The Well-Tempered Ear

Classical music: This year’s Token Creek Chamber Music Festival will explore “Necessary Music” by Bach, Schubert, Schumann, Ravel, Harbison and other composers from Aug. 26 through Sept 3

August 17, 2017
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 By Jacob Stockinger

The Ear has received the following announcement to post about an annual event that puts on a lot of MUST-HEAR programs:

TOKEN CREEK, WIS. –    In what way, and for whom, is a certain kind of music necessary?

Certainly the presenters of a chamber music festival would be presumptuous to offer a program as a sort of prescription for listeners. And at Token Creek we won’t.

So often the music we need arrives by chance, and we did not even know we needed it until it appears. And other times we know exactly what we are missing. And so we offer this year’s programs of pieces that feed the soul.

Saturday, Aug. 26, at 8 p.m. and Sunday, Aug. 27, at 4 p.m., Program I: Continuo

Some works of art are so rich that they sustain a lifetime of inquiry and encounters, each time revealing fresh new insights only possible through sustained engagement, pieces so resilient they admit multiple interpretations, approaches, nuances, shadings.

We open the season with music of Johann Sebastian Bach (below), pieces we’ve played before and some we have not, music that continues to compel for the very reason that it can never be fully plumbed, music that rewards over and over again. In a concert dominated by Bach, the requirement of the other pieces is really only that they offer sufficient originality and integrity not to be dwarfed or rendered ephemeral by his authority.

Flutist Dawn Lawler (below top), cellist Sara Sitzer (below second) and pianist Jeffrey Stanek (below third join the artistic directors composer-pianist John and violinist Rose Mary Harbison (below bottom) for this opening program.

Works:
BACH Sonata in E minor for violin and continuo, BWV 1023

HAYDN    Trio in F major for flute, cello and piano XV:17

BACH   Two Fugues, from The Art of Fugue, BWV 1080

HARBISON    Mark the Date, for flute and piano (pre-premiere)

BACH Sonata in G major for violin and continuo, BWV 1021

BACH Three-Voice Ricercar, from The Musical Offering, BWV 1079

BACH Sonata in C minor, from The Musical Offering, BWV 1079

Wednesday, Aug. 30, at 7:30 p.m. Program II: Schubert

A sequel to last year’s all-Schubert program, which offered Die Schöne Müllerin and the “Trout” Quintet, this season we offer two late masterworks by  Schubert (below): the song cycle Schwanengesang (Swan Song) and the solo piano set of six Moments Musicaux (Musical Moments).

In structure, ingenuity and invention these two large works offer an eloquent counterpoint and complement to one another. We are pleased to welcome back pianist Ya-Fei Chuang (below top), and to introduce tenor Charles Blandy (below middle) with pianist Linda Osborn (below bottom).

Works:

SCHUBERT      Andante, from Sonata in C for Piano Four Hands (“Grand Duo”),  D.812

SCHUBERT     Moments Musicaux, D.780

SCHUBERT      Schwanengesang, D.957

Saturday, Sept. 2, at 8 p.m. and Sunday, Sept. 3, at 4 p.m. Program III: Waltz

This program explores the familiar form of the waltz as an unexpectedly flexible and diverse musical type, with uncommon approaches from a wide variety of composers from Schubert through Sur.

We conclude the season with Schumann’s splendid Piano Quartet, whose third movement offers one of the greatest of slow waltzes of all time. (You can hear it performed by the Faure Quartet in the YouTube video at the bottom.)

We are pleased to introduce violist Becky Menghini (below top) and cellist Kyle Price (below bottom).

Works:

FRITZ KREISLER   Three Old Viennese Melodies for Violin and  Piano

DONALD SUR        Berceuse for Violin and Piano

SCHUBERT      Waltz Sequence

RAVEL     Valses nobles et sentimentales

GEORGE CRUMB    Sonata for Solo Cello

SCHUMANN     Quartet in E-flat for Piano and Strings, Op.   47

The Token Creek Festival has been called a gem, a treasure nestled in the heart of Wisconsin cornfields, a late-summer fixture just outside of Madison.

Now in its 28th season, the Festival has become known for its artistic excellence, diverse and imaginative programming, a deep engagement with the audience, and a surprising, enchanting and intimate performance venue in a comfortable refurbished barn.

The 2017 festival offers five events to close the summer concert season, Aug. 26–Sept. 3.

Performances take place at the Festival Barn (below), on Highway 19 near the hamlet of Token Creek (10 minutes north of Madison, near Sun Prairie) with ample parking available.

The charmingly rustic venue—indoors and air-conditioned with modern comforts—is invitingly small, and early reservations are recommended.

Concert tickets are $32 (students $12). Reservations can be secured in several ways:

More information about the Token Creek Festival and all events and artists can be found at the website, www.tokencreekfestival.org or by calling 608-241-2525.


Classical music: We should hear more encores, especially at outstanding chamber music concerts. Plus, a FREE Farmer’s Market organ recital is this Saturday at 11 a.m.

