The Well-Tempered Ear

Classical music: Opera supertitles turn 35 and will help audiences this coming weekend at the University Opera’s three performances of “La Bohème.” Plus UW percussionists perform new music Tuesday night

February 19, 2018
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ALERT: On this Tuesday night at 7:30 p.m. in Mills Hall. the UW-Madison Western Percussion Ensemble will perform a FREE concert with new works by eight student composers — six from the percussion ensemble and two from the composition department.

By Jacob Stockinger

February is proving to be Opera Month in Madison.

Just over a week ago, the Madison Opera staged its production of “The Abduction From the Seraglio” by Wolfgang Amadeus Mozart.

This Friday night at 7:30 p.m., Saturday night at 7:30 p.m. and Sunday afternoon at 3 p.m., in Shannon Hall of the Wisconsin Union Theater, the University Opera will stage its production of what is certainly the most popular opera in the repertoire: “La Bohème” by Puccini.

For more information about the production of “La Bohème,” including staging information, the cast and tickets ($10-$38), go to:

https://union.wisc.edu/events-and-activities/event-calendar/event/la-boheme/#additional

https://www.music.wisc.edu/event/university-opera-puccinis-la-boheme2-23/

In both cases, English supertitles (below) were used. For Mozart, they translated German. This weekend they will make the Italian-language production, set in Paris in the 1930s, much more accessible.

Today we take them for granted, even in English language productions where you can’t always understand the words because of the singing.

Occasionally, they prove frustrating because they fall behind the singing or skip repeated passages or black out or even have a howler of a mistranslation.

But by and large, supertitles seem so normal and natural these days, so standard and so much easier than gazing in the dark at translations of the libretto in small type.

They were first used in 1983 by the Canadian Opera Company’s production in Toronto of “Elektra” (below) by Richard Strauss.”

Audiences loved them, and supertitles help to explain the subsequent popularity of opera.

Yet in the early days supertitles faced a major struggle, largely waged by purists, before they were widely accepted. Now they seem indispensable.

That’s all the more reason, then, to read or listen to the background story that recently appeared on National Public Radio (NPR) about  the 35th anniversary of supertitles.

Here is a link:

https://www.npr.org/sections/deceptivecadence/2018/01/21/578663092/read-em-and-weep-celebrating-35-years-of-opera-supertitles

Do you support or oppose the use of supertitles?

Do you like them and find them helpful?

Would you be less likely to attend an opera without supertitles?

Please put any reaction or observations in the COMMENT section.

The Ear wants to hear.

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Classical music: Madison Opera will stage its first-ever production of Mozart’s “The Abduction from the Seraglio” this Friday night and Sunday afternoon

February 7, 2018
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By Jacob Stockinger

This weekend, the Madison Opera presents The Abduction from the Seraglio by Wolfgang Amadeus Mozart on Friday, Feb. 9, at 8 p.m. and Sunday, Feb. 11, at 2:30 p.m. in the Capitol Theater at the Overture Center for the Arts, 201 State Street.

According to a press release, the opera — below is a mock-up of the locally designed and constructed set — will be sung in German with English used for dialogue and in the translated supertitles above the stage. Running time is about 2-1/2 hours with one intermission.

Tickets are $25-$114 with student and group discounts available. Call the Overture Box Office at (608) 258-4141 or visit www.madisonopera.org

With some of the most virtuosic vocal writing by Mozart (below), the opera is an adventure story of love, danger, humor and humanity.

Set in the 17th-century Ottoman Empire, the opera begins when Belmonte, a Spanish nobleman, arrives at Pasha Selim’s palace to rescue three people who had been captured during a shipwreck: his fiancée, Konstanze, and their servants, Blonde and Pedrillo.

A simple escape proves no easy task, and Mozart’s masterpiece weaves together comedy, quiet reflection and youthful optimism, with a happy ending brought about by an Enlightened ruler.

Abduction is a simply marvelous opera,” says Kathryn Smith (below, in a photo by James Gill), Madison Opera’s general director who will give free pre-performance talks in the third-floor Wisconsin Studio at 7 p.m. on Friday night and 1:30 p.m. on Sunday afternoon. “It’s the opera with which Mozart started to reinvent opera, with not only the expected arias, but also brilliant ensemble work. The very real humanity of the piece – its funny parts, its moving parts and the universal truth of the ending – is extraordinary.”

The Abduction from the Seraglio (Die Entführung aus dem Serail) was Mozart’s first major success. Written for the National Singspiel in Vienna – a pet project of Emperor Joseph II – it premiered in 1782 and was an immediate hit. (You can hear the familiar and captivating Overture in the YouTube video at the bottom.)

Like all singspiels, the opera uses spoken dialogue; indeed, the critical role of Pasha Selim is entirely spoken, perhaps one of the few instances of a major opera character not singing a note. In Madison, the dialogue will be performed in English, with the music sung in German (with projected English translations).

With a libretto by Johann Gottlieb Stephanie the Younger – an unauthorized adaptation of a libretto by Christoph Friedrich Breztner – Abduction was one the first successful German-language operas.

It was immortalized in the film Amadeus, and is famous for a possibly apocryphal story in which Emperor Joseph II criticized the work, saying to Mozart, “Too many notes,” and Mozart responded, “Exactly as many as needed.”

Abduction would go on to become Mozart’s most popular opera during his lifetime, but it has been a comparative rarity in the United States. This is Madison Opera’s first production of the opera in the company’s 57-year history.

“Mozart’s music for Abduction is a delight from start to finish,” says John DeMain (below, in a photo by Prasad), Madison Opera’s artistic director and conductor. “Great – and at times excitingly challenging – arias are enhanced by beautiful duets, trios and quartets. It has always been a favorite opera of mine, and I’m so looking forward to Madison Opera’s first production of this masterpiece with an absolutely knockout cast of great young singers.”

Mozart’s phenomenal vocal writing requires a strong team of five singers, and Madison Opera’s cast features a number of returning favorites.

