumental music of Antonio Soler (organ), Luis de Briceño and Gaspar Sanz (vihuela/guitar, below top) and Domenico Scarlatti (below bottom), Spanish music maintained its own unique traditions born of its complicated mixture of cultures and expanding global empire while still reflecting the overall developments that were occurring in Italy, France and Germany.

Some crucial differences include the presence of the Muslim and Jewish poetic and musical influence in the predominantly Catholic region reflected in preferred instrumentation where the vihuela was used more often than the lute, the exotic stories from Middle Eastern sources and the harmonies and melodies that are unique to the Spanish repertoire.

The fact that the political makeup of the area was constantly changing and being buffeted by global changes can make it difficult to understand what really constitutes “Spanish” just as Italy and Germany were not unified in the way we think of them today but were made of individual and distinct regions.

There was much blurring of borders between countries. For example, Naples, which we would think of as Italian, was a Spanish city for most of this time period, with a flourishing court, which supported the flourishing of the musical culture. Artistic changes and developments reflect this rather flexible organization of regions which did not take its current shape until well into the 19th century. (below is an old map of the Iberian Peninsula)

What music and composers of that era have been most neglected and least neglected by historians and performers?

The music from the Iberian Peninsula has been receiving increasing attention in the last 50 years or so. MEMF has focused on this area several times as new editions and discoveries are coming to light.

There are many reasons for this, including the German bias created by musicologists from that area starting in the 19th century. The lack of understanding of a complicated history and a condescension directed towards all things from the “hotter” regions of Europe except for Greece also prevented research, recording and appreciation of this varied repertoire.

The composers that will be most familiar to audiences will be Cristobal de Morales (below top), Francisco Guerrero (below middle) and Tomas Luis de Victoria (below bottom), who are known for their choral music including motets and settings of the Catholic Mass and Mateo Flecha (father and son), who composed secular choral pieces featuring popular tunes of the day put together in a kind of musical pastiche called an “ensalada.”

There are many less known composers from the various regions of Spain.

Juan del Encina is probably responsible for the collection titled ” Cancionero de Palacio” and is credited with 60 pieces from this volume of nearly 500 first published in the 1490s. Juan Hidalgo (below top and in the YouTube video at the bottom) is credited with the creation of the zarzuela, a theatrical form similar to the Neapolitan opera of the time. There is Diego Ortiz, who flourished in Naples, and Antonio de Cabezón (below bottom), who composed primarily keyboard music and Gaspar Sanz, who is familiar to modern guitarists and composed many pieces for the vihuela.

Can you tell us about the program and performers for the All-Festival concert on July 15?

The All-Festival Concert is unique to MEMF. All week long, workshop participants and faculty will work side by side to create Iberian Tapestry: Music and Conquest from the Spanish Golden Age, which includes sacred and secular compositions by Victoria, Guerrero, Flecha, Vasquez, music from the Moors of the Reconquista, Sephardic music for the heritage of the Jews, and from the New World.

This concert will include narrations selected from Don Quixote.

This year, the program was created and will be directed by Grant Herreid (below), who also curated the Piffaro program that opens the MEMF 2017 Concert Series.

Are there other sessions, guest lectures and certain performers that you especially recommend for the general public?

The week is so full of wonderful adventures that I really encourage people to experience it all.

Besides the concert series and workshop classes there are pre-concert lectures and a dance event, ¡Bailemos!, on Thursday, July 13, 2017 at 7:30 p.m., in the Frederic March Play Circle on the second floor of the Memorial Union.

Several free events, besides the Harp concert and master class are the Participant Concert on Friday, July 14, at 1 p.m. in Mills Concert Hall; the Early Opera Workshop; and the Loud Band free concert on Saturday, July 15, at 2 p.m. at Music Hall featuring participants from the Advanced Loud Bound Intensive and the Early Opera & Continuo Workshop performing works by Tomás Luis de Victoria, Francisco Guerrero and several cancioneros plus scenes from La púrpura de la rosa by Tomás de Torrejón y Velasco.

MEMF provides a wonderful opportunity to go back in time and be immersed in the Spanish Renaissance through music, art, dance, concerts and lectures, plus workshop classes. People can play an active role participating as a student, or join us in the audience to listen to the glorious sounds of the historical instruments and voices as we recreate the music from the Golden Age of Spain.