August 11, 2017
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ALERT: This Saturday at 11 a.m. in Overture Hall of the Overture Center, the Madison Symphony Orchestra will offer another FREE Farmers Market Organ Concert. The program, which runs 45 minutes, features music by Johann Sebastian Bach, Felix Mendelssohn, Charles-Marie Widor and Louis Vierne. The organist is the prize-winning Madison native Adrian Binkley.

By Jacob Stockinger

Two weeks ago, the Willy Street Chamber Players gave The Ear yet another reason to like them and be a fan.

After the season-ending program of Schubert, Osvaldo Golijov and Mozart was over, while the audience was cheering, standing and applauding loudly, two members of the young chamber music group played an encore.

The encore was “Julie-O” by Mark Summer. It was written for one cellist, as you can hear in a performance by the composer in the YouTube video at the bottom.

But this time it was performed by the two cellists of The Willys — Lindsey Crabb and Mark Bridges (below).

They agreed to play an encore only reluctantly – after some prodding by other members of The Willys, by guest clarinetist Michael Maccaferri (of the Grammy-winning group eighth blackbird) and, of course, by the audience.

But there shouldn’t have been any reluctance.

The Ear thinks we hear too few encores after so much memorable music-making.

Certain student recitals at the UW-Madison come immediately to mind. It sometimes seems that the protocol of student recitals prohibits encores, but The Ear has been told by faculty members that such is not the case.

What also comes to mind is the lack of encores at chamber music concerts by larger ensembles – piano trios, string quartets and piano or string quintets and sextets.

And rarely do you hear encores at the Madison Symphony Orchestra, Wisconsin Chamber Orchestra or Madison Opera except when they are played by concerto soloists.

But why not?

The Ear recalls that several years ago the Peruvian tenor Juan Diego Florez, performing the aria with notoriously difficult nine high C’s in the aria “Ah! Mes amis” from Donizetti’s opera “La Fille du Regiment,” then quickly repeated the same passage to frenzied approval.

What are encores but a way of saying: “You liked me, so now I like you.”

Encores are not immodest bragging. They are a reward, a gift, a way for the performer to say thank you to the audience for its attention and appreciation.

Maybe every individual or group should have some kind of encore in the back pocket and ready to go. It could be a short movement or even a section of a movement, perhaps a coda or finale.

It seems to The Ear that many instrumentalists, especially pianists who have such a rich repertory, would do well to have four encores ready: one fast and one slow, one loud and one soft.

That way, the encore can underscore —  by either complementarity or contrast — the piece or pieces that preceded it and called for it.

Have you ever wanted to hear an encore and been frustrated?

What do musicians themselves say about playing encores?

Are there unwritten guidelines or an unstated protocol about when to play encores?

The Ear wants to hear.


Classical music: The Oakwood Chamber Players announce their new season with the theme of “Journey”

August 10, 2017
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By Jacob Stockinger

Over many years, the Oakwood Chamber Players (below) have built a solid reputation for programming unusual composers and neglected works, all performed with first-rate playing.

(You can sample their recording for Naxos Records of a work by UW-Madison graduate Daron Hagen in the YouTube video at the bottom.) 

The new 2017-018 season, based on aspects of a JOURNEY is no exception.

Except where noted, performances are on Saturday at 7 p.m. and Sundays at 2 p.m. at Oakwood University Woods Center for Arts and Education, 6201 Mineral Point Road, on Madison’s far west side, not far from West Towne Mall.

The group writes:

“Join the Oakwood Chamber Players on our 2017-2018 season journey with composers whose music encompasses the animation and anticipation at departure and beyond. We’ll have something for adventure seekers as they consider the view over the ever-expanding horizon.

“We’ll stop over to stay a while with friends and see the future with those who forever influence the musical landscape. We will welcome both familiar and new faces as guest artists this season. Come along with us on the JOURNEY!”

JOURNEY

DEPARTURE

September 9/10, 2017

Strauss-Schoenberg   Kaiser-Walzer for mixed ensemble

Reger         Serenade for flute, violin and viola

Arutiunian        Concert Waltz for winds and piano

QUEST

November 26, 2017 (1 and 3:30 p.m.)

Blake               Snowman Suite for string quartet

Mozetich         Angels in Flight for mixed ensemble

Rutter               Brother Heinrich’s Christmas for vocal quartet,  narrator and     mixed ensemble

HORIZON

January 13/14, 2018

Casella            Serenade for mixed ensemble

Mikulka            Sunset 1892 for clarinet, viola and piano

Huber             Quintet for winds and piano

SOJOURN

March 10/11, 2018

Hofmann         Octet for mixed ensemble

Schoenberg       Presto for string quartet

Scott                  Cornish Boat Song for piano trio

Mendelssohn     Concert Piece for clarinet, bassoon and piano

LEGACY

May 19/20, 2018

Kaminski         String Quartet

Smit                Sextet for wind quintet and piano

Sekles             Capriccio – Yankee Doodle con variazioni for piano trio

2017-2018 Season Ticket Prices

Senior (62+) Single: $20 per concert

Senior (62+) Series: $85 for the season*

Adult Single: $25 per concert

Adult Series: $105 for the season*

Student Single: $5 per concert

*Season concert series offers five concerts at a 15% discount.  Tickets available at the door.