Amanda Woodbury (below) sings the Spanish noblewoman Konstanze, whose aria “Martern aller Arten” is one of the most challenging arias ever written. Woodbury debuted with Madison Opera as Pamina in The Magic Flute last spring, and has recently sung leading roles for the Metropolitan Opera and Los Angeles Opera.

Tenor David Walton (below) sings Belmonte, Konstanze’s fiancé; he debuted at Opera in the Park this past summer, has sung many leading roles for Minnesota Opera, and sings at the Glimmerglass Festival this summer.

Matt Boehler (below) returns as Osmin, the palace overseer with some devilishly low bass notes. He sang Rocco in Fidelio and Leporello in Don Giovanni for Madison Opera, and more recently has sung with Minnesota Opera, Opera Philadelphia, and the Canadian Opera Company.

Konstanze and Belmonte’s servants, Blonde and Pedrillo, are sung by Ashly Neumann(below top) in her Madison Opera debut and Wisconsin native Eric Neuville (below bottom), who sang Laurie in Little Women for Madison Opera.

Alison Mortiz (below) directs this new production in her debut with Madison Opera. Moritz has directed at opera companies around the United States, including Central City Opera, Tulsa Opera and Tri-Cities Opera.

The sets and costumes (below) are locally made specifically for this production.

The scenery and lighting are designed by Anshuman Bhatia, also in his Madison Opera debut, with costumes designed by Karen Brown-Larimore. As always, the opera features the Madison Opera Chorus and the Madison Symphony Orchestra.

Madison Opera’s production of The Abduction from the Seraglio is sponsored by Kay and Martin Barrett, Fran Klos, Sally and Mike Miley, and the Wisconsin Arts Board.


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Classical music: The fifth annual Schubertiade is this Sunday afternoon at the UW-Madison and will chronicle Franz Schubert’s short but prolific career year by year

January 23, 2018
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CORRECTION: The concert by the Wisconsin Chamber Orchestra this Friday night in the Capitol Theater of the Overture Center starts at 7:30 p.m. — NOT at 7 as was incorrectly stated in an early version of yesterday’s posting and on Wisconsin Public Radio.

By Jacob Stockinger

On this Sunday afternoon at 3 p.m., the fifth annual Schubertiade — celebrating the music of Franz Schubert (1797-1828, below) will take place in Mills Hall on the UW-Madison campus.

The informal and congenial mix of songs and chamber music in a relaxed on-stage setting and with fine performers is always an informative delight. And this year promises to be a special one. (Performance photos are from previous Schubertiades.)

Tickets are $15 for the general public, and $5 for students. Students, faculty and staff at the UW-Madison’s Mead Witter School of Music get in for free.

A reception at the nearby University Club will follow the performance.

For more information about the event and about obtaining tickets, go to:

http://www.music.wisc.edu/event/schubertiade-with-martha-fischer-bill-lutes/

Pianist and singer Bill Lutes (below, in a photo by Katrin Talbot), who plans the event with his pianist-wife and UW-Madison professor Martha Fischer, explained the program and the reasoning behind it:

“This year’s Schubertiade is a program that could never have actually occurred during the composer’s lifetime. It is in fact a year-by-year sampling of Schubert’s music, spanning the full range of his all-too-brief career.

“As with our previous programs, we still focus on those genres which were most associated with the original Schubertiades (below, in a painting) – those informal social gatherings in the homes of Schubert’s friends and patrons, often with Schubert himself presiding at the piano, where performances of the composer’s lieder, piano music, especially piano duets, and vocal chamber music intermingled with poetry readings, dancing, games and general carousing.

“Our hope on this occasion is to present the development of Schubert’s unique art in much the same way we might view a special museum exhibition that displays the lifetime achievements of a great visual artist.

“Thus we will follow Schubert from his earliest work, heavily influenced by Haydn and Mozart, and his studies with Antonio Salieri, to the amazing “breakthrough” settings of Goethe’s poems in 1814 and 1815, and on to the rich procession of songs and chamber music from his final decade. (Below is a pencil drawing by Leopold Kupelwieser of Schubert at 14.)

As always we have chosen a number of Schubert’s best-known and loved favorites, along side of lesser-known, but equally beautiful gems.

We are also particularly delighted to work with a large number of School of Music students and faculty, as well as our featured guest, mezzo-soprano Rachel Wood (below), who teaches at the UW-Whitewater.

(D. numbers refer to the chronological catalogue of Schubert’s work by Otto Erich Deutsch, first published in 1951, and revised in 1978.)

SCHUBERTIADE 2018 – Schubert Year by Year: Lieder, Chamber Music and Piano Duets by Franz Schubert (1797-1828)

PERFORMERS

Rachel Wood (RW)

Katie Anderson (KA), Matthew Chastain (MC), James Doing (JD), Wesley Dunnagan (WD), Talia Engstrom (TE), Mimmi Fulmer (MFulmer), Benjamin Liupiaogo (BL), Claire Powling (CP), Cheryl Rowe (CR), Paul Rowe (PF), singers

The Hunt Quartet, Chang-En Lu, Vincius Sant Ana, Blakeley Menghini, Kyle Price (HQ)

Parry Karp, cello (PK)

Bill Lutes (BL) and Martha Fischer (MF), pianists (below)

PROGRAM

1811   Fantasie in G minor, D. 9 (MF, BL)

1812   Klaglied, D. 23 (Lament )– Johann Friedrich Rochlitz (MF, BL)

            Die Advokaten, D. 37 (The Lawyers, comic trio) after Anton Fischer)     (PR,BL, WD, MF)

1813   Verklärung, D. 59 Transfiguration – Alexander Pope (RW, BL)

1814   Adelaide, D. 95Friedrich von Matthisson (WD, MF)

            Der Geistertanz, D. 116 The Ghost Dance – Matthisson (MC, BL)

            Gretchen am Spinnrade, D. 118 Gretchen at the Spinning Wheel –         Goethe (CP, MF)