Check out our website for the most up-to-date information and how to get tickets: www.madisonearlymusic.org


Classical music: Let us now praise — and program — Lou Harrison, the prophetic American composer who pioneered both personal and professional diversity in music

May 20, 2017
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By Jacob Stockinger

The Ear has heard the name of Lou Harrison.

But he doesn’t recall ever actually hearing any music by Lou Harrison (below).

Maybe that will change, now that the centennial of Harrison’s birth is being marked.

Perhaps the UW-Madison or a smaller local group will do something, since neither the Madison Symphony Orchestra nor the Wisconsin Chamber Orchestra has programmed anything by Harrison in their next seasons.

The Ear certainly hopes to hear some of Harrison’s intriguing and prophetic music, which seems to be a harbinger of contemporary globalism and world music, performed live. Harrison’s work seems to presage Yo-Yo Ma‘s crossover and cross-cultural Silk Road Ensemble, but was way ahead of its time and without the commercial success.

In any case, it seems very few composers pioneered and championed both personal and professional diversity through Asian sounds and an openly gay identity. Completely genuine, Harrison seemed creative and imaginative in just about everything he touched and did.

If you, like The Ear, know little about the maverick Lou Harrison, an excellent background piece, recently done by Tom Huizinga of National Public Radio (NPR), is a fine introduction.

Here is a link to the story:

http://www.npr.org/sections/deceptivecadence/2017/05/13/525919082/lou-harrison-the-maverick-composer-with-asia-in-his-ears

Harrison composed a lot of music, including concertos for piano and violin, that shows Asian influences and combines them with traditional Western classical music. Below is a YouTube recording of his Double Concerto for Violin and Cello with Javanese Gamelan from 1981-82.

Have you heard or performed Harrison’s music?

What do you think of it?

Would you like to hear it programmed for live performance more often?

Leave your opinion in the COMMENT section.

The Ear wants to hear.


Classical music: The fourth annual Schubertiade at the UW-Madison takes place this Sunday afternoon – with some important changes

January 25, 2017
1 Comment

By Jacob Stockinger

The fourth annual Schubertiade – a concert to mark the birthday of the Austrian early Romantic composer Franz Schubert (below top, 1797-1828) – is now a firmly established tradition at the University of Wisconsin-Madison School of Music (below bottom, in Mills Hall, which is rearranged for more intimate and informal on-stage seating.)

Franz Schubert big

Schubertiade 2016 stage

Over the past there years, the Schubertiade has become a popular and well-attended event. And with good reason.

Every time The Ear has gone, he has enjoyed himself immensely and even been moved by the towering and prolific accomplishments, by the heart-breaking beauty of this empathetic and congenial man who pioneered “Lieder,” or the art song, and mastered so many instrumental genres before g his early death at 31.

But there are some important changes this year that you should note.

One is that the time has been shifted from the night to the afternoon – specifically, this Sunday afternoon at 3 p.m. in Mills Hall.

Admission is $15 for adults, $5 for students. (Below is this year’s poster, mistaking this year’s event of the third, with a painting by Gustav Klimt of Schubert playing piano at a salon musicale.)

schubertiade-2017-painting-by-gustav-klimt

After the concert, there is another innovation: a FREE reception, with a cash bar, at the nearby University Club. There you can meet the performers as well as other audience members.

The program, organized by pianist-singers wife-and-husband Martha Fischer and Bill Lutes (below), will last a little over two hours.

martha fischer and bill lutes

Usually there is a unifying theme. Last year, it was nature.

This year, it is friends Schubert knew and events that happened to him. It is called “Circle of Friends” and is in keeping with the original Schubertiades, which were informal gatherings (depicted below, with Schubert at the keyboard) at a home where Schubert and his friends premiered his music.

Schubertiade in color by Julius Schmid

Performers include current students, UW-Madison alumni and faculty members. In addition, soprano Emily Birsan, who is a graduate of the UW-Madison and a rising opera star, will participate.

