The Well-Tempered Ear

Classical music: UW Choral Union and soloists succeed impressively in Bach’s massive “St. Matthew Passion.” Plus, a FREE concert of Leonard Bernstein songs is at noon on Friday

April 25, 2018
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ALERT: This Friday’s FREE Noon Musicale at the First Unitarian Society of Madison, 900 University Bay Drive, features two husband-and-wife teams. Singers bass-baritone Paul Rowe and soprano Cheryl Bensman-Rowe and pianists Bill Lutes and Martha Fischer will perform an all-Leonard Bernstein program in honor of his centennial. The program includes selections from Arias and Barcarolles,” “Mass,” “Peter Pan,” “On the Town,” “Wonderful Town” and “Songfest.” The concert runs from 12:15 to 1 p.m.

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 photographs.

By John W. Barker

It comes a bit late for this year’s Holy Week, but the UW Choral Union’s impressive mounting of Johann Sebastian Bach’s St. Matthew Passion last Sunday was still a major contribution to our music this spring.

Running at almost three hours, this is Bach’s longest single work, and is regarded by now as one of the musical monuments of Western Civilization. But its length and its demands make it something performed only on special occasions.

No antiquarian, conductor Beverly Taylor, who directs choral activities at the UW-Madison, tried to follow carefully Bach’s elaborate specifications, which call for both a double chorus and a double orchestra, along with soloists.

A traditionally ample agency, the Choral Union this time fielded a total of 100 singers, plus a 12-member children’s choir, as against a pair of student orchestras numbering 14 and 12 respectively, all playing modern instruments.

This was hardly a balanced combination and Bach himself could never have assembled, much less managed, so huge a chorus as this. It certainly overwhelmed the orchestras, and quite drowned out the children’s group in their appearance at the beginning and ending of Part I.

Still, there is no denying the magnificence of such a large choral force. It was just a bit challenged by the turbae or crowd passages. Nevertheless, to hear such a powerful choir sing so many of the intermittent chorales in Bach’s harmonizations is to feel the glory of the entire Lutheran legacy in religious expression.

A total of 16 soloists were employed, in functions of varying consequence.

At the head of the list stand two. Tenor Wesley Dunnagan (below left) has a voice of more Italian than German character, to my taste. But he not only carried off the heavy duties of the narrating Evangelist, he also sang the tenor arias as well, with unfailing eloquence.  And faculty baritone Paul Rowe (below right) was truly authoritative as Jesus in the parts reserved for the Savior.

The arias were otherwise addressed by a double cast of singers, two each on the other voice parts. Of the two sopranos, Sara Guttenberg (if I have the identity correctly from the confusing program) was strong and splendidly artistic.

Talia Engstrom was more a mezzo-soprano than a true contralto, and not an equally powerful singer, but I did like her very engaging singing. (You can hear the lovely contralto and violin aria “Erbarme dich, mein Gott” in the YouTube video at the bottom.)

The sharing of the alto arias with a countertenor was, however, not a good idea. Of the two bass-baritones, Matthew Chastain (if I have his identity aright) sang with strong and rich tone.  The other singers, mostly singing the character parts in the Gospel text, were generally students, ranging widely in maturity and appeal.

Taken as a whole, though, this performance was an admirable achievement for Beverly Taylor (below). Her tempos were on the moderate side, accommodating especially the large chorus. Above all, her enterprise was obvious in tackling this massive work, while the choral singers obviously found a special thrill in participating in it.

Compliments should be given the program, which contained the full German text interlarded with the English translation. With full house lighting, this wisely allowed the audience to follow along closely.

But the performance was divided into two sittings, one for Part I at 4 p.m., the second for Part II at 7:30 p.m., with a break in between of over two hours — really too long, I found.

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Classical music: The Middleton Community Orchestra and UW-Madison horn player Dafydd Bevil excel in a concerto by Richard Strauss and a theater suite by Ralph Vaughan-Williams. Plus, the UW’s Perlman Trio performs Saturday afternoon

April 13, 2018
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ALERT: On SATURDAY – (not today as first mistakenly listed) –at 3:30 p.m. in Morphy Recital Hall, the annual FREE concert by the UW’s Perlman Trio — named after benefactor Kato Perlman — will perform piano trios by Franz Joseph Haydn and Robert Schumann, and a piano quartet by Johannes Brahms. A reception will follow For more information about the student performers and the full program, go to: https://www.music.wisc.edu/event/the-perlman-trio/

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. Barker also took the performance photos.

By John W. Barker

The Middleton Community Orchestra (below), under conductor Kyle Knox, brought off a splendid concert on last Wednesday evening.

The opening item was the Introduction and Allegro, Op. 47, for string quartet and string orchestra by Edward Elgar.  This is a broad work of great Romantic sweep, featuring the lush textures pitting a large ensemble against a miniature one.

The largely amateur Middleton orchestra fields a very large string section. It has not yet completely fused into a suave entity, but the 30-odd players did a brave job of capturing the music’s rhetorical richness.

The soloist for the evening was Dafydd Bevil (below), a French horn player who is very active in a number of orchestras and ensembles in the Madison area while currently engaged in doctoral studies at the University of Wisconsin-Madison’s Mead Witter School of Music.

Bevil boldly chose as his vehicle the second of Richard Strauss’ two horn concertos. Neither is heard in concert very much, though the Concerto No. 1 is a little more familiar from recordings. That is a bravura piece, composed in 1882, when Strauss (below) was 18, and was written for his father, Germany’s foremost horn virtuoso.

The Concerto No. 2 dates from the other end of Strauss’s career, in 1942, the first of some wind concertos undertaken during and after World War II.  Intended to recapture his earlier instrumental style, it is a much more studied piece than its predecessor.

Bevil, clearly a player of exceptional skill and musicality, powerfully met Strauss’ showy and florid solo writing.  This is a virtuoso musician with a promising future.

The remainder of the concert was devoted to the first of what would be a number of scores Ralph Vaughan Williams (below) prepared to fit Classical Greek plays.  (RVW was himself a very accomplished master of ancient Greek.)

In 1912, inspired by the translations of Gilbert Murray, he produced music to set Murray’s English texts for three of the plays by Euripides: The Bacchae, Electra, and Iphigenia in Tauris.

Before that, however, in 1909, still early in his career, Vaughan Williams composed incidental music to a production (in Greek) of the comedy by Aristophanes, The Wasps.

From that Aristophanic score, the composer put together an orchestral concert suite of an overture and five incidental numbers. The overture itself has enjoyed some frequency of concert performances, but the full suite is little known to the public over here.

It was a clever stroke of programming that Kyle Knox (below) led the orchestra in the full suite.   This is delightful music, full of typical Vaughan Williams whimsy, inventiveness, and cleverness.  Sounding simple, it creates balances and details not easy to manage, but Knox and the orchestra performed it with dazzling flair. (You can hear the rarely performed full suite in the YouTube video at the bottom)

This is exactly the kind of enterprise that makes the Madison area’s musical life so stimulating and joyous.


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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.


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.


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