1815   Wanderers Nachtlied I, D. 224 Wanderer’s Nightsong – Goethe (MF, BL)

            Erlkönig, D. 328 The Erl-king – Goethe (TE, MC, WD, CP, MF, BL)

1816  Sonata for violin and piano in D Major, D. 384 (PK, below, BL)

           Allegro, Andante, Allegro vivace

1817   Der Tod und das Mädchen, D. 531 Death and the Maiden – Matthias   Claudius (RW, MF)

            Erlafsee, D. 586 Lake Erlaff – Johann Mayrhofer (CR, BL)

            Der Strom, D. 565 The River – anon. (PR, MF)

1818   Deutscher with 2 Trios in G (MF, BL)

            Singübungen, D. 619 Singing Exercises (CP, TE, BL)

Intermission

1819   Die Gebüsche, D. 646 The Thicket – Friedrich von Schlegel (RW, BL)

1820   String Quartet #12 in C Minor “Quartetsatz” (HQ)

1821   Geheimes, D. 719 A Secret – Goethe (TE, MF)

1822   Des Tages Weihe, D. 763 Consecration of the Day (KA, MF, WD, MC,BL)

1823   Drang in die Ferne, D. 770 The Urge to Roam – K.G. von Leitner (MC,BL)

             from Die Schöne Müllerin, Mein, D. 795 Mine – W. Müller (WD, MF)

1824   Grand March No. 6 in E major, D. 819 (MF, BL)

1825   Im Abendrot, D. 799 Sunset Glow – Karl Lappe (RW, MF)

             An mein Herz, D. 860 To my Heart- Ernst Schulze (BenL, MF)

1826   Am Fenster, D. 878 At the Window – J. G. Seidl (MFulmer, below, BL)

1827   from Winterreise Frühlingstraum, D. 911 Dream of Spring – Muller(RW,MF)

1828   Die Sterne, D. 939 The Stars – Leitner (KA, BL)

          from Schwanengesang (Swansong), D. 957

          Ständchen (JD, MF) –Serenade – Ludwig Rellstab

          Die Taubenpost (PR, MF)The Pigeon Post – J.G. Seidl

An die Musik, D. 547 To Music (below) – Franz von Schober

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


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Classical music: The Ancora String Quartet excels in music by Haydn, Dvorak and especially Ravel as it impressively opens its new season in two acoustically different venues

October 3, 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

The Ancora String Quartet offered a nicely balanced program last Saturday night to open its new season at St. Andrew’s Episcopal Church.

The program began with Haydn’s String Quartet in B-flat Major, Op. 76, No. 4, known as the “Sunrise” quartet. A work of the composer’s maturity, published in 1799, it shows him straining the boundaries of Austrian Classicism and pushing close to the proto-Romanticism of his student, Beethoven.

Each work in the program was preceded by a spoken introduction, given by a member of the ensemble, and for the Haydn quartet violist Marika Fischer Hoyt did the honors.

Then came three (Nos. 2, 5 and 10) of the 12 arrangements for quartet that Antonin Dvorak made from his song cycle, Cypresses. The spoken introduction in this case was given by first violinist Wes Luke (below), who not only spoke but also sensibly read aloud — in English translation — the words of each song. Dvorak’s deeply personal lyric expression came through the more meaningfully for that.

Finally came the Quartet in F Major by Maurice Ravel. For this, cellist Benjamin Whitcomb (below) gave a cogent spoken introduction. Ravel’s work matches Debussy’s string quartet — to be played later this season — as a chamber music contribution to so-called French “Impressionism.” But it also is one of the last great demonstrations of how initially stated themes can be quoted or re-introduced in new characters and colors throughout all the movements.

This program had special value for me because it was one I was able to hear twice on two successive evenings. I particularly profited from a double hearing of the Ravel, which allowed me to listen how the various themes popped out here and there in ever-varied differences. (You can hear the String Quartet by Ravel in the YouTube video at the bottom.)

The performances each time were beautifully precise and atmospheric, but the particular points of contrast involved instead a factor too often forgotten in evaluating a concert: the acoustic divergences of different performing sites.

The previous Friday evening, I heard the program in the Grand Hall of the Capitol Lakes Retirement Center. Its acoustics are tight and bright, bringing great clarity and immediacy to the playing.

By comparison, the sound at St. Andrew’s is bigger, richer and more reverberant, although differing in relation to how far up front or way back you sit—another variable to consider.

I spoke with the players about this, and it is clear that they must, and do, take account of such acoustic differences as they move from one performing site to another. Careful concert-goers, too, should always consider these differences as they listen.

A final thought: The Ancora String Quartet, which also includes Robin Ryan as second violin, has always played with splendid expertise and stylistic sense. But it seems clear to me by now that the settling in of Wes Luke as the new first violinist has brought added vigor and assertiveness to the group’s playing, making it an even more important ensemble than ever before in Madison’s musical life.

The concert will be repeated tonight in Janesville at 7:30 p.m. in the Kilmark Theatre of the UW-Rock County at 2909 Kellogg Avenue. The performance is FREE and OPEN to the public.

For more information about the Ancora String Quartet and its new season, go to the website: http://ancoraquartet.com


Classical music: UW-Madison soprano Mimmi Fulmer discusses and sings Finnish music, which she will perform in a FREE concert this Sunday afternoon

September 8, 2017
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By Jacob Stockinger

This Sunday at 1:30 p.m. in Morphy Recital Hall, UW-Madison faculty member and soprano Mimmi Fulmer (below) will open the new concert season at the UW-Madison when she performs a recital celebrating the centennial of Finland’s independence.

Fulmer will sing a variety of Finnish songs, from folk songs to new music, and will be accompanied by pianist Craig Randal Johnson (below).

This past week, Fulmer gave a preview sampling of the concert on The Midday program of Wisconsin Public Radio. In the studio (below), she talked to host Norman Gilliland about the concert and about Scandinavian music.