Emily Birsan 2016

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

http://www.music.wisc.edu/2016/12/19/schubertiade_birsan2017/

Here is a complete list of performers and the program with the initials of the perfomer who will sing the pieces:

Performers

Emily Birsan (EB), Rebecca Buechel (RB), Mimmi Fulmer (MFulmer), Jessica Kasinski (JK), Anna Polum (AP), Wesley Dunnagan (WD,) Daniel O’Dea (DO), Paul Rowe (PF), Benjamin Schultz (BS), singers. Bill Lutes (BL) and Martha Fischer (MF), pianists.

Program

Trost im Liede (Consolation in Song ), D. 546 (MF, BL)

Franz von Schober (1796-1882)

Der Tanz (The Dance), D. 826 (AP, RB, WD, PR, MF)

Kolumban Schnitzer von Meerau (?)

Der Jüngling und der Tod (The Youth and Death), D. 545 (PR, BL)

Josef von Spaun (1788-1865)

4 Canzonen, D. 688 (EB, BL)

No. 3, Da quel sembiante appresi (From that face I learnt to sigh) 

No. 4, Mio ben ricordati (Remember, beloved) 

Pietro Metastasio (1698-1782)

From the Theresa Grob Album (November, 1816)

Edone, D. 445 (WD, MF)

Friedrich Gottlieb Klopstock (1724-1803)

Pflügerlied (Ploughman’s Song), D. 392 (BS, MF)

Johann Gaudenz von Salis-Seewis (1762-1834)

Am Grabe Anselmos (At Anselmo’s Grave), D. 504A (JK, MF)

Matthias Claudius (1740-1815)

Mailied (May Song), D. 503 (DO, BL)

Ludwig Hölty (1748-1776)

Marche Militaire No. 1, D. 733 (MF, BL)

Viola (Violet), D. 786 (EB, BL)

Schober

Ständchen (Serenade), D. 920A (RB, DO, WD, PR, PR, MF)

Franz Grillparzer (1791-1872)

Epistel ‘An Herrn Josef von Spaun (Letter to Mr. Joseph von Spahn), Assessor in Linz, D. 749 (EB, MF) Matthäus von Collin (1779-1824)

Intermission

Geheimnis (A Secret), D. 491 (EB, MF)

Johann Mayrhofer (1787-1836)

Des Sängers Habe (The Minstrel’s Treasure), D. 832 (PR, MF)

Franz Xavier von Schlechta (1796-1875)

An Sylvia, D. 891 (MF, BL)

Shakespeare, trans. Eduard von Bauernfeld (1802-1890)

Nachtstück (Nocturne), D. 672 (DO, BL)

Mayrhofer

Das Lied in Grünen (The Song in the Greenwood), D. 917 (MFulmer, BL)

Johann Anton Friedrich Reil (1773-1843)

8 Variations sur un Thème Original, D. 813 (MF, BL)

Cantate zum Geburtstag des Sängers Johann Michael Vogl, D. 666 (AP, DO, PR, BL) Albert Stadler (1794-1888)

Ellens Gesang No. 3, Ave Maria, D. 839 (EB, MF)

Sir Walter Scott (1771-1832), from The Lady of the Lake, trans. Adam Storck (1780-1822)

An die Musik, D. 547 (You can hear it performed by the legendary soprano Elisabeth Schwarzkopf and pianist Gerald Moore in the YouTube video at bottom)

Schober

Everyone is invited to sing along. You can find the words in your texts and translations.

Schubert etching

Here is a link to a story in The Wisconsin State Journal with more background:

http://host.madison.com/entertainment/music/bringing-back-the-schubert-house-party/article_a0d27e9d-7bc7-5f32-bb57-590eb0bc7b91.html

And if you want to get the flavor of the past Schubertiades, here are two reviews from past years:

https://welltempered.wordpress.com/2014/02/02/classical-music-what-classical-music-goes-best-with-the-nfls-super-bowl-48-football-championship-today-plus-university-of-wisconsin-madison-singers-and-instrumentalists-movingly-celebrate-franz-s/

https://welltempered.wordpress.com/2016/02/04/classical-music-the-third-annual-schubertiade-at-the-university-of-wisconsin-madison-school-of-music-was-so-popular-and-so-successful-it-should-serve-as-a-model-for-other-collaborative-concerts-feat/


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