She also previewed the concert through her own 2014 CD (below), called “Voyage Home” — for Centaur Records — of Finnish, Norwegian and Swedish songs.

Here is a link to the WPR website where you can listen to Fulmer’s appearance on The Midday:

https://www.wpr.org/shows/mimmi-fulmer-0

And for Sunday’s concert here is the full program – unfortunately without translations of the difficult and even obscure language – that you will NOT find on the UW-Madison website (but which will be provided at the concert):

Illalle Jean Sibelius (1865-1957)

Soi vienosti murheeni soitto Oskar Merikanto (1868-1924)

Anmutiger Vertrag      Yrjö Kilpinen (1892-1959)

Var det en dröm?     Jean Sibelius

Syvä ilo    Olli Kortekangas (b. 1955)

Maalari; Nuoruuden kaupungissa; Adagio; Illan tullen

Pastorale     Tauno Pylkkänen        (1918-1980)

Armolaulu    Kari Tikka                 (b. 1946)

INTERMISSION

Kalevala-sävelmä (Runo melody) Arr. Ahti Sonninen (1914-1984)

Sydämeni laulu Kim Borg (1919-2000)

Suomalainen rukous       Taneli Kuusisto (1905-1988)

Je chante la chaleur désespérée (solo piano) Jouni Kaipainen (1956-2015)

Tuoll’ on mun kultani  Folk song

Kukapa sen saunan        Arr. Väinö Hannikainen (1900-1960)

Oravan pesä P.J. Hannikainen        (1854-1924)

Three Finnish Folksongs Arr. Ralf Gothóni (b. 1946)

Hilu, hilu; Tule, tule kultani (heard in the YoUTube video below); Minun kultani kaunis on


Classical music: The Madison Bach Musicians perform Bach’s “St. John Passion” this Friday night and Saturday night in authentic early music style

April 11, 2017
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By Jacob Stockinger

The Madison Bach Musicians (below), which specializes in authentic period performances of early music, will perform Johann Sebastian Bach’s “St. John Passion” this coming Friday  and Saturday nights, both at 7:30 p.m., in the Atrium Auditorium of the First Unitarian Society of Madison, 900 University Bay Drive.

On both nights at 6:45 p.m., MBM founder and music director Trevor Stephenson (below) will give a free pre-concert lecture on the “Structure and Performance History of the St. John Passion.” In his remarks, Stephenson said he will discuss the question of anti-Semitism in the famous work.

(NOTE: Stephenson and some of the players will also be on Wisconsin Public Radio’s “The Midday” with Norman Gilliland TODAY at noon.)

At the end of Part I, the Rev. Michael Schuler of the Unitarian Society will give a talk focusing on “Theological Reflections on Bach and the St. John Passion.”

This is only the second time the work has been performed in historical style in the state of Wisconsin. For more information and explanation, see the story in the Wisconsin State Journal:

http://host.madison.com/wsj/entertainment/music/st-john-passion-to-be-performed-on-all-historical-period/article_0e6e3d51-c03e-5803-9230-faed6a48ed1d.html

Tickets are $28-$33 and are available online, at Orange Tree Imports and at the door. Ticket information is at www.madisonbachmusicians.org

Trevor Stephenson writes the following about the work and the performance:

Bach was 38 years old when he composed the monumental St. John Passion during his initial year of employment in Leipzig, 1723-24. The work was first performed at the Nikolai Church during the Good Friday service on April 7, 1724.

As was the custom, no concerted music had been played in church during the previous six weeks of Lent, and the airing of the St. John Passion ― music of unprecedented complexity, lasting for over two hours — must have had an overwhelming effect on the fresh ears and devoted souls of the parishioners.

From its outset—with the whirling gear-like figures in the strings beneath the moiling of the oboes—the St. John Passion has an otherworldly aura of a story that has been foretold. Bach’s genius is in how he balances this inevitability with a sense of forward dramatic thrust: the passion story must happen, has already happened, but it also must be played out in real-time by living people, step by painful step. Time is at once both linear and circular. (Below is the manuscript for the “St. John Passion.”)

I believe that the objective of Bach (below) in setting the St. John Passion was to tell as vividly as possible the story of Jesus’ cruel earthly demise while at the same time tempering this vividness with frequent textual reminders, as well as an overarching tone, that convey the firm belief that Jesus’ Passion had not only been prophesied long before his birth but that Jesus’ suffering and death on earth was the only solution for the forgiveness of humanity’s sins.

 

The Evangelist John is our guide for the story of Jesus’ arrest, trial, crucifixion and burial. John sings his narration in the dry and angular recitative style, addressing the audience directly. He summarizes some scenes and introduces others, which are then played out in present-tense tableau format by various characters: Jesus, Peter, Pilate, Court officers, the angry mob.

Bach uses two techniques to pause and comment upon the narrative: first, with arias for solo voices and instrumental obbligato, that employ freely-composed poetry to reflect upon the story in a personal way — like the thoughts of someone observing the action; and second, by chorales which use tunes and texts that would have been familiar to Bach’s parishioners to elicit a broader communal response to the passion story. Many of the chorales are like a spiritual balm, providing moments of much needed rest throughout the work.

For the upcoming April 14 and 15 concerts of the St. John Passion on Good Friday and Holy Saturday ― the Madison Bach Musicians has endeavored as much as possible to recreate the early 18th-century sound world of that first Leipzig performance in 1724. MBM will use a 17-member baroque orchestra, conducted by UW-Madison bassoonist and performance-practice specialist Marc Vallon (below, in a photo by James Gill).

The orchestra will play entirely on 18th-century style instruments:

  • Gut-strung violins, violas, cellos, and bass played with baroque bows which facilitate articulation and phrase grouping
  • Early 18th-century single-keyed wooden traverso flutes and single-keyed wooden oboes―uniquely warm-sounding and clear-toned. Plus the baroque ancestor of the modern English horn, the tenor oboe da caccia
  • A baroque chamber organ with wooden pipes tuned in 18th-century Well Temperament
  • And specialty instruments—even by 18th-century standards. The viola da gamba, featured during the tombeau– or tomb-like Es ist vollbracht (It is fulfilled) aria heard after Jesus’ death; and two violas d’amore, delicate and velvet toned, replete with sympathetic strings for a haunting after-glow of sound. (You can hear that aria in the YouTube video at the bottom.)

These instruments will join with 10 outstanding vocalists—specialists in singing both solo and choral baroque repertoire.

Internationally recognized, and Grammy Award winning tenor, Dann Coakwell (below, in a photo by Mary Gordon) will sing the part of John the Evangelist.

The Passion will be sung in its original German; but an English translation of the text will be projected in supertitles scene-by-scene throughout the performance.

MBM is thrilled to be presenting this masterwork in the Atrium Auditorium (below, in a  photo by Zane Williams) at First Unitarian Society, a space beautifully suited to early music. The sightlines are superb, and the acoustics offer a great balance of clarity, crispness, and spaciousness.

Seating is limited, so advance ticket purchase is suggested.


Classical music: Madison Summer Choir addresses current events with outstanding performances of great choral music

June 28, 2016
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By Jacob Stockinger

Here is a special posting, a review written by frequent guest critic and writer for this blog, John W. Barker. Barker (below) is an emeritus professor of Medieval history at the University of Wisconsin-Madison. He also is a well-known classical music critic who writes for Isthmus and the American Record Guide, and who for 12 years hosted an early music show every other Sunday morning on WORT-FM 89.9 FM. He serves on the Board of Advisors for the Madison Early Music Festival and frequently gives pre-concert lectures in Madison.

John-Barker

By John W. Barker

For eight years, the Madison Summer Choir (below) has been giving an annual concert. This year’s, on Saturday night, under founder and conductor Ben Luedcke, was built around the theme “This is My Song! – Music in the Struggle for Peace and Justice.”

Madison Summer Choir 2016 with piano JWB

And, indeed, Luedcke (below) introduced most of the selections with pointed remarks, addressing issues faced today, and the need for making ours a better world.

Ben Luedcke.1jpg

The first part of the program began with the “big tune” from Jean Sibelius’ Finlandia, set to English words. This was sung a cappella, while the four short items that followed had piano accompaniment.

Two of those pieces—by composers Stephen Chatman and Sven Lekberg—carried poems by Walt Whitman, while another, by Joan Szymko, set a text by Wendell Berry. But the gem of the set was a short partsong, An die Heimat (To my Homeland), by that truly great choral master, Johannes Brahms. 

After the intermission, the chorus of 66 voices was joined by an orchestra (below) of 32, for the musical plateau.

Madison Summer Choir 2016 with orchestra JWB

Felix Mendelssohn is one of the handful of supreme choral composers (think of his oratorio Elijah!). As a warmer-upper, we were given his brief setting of Martin Luther’s translation of the Latin Dona nobis pacem as Verleih uns Frieden (Grant us Peace). (You can hear Mendelssohn’s beautiful “Verleih uns Frieden” in a YouTube video at the bottom)

But the true main event was a rousing performance of Mendelssohn’s unfairly neglected cantata, Die erste Walpurgisnacht (The First Walpurgis Night). This sets a ballad by Goethe portraying a band of Druids arranging to celebrate a holy solstice rite in the face of newly triumphant Christian intolerance. By making an unholy racket, they drive away their persecutors and launch the myth of St. Walburga’s Night (Walpurgisnacht, on April 30) as an occasion of Satanic rumpus (think Goethe’s and Gounod’s Faust).

The work calls for three solo singers (below), this time contralto Jessica Timman Schwefel, tenor Dan O’Dea, and baritone Ben Li (of whom the tenor was the most impressive). This score is one of striking dramatic effect and musical force, but it is too brief to find a place in most concert repertoire.

Madison Summer Choir 2016 3 soloists No. 2 JWB

Singers and players threw themselves into it with wonderful gusto under propulsive direction. We must thank Luedcke for giving us a rare chance to enjoy it.

The final piece was a movement from a choral symphony by Srul Irving Glick: making a truly splendid choral sound that, however, quite obliterated the uplifting words.

Overall, the program showed that Luedcke had nurtured, in a short time, a choir of nicely balanced and blended voices. With the best of their material, they made a wonderfully glowing sound.

One more example, then, of the quite stunning riches of Madison’s summer musical life!


Classical music: Assistant conductor and chorus director Beverly Taylor explains her duties and discusses “Carmina Burana,” which the Madison Symphony Orchestra and Chorus plus soloists perform this weekend. Plus, a FREE MSO hymn sing is Saturday at 11 a.m.

April 27, 2016
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ALERT: The Madison Symphony Orchestra (MSO) will offer a free hymn sing with Principal Organist Samuel Hutchison in Overture Hall, 201 State Street, in this Saturday, April 30, at 11 a.m. All ages are welcome to join in the singing with the Overture Concert Organ. No tickets or reservations are needed for the free Hymn Sing, which will last approximately 45 minutes.

By Jacob Stockinger

The Madison Symphony Orchestra and Chorus will close out the current season this weekend with three performances of Carl Orff’s popular 1937 secular or profane oratorio “Carmina Burana” and Ottorino Respighi’s “The Pines of Rome.”

Also participating are Boychoir members from Madison Youth Choirs, Michael Ross, Artistic Director; soprano Jeni Houser, who was acclaimed for her role in the Madison Opera’s recent production of “The Tales of Hoffmann”; tenor Thomas Leighton; and baritone Keith Phares.

The concerts are in Overture Hall, 201 State Street, on Friday at 7:30 p.m.; Saturday at 8 p.m.; and Sunday at 2:30 p.m.

For more information, visit:

http://www.madisonsymphony.org/carminaburana

Single tickets are $16 to $85 each, available on the MSO website; the Overture Center Box Office at 201 State Street or by calling the Box Office at (608) 258-4141.

Groups of 15 or more can save 25% by calling the MSO office at (608) 257-3734. For more information visit, www.madisonsymphony.org/groups

Student rush tickets can be purchased in person on the day of the concert at the Overture Box Office at 201 State Street. Students must show a valid student ID and can receive up to two $12 or $15 tickets. More information is at: www.madisonsymphony.org/studentrush. Students can receive 20% savings on seats in select areas of the hall on advance ticket purchases.

Seniors age 62 and up receive 20% savings on advance and day-of-concert ticket purchases in select areas of the hall.

Discounted seats are subject to availability, and discounts may not be combined.

Here is a link to program notes by Michael Allsen:

http://www.allsenmusic.com/NOTES/1516/8.AprMay16.html

Here is a link to translations of the Latin texts:

http://madisonsymphony.org/media/CarminaBuranaTextsTranslations.pdf

This season also marks the 20th anniversary of assistant MSO conductor Beverly Taylor, who also directs choral activities at the University of Wisconsin-Madison School of Music.

The ever-busy Taylor agreed to an email Q&A with The Ear about her duties and the program:

Beverly Taylor MSO portrait COLOR USE

You are the very busy director of choral activities at the UW-Madison. But this is your 20th anniversary directing the Madison Symphony Chorus and serving as assistant conductor of the MSO. Can you take us behind the scenes and tell us what your MSO duties are?

They are three-fold.

First, I’m a “cover” conductor, meaning I’m supposed to be prepared to take over for John DeMain on short notice in case he’s suddenly sick or injured. This hasn’t happened in 20 years, but I HAVE covered some rehearsals by schedule when he’s been out of town or we fear a delayed plane arrival.

Normally the cover conductor conducts the concert if the delay or injury occurs at the beginning of the concert. If it happens in the second half, orchestras often just end the concert—like calling a baseball game after the five official innings.

My second job is preparing the chorus to sing for John De Main. Our rehearsals are like any other chorus rehearsal at first. We focus on notes, intonation, rhythmic accuracy, pronunciation and diction, beautiful phrasing and appropriate tone and balance.

Then closer to the performance, I check with Maestro De Main (below, in a photo by Prasad) on any special markings or tempos he may want. During my early years he often came to our last chorus rehearsal, but we’ve worked together for so many years now that he trusts me to put his choices into the chorus’ training.

John DeMain full face by Prasad

In the long term, my duties also include programming and conducting our non-orchestral concerts, auditioning new singers and ensuring that returning singers keep their abilities high.

My third job is challenging, interesting and fun. It’s to give Maestro Demain information from the audience’s point of view. That means balances between guest soloist and orchestra, balances and rhythmic acuity between sections of the orchestra, and any other notes or opinions that he might find useful.

His own hearing is acute, but anyone who conducts can tell you that the instruments right in front of you make so much noise, that you can’t always judge the relative balances of the orchestra as they project outwards.

Depending on how much time is available in the rehearsal, I make fast notes as the orchestra plays, and give him the notes after the Maestro has done most of his rehearsing. If we’re out of time, I give him the notes backstage and occasionally am asked to pass these notes on to the players involved – for example, a little more triangle, less cello and bass on measures 45-48, etc.)

John DeMain and MSO from the stage Greg Anderson

How has the chorus changed over the past two decades?

I think the biggest way in which the chorus has changed is that it sight-reads better and is more acute with a cappella intonation. The main point in having good sight-readers is that it is a HUGE time saver in rehearsal and allows us to get deeper into musical decisions and development. Having said that, we do still take some people with fast ears and good voices who can prove they can keep up.

MSO Chorus CR Greg Anderson

What do you think explains the immense popularity of “Carmina Burana” by Carl Orff (below)? How does it compare in popularity to other choral works, especially modern ones?

I think the work is easy to understand. The rhythms are clear, pulsing, repetitive and engaging, and the melodies are memorable and singable. In many ways, it has the appeal of musical comedies. The use of percussion instruments also is appealing and is familiar to people used to bands or popular music. (You can hear the mesmerizing opening in a YouTube video at the bottom.)

While perhaps not the most profound work, it is well crafted. And who hasn’t heard the opening tune in commercial after commercial?

The “modern” style today can’t be well defined because so many composers do so many things. I giggle a bit when audiences say they don’t like dissonance when five minutes in a movie theater with eyes closed will make the listener aware of FAR more dissonant music than in most modern concerts.

Many modern works can be understood at first hearing. Others yield more with a little study. It’s not really different from sports. You may have one person go to a baseball game for the weather, popcorn and home runs who will be disappointed if they miss those. Others will go noticing bad calls for strikes and balls, the stance of the batter, and will quote statistics from past games. They may have a richer experience because they know more, but it doesn’t mean people can’t go and get what they want out of it. Just go to concerts with open minds!

Carl Orff

Are there special things you would like to point out to the public about “Carmina Burana” in general and about this performance in particular?

There are three basic sections to “Carmina,” with an introduction and ending. The opening is based mainly on the subject of Fortune (the introduction) and songs that come out of the monk’s life—some of them were obviously sent to the monastery without a vocation!

The second section is for tenors and basses only—“At the Tavern,” and it’s operatic in its depiction of the fun of mocking life at the monastery, concluding in the great drinking song sung by the men in the style of Gilbert and Sullivan — excuses to toast everyone of every shape and size, and listing who drinks, which is everyone!

The third section, known as the court of love, is beautiful and emotional as the women who know the off-duty monks think about love and if they should yield or not. We finish off with the monumental “O Fortuna” — if Frank Sinatra was singing it would be “sometimes you’re up, sometimes you’re down.”

There are techniques commonly and cheekily attributed to late Romantic works, especially Tchaikovsky: fast is good, loud is better, fast and loud is best. Orff follows this: his pacing builds steadily so that you are swept up in the excitement.

Carmina Burana Fortuna Wheel

Is there anything else you would like to say?

This isn’t the only thing on the program. Most people will adore the gorgeous “Pines of Rome” by Ottorino Respighi (below), full of color, majesty and the sound of trumpets all through the hall!

Ottorino Respighi profie

Plus, I give the pre-concert lecture this weekend. It’s free for all ticket-holders and is held in the hall an hour before the performance, lasting for half an hour. This means on Friday, it’s 6:30-7 p.m.; Saturday 7-7:30 p.m.; and Sunday 1:30-2 p.m.


Classical music: The Wisconsin Baroque Ensemble will perform music by Vivaldi, Handel, Telemann, Corelli, Couperin and Rameau this Sunday afternoon.

February 27, 2016
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ALERT: Tomorrow afternoon, Sunday, Feb. 28, at 3:30 pm. in Morphy Recital Hall, the winners of the Woodwind-Piano Competition sponsored by Irving Shain, emeritus chancellor of the UW-Madison and a distinguished chemist, will perform a FREE recital. The program includes music for oboe and bassoon by Francis Poulenc, Robert Schumann, Gabriel Pierne and others. For more information, visit:

http://www.music.wisc.edu/event/irving-shain-woodwind-piano-duo-winners-recital/

By Jacob Stockinger

Friends of The Ear — who wishes that early music groups and others would provide English translations of German, French and Italian titles for the general public — have sent him the following note:

“The Wisconsin Baroque Ensemble invites you to a concert of baroque chamber music on this Sunday, Feb. 28, at 3 p.m. in Saint Andrew’s Episcopal Church (below, exterior and interior), 1833 Regent Street, Madison.

St. Andrew's Episcopal Madison Front

St. Andrew's Church interior

Performers includes: UW-Madison professor Mimmi Fulmer – soprano; Nathan Giglierano – baroque violin; Eric Miller – viola da gamba, baroque cello; Consuelo Sañudo – mezzo-soprano; Monica Steger – traverso, harpsichord; Anton TenWolde – baroque cello; and Max Yount – harpsichord

Wisconsin Baroque Ensemble composite

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

For more information: call 608 238-5126, or write an email to info@wisconsinbaroque.org, or visit www.wisconsinbaroque.org

The varied program is:

Georg Philipp Telemann – “Ihr Völker, hört” from “Harmonischer Gottes-Dienst” (1725/26)

Jean-Philippe Rameau – “Pièces de Clavecin en Concerts,” “Deuxième Concert”

Georg Friedrich Handel – “Occhi miei, che faceste” HWV 146

Intermission

Arcangelo Corelli – Sonata for Violin and Basso Continuo, Op. 5, No. 11 (heard at bottom in a YouTube video)

Antonio Vivaldi – “Di verde ulivo” from “Tito Manlio” (1719)

Francois Couperin – “Les Nations,” Quatrième Ordre

There will be a reception at our studio at 2422 Kendall Ave (second floor) immediately following the concert.

 


Classical music: Why Schubert? Ask pianist-singer Bill Lutes and go to the UW-Madison’s third annual Schubertiade this Saturday night at 8 p.m.

January 27, 2016
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By Jacob Stockinger

The third time is the charm.

By then you know a tradition has been born.

For the third year in a row, the University of Wisconsin-Madison is holding a Schubertiade at the end of January, near the birthday of Austrian composer Franz Schubert (1797-1828, below). Can there be a better way to kick off the second semester of concerts and music-making?

Franz Schubert writing

The event, which was founded by and now is organized by and performed by the wife-and-husband team of UW-Madison collaborative piano professor Martha Fischer and piano teacher and former music director for Wisconsin Public Radio Bill Lutes, takes place this Saturday night at 8 p.m. in Mills Hall.

Admission is $15 for adults, free for students of all ages. A post-concert reception is included.

martha fischer and bill lutes

ALSO, BE ADVISED THAT THERE IS A UW HOCKEY GAME THAT NIGHT, SO FINDNG PARKING WILL BE MORE CHALLENGING THAN USUAL. ALLOW FOR EXTRA TIME TO GET TO THE CONCERT. THE HALL WILL OPEN AT 7:30 P.M., IF YOU WANT TO COME EARLY AND GET TO YOUR FAVORITE SEATS.

What is it about Schubert that makes him special to the many performers and listeners who will take part?

One answer can be found in a press release from the UW-Madison:

http://www.music.wisc.edu/2015/12/17/third-schubertiade/

More can be found in a story written by Sandy Tabachnick for Isthmus:

http://isthmus.com/music/third-annual-schubertiade-franz-schubert/

But Bill Lutes also agreed to talk about Schubert (below) and the Schubertiade in an email Q&A with The Ear:

Franz Schubert big

This is the third consecutive year of the UW-Madison Schubertiades that you have presented in honor of his birthday on Jan. 31, this year being the 219th. What is it about Schubert that draws audiences and performers to his music?

Probably the most obvious thing we love about Schubert is the endless stream of glorious, memorable melody – melodies that we can only call “Schubertian.” Who can forget a tune like “The Trout” or “Ave Maria” or the famous “Serenade”? These are part of our cultural DNA.

Then there is Schubert’s rich harmonic vocabulary, and his expansiveness and generosity of form. Although he fashioned innumerable miniatures of exquisite perfection – short songs and piano pieces – he also wrote some of the biggest works of the time, including some of the songs we are performing.

They are big in every way, the “heavenly length” that Robert Schumann wrote about and loved, the sense of adventure and the unexpected and the sheer spaciousness of his musical paragraphs — and the long passages of rhythmic obsession that seem to anticipate today’s Minimalist composers.

Above all, his music is unique in the ways it explores the most joyful and the most tragic aspects of our experience, often interwoven, and ambiguously overlapping.

Those of us who are attracted to Schubert feel that he is our friend, our consoler, our guru and our guide to something that shines beyond the travails of our earthly life. He left us such a rich and varied body of music. The amount he composed in his 31 years is absolutely incredible. But also the level of inspiration is so high throughout so much of it.

Schubert etching

Your program has a lot of variety. Is there some overarching “theme” that ties the program together?

This year, the pieces we are doing are all inspired by Schubert’s exploration of the sounds and imagery of nature. We’re calling it Schubertian “Naturescapes: Water, Winds and Woodlands.” Schubert came along at a time when the Romantic poets, painters and musicians began to think of nature in a new way.

Like Frank Lloyd Wright, Schubert and his poets spelled Nature with a capital N. The poetry he set to music often evokes the grandeur and sublimity of Nature, and the ways that we humans experience transcendence by observing mountains, forests, lakes and seas, and rushing winds or gentle breezes. All of the lieder that we have selected for this program reflect this almost religious attitude toward Nature (depicted below in the painting “Summer,” with a couple embracing amorously under a tree, by the Romantic German artist Casper David Friedrich.)

Caspar David Friedrich Summer and love couple BIG

What are some of the challenges that Schubert’s music poses to pianists in particular?

Schubert’s piano style is unique, and calls for an ability to sing on the instrument, and to play with an array of orchestral colors.

Playing his songs of course means that you understand something about what it takes to sing them, and you have to completely get into the poetry and the ideas being explored.

He was a very social and sociable composer, and so a lot of playing Schubert involves playing nicely with others. That includes of course playing duets by two pianists at one keyboard.

Schubert was probably the greatest composer for this medium and wrote some of this greatest works for piano duet.

The two pianists must play the same instrument, and sound as one. It is harder than you might think! The issue of playing in such close proximity to your partner invites a level of physical intimacy that can be quite pleasant or quite awkward, depending on the music in question.

The great pianist Artur Schnabel (below) spoke of “music that is better than it can be played.” He included most of Schubert in this category.

Artur Schnabel BIG

The idea for the Schubertiades originated in Schubert’s lifetime — social gatherings devoted to hearing Schubert’s music, but also to having a good time with friends. How do modern performers recreate this informal atmosphere?

Part of it is the variety of the music, and the large number of performers who will be joining us, most of whom will be seated around the piano on stage during the concert (below top). We will also have seating on stage for audience members who want to have a bit of the intimate feeling of those first legendary Schubertiades (below bottom) held in salons in Vienna.

Schubertiade 2014 stage in MIlls Hall

Schubertiade in color by Julius Schmid

We aim for an atmosphere of spontaneity and informality, as we have in the past two Schubertiades. We are thrilled this year that our concert is underwritten by a generous donor, Ann Boyer, whose gift has allowed us to include opera singer Jamie-Rose Guarrine (below, in a photo by Peter Konerko) as our featured guest artist and alumna.

We both worked a lot with Jamie-Rose when she was a student here and she’s a wonderful singer who will be travelling to us from New England where she is a new voice faculty member at the University of Massachusetts at Amherst.

And of course we are delighted to be making music with so many of our UW-Madison School of Music faculty, other alumni and friends.

Jamie-Rose Guarrine Peter Konerko

Anything else you want to add?

We will be performing all the songs in their original German. However, you’ll find full German texts and translations at the door. We encourage people to come early and read the poetry before the concert begins. It’s a nice way to familiarize yourself with the gist of the poems without having to be glued to your program while the songs are being sung.

Here is the impressive and appealing complete list of works and performers:

Schubertian Naturescapes – Water, Winds and Woodlands

Jamie-Rose Guarrine (JRG), Mimmi Fulmer (MF), Sara Guttenberg (SG), Marie McManama (MM), Daniel O’Dea (DO), David Ronis (DR), Paul Rowe (PF), Benjamin Schultz, (BS), singers

Soh-hyun Park Altino (SP), violin

Sally Chisholm (SC), viola

Parry Karp (PK), cello

Ben Ferris, (BF), double bass

Daniel Grabois (DG), horn

Wesley Warnhoff (WW), clarinet

Bill Lutes (BL) and Martha Fischer (MF), piano

Program

Wanderers Nachtlied (II), D. 768   Wayfarer’s Night Song (MF, BL) Johann Wolfgang von Goethe

Der Fluss D. 693   The River   (JRG, BL) Friedrich von Schlegel

Widerspruch, D. 865, Contrariness (DO, DR, BS, PR, MF) Johann Gabriel Seidl

Auf dem Wasser zu Singen, D. 774, To Be Sung on the Water (SG, MF) Friedrich Leopold, Graf zu Stolberg-Stolberg

Fischerweise D. 881, Fisherman’s Ditty, (BS, MF) Franz Xaver von Schlechta

Die Forelle, D. 550, The Trout (MM, BL) Christian Friedrich Schubart

Piano Quintet in A major “Trout,” D. 667 (SP, SC, PK, BF, MF) Movement IV: Theme and Variations (heard in a YouTube video at the bottom)

Suleika I, D. 720 (JRG, BL); Suleika II, D. 717 (JRG,MF) Marianne von Willemer, rev. Goethe

Auf dem Strom, D. 943, On the River (DO, DG, MF) Ludwig Rellstab

INTERMISSION

Frühlingsglaube, D. 686, Faith in Spring (DR, BL) Ludwig Uhland

Im Walde “Waldesnacht,” D. 707, In the Forest “Forest Night” (PR, BL) Friedrich Schlegel

Dass sie hier gewesen, D. 775, That She has Been Here (MF, BL) Friedrich Rückert

Allegro in a minor ”Lebensstürme,” D. 947, Life’s Storms (MF, BL)

Der 23 Psalm, D. 706, (MM, SG, MF, MF, BL) The Bible, trans. Moses Mendelssohn

Der Hirt auf dem Felsen D. 965, The Shepherd on the Rock (JRG, WW, MF) Wilhelm Müller/Karl August Varnhagen von Ense

An die Musik, D. 547 To Music. Franz von Schober. Everyone is invited to sing along. You can find the words in your texts and translations.

 


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