The Oakwood Chamber Players now accept payment via credit card as well as cash and check.

For more information, go to: https://www.oakwoodchamberplayers.com


Classical music: The 18th annual Madison Early Music Festival concludes its look at the Spanish Renaissance with another outstanding “concept concert” featuring all participants

July 19, 2017
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By Jacob Stockinger

Nobody here does “concept concerts” better than the Madison Early Music Festival.

Proof came again last Saturday night in Mills Hall when the large forces of professional faculty members and workshop student participants (both below) joined to present a comprehensive overview of Renaissance music in Spain.

The program featured various combinations, including a quartet (below) as well as choral music and instrumental music. It offered sacred and secular fare, courtly music and folk music, Latin and vernacular Spanish.

Once again, the impressive program was assembled and conducted by Grant Herreid (below top) of the internationally acclaimed Renaissance band Piffaro (below bottom), a popular and regular guest at MEMF. (You can hear Piffaro perform music from the Spanish Renaissance in the YouTube video at the bottom.)

As in past years, history, biography, literature, religion and music get layered on top of each other and interwoven among each other. As a formula, from year to year the concept keeps getting refined and keeps succeeding.

In this case, the narration and story line centered on the surprisingly adventurous life of Spanish writer Miguel de Cervantes (below), who wrote the first important novel, “Don Quixote.”

Last year, the festival celebrated the 400th anniversary of the death of Shakespeare; this year, it was the 400th anniversary of the death of Cervantes.

The Ear really likes the format. The All-Festival concert ran 75 minutes and was done without intermission. Even if you are not a big fan of such early music, the concert was varied enough and short enough to hold your attention.

Unity was provided by excerpts from various texts of Cervantes, including “Don Quixote” as well as less well-known works. Some of his words were even substituted for other texts in songs and choruses.

The chorus and soloists sounded very well rehearsed, and the large instrumental section – with all those unusual-looking early instruments like sackbuts and shawms – was exceptional.

Herreid kept an outstanding sonic balance between the vocal and instrumental forces throughout the event.

There were quite a few narrators (below) who presented the short texts by Cervantes. And they proved the only weak point. Some people just don’t seem as up to the task as others do.

Perhaps in future years, the festival could pick, say, one man and one woman to alternate in the readings. The audience would have a better sense of their identities, and the effect would be better if the narrators were chosen for their ability to project dramatically and enunciate clearly but with expression – something that proved uneven with so many different narrators taking turns.

The Ear didn’t go to a lot of the festival events. He confesses that he is more a Baroque than a Renaissance person who looks forward to next year’s theme of “A Journey to Lübeck,” with German Renaissance and even Baroque music, especially music by Dietrich Buxtehude. (The 19th annual festival will be held July 7-14, 2018.)

But this final wrap-up concert is proof that even if very early music is not your thing, you shouldn’t miss the final event.

The All-Festival concert really is a MUST-HEAR.

You learn a lot.

And you enjoy even more.

Certainly the audience seemed to agree.

Were you there?

What did you think?

The Ear wants to hear.


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

July 14, 2017
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By Jacob Stockinger

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

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

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

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

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

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

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

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

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

Here are notes from the educator and performer Uri Vardi:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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


Classical music: The Bach Dancing and Dynamite Society offers an clever program that mixes outstanding performances of “primitivistic” modern music with rarely heard cabaret songs

June 19, 2017
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By Jacob Stockinger

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

By Kyle Johnson

If the rule of real estate is “location, location, location,” perhaps the rule for concert planning is “programming, programming, programming.”

Until the finale of Friday night’s Bach Dancing and Dynamite Society performance, the directors lived up to that mantra.

The first half of the program was primarily devoted to greats of the modernist chamber music repertoire: Chansons madécasses (Madagascan Songs) by Maurice Ravel (1875-1937) and the Contrasts by Bela Bartok (1881-1945).

For the former, Emily Birsan, a Chicago-based soprano who was educated at the UW-Madison, provided a dynamic, sensuous rendition even in the score’s most economical, lithe moments.

At the end of the work, Ravel’s inclusion of piccolo (played by Stephanie Jutt) and cello harmonics (played by Jean-Michel Fonteneau at a much higher than the fingered pitch) created an evocatively primitive effect, as the songs detail life in newly colonized Madagascar

The final line of the piece, “The evening breeze rises; the moon begins to shine through the trees of the mountain. Go, and prepare the meal,” received nervous chuckles from several audience members.

(You can hear the Ravel songs performed by Christa Ludwig in the YouTube video at the bottom.)

The effect was also a transition to the Contrasts (1938), a trio for clarinet, violin and piano that was commissioned by jazz great Benny Goodman. As the title aptly describes, the three-movement work cycles between jovial, intense and playful moods.

Most striking in this rendition — played by Axel Strauss on violin, Alan Kay on clarinet and Christopher Taylor on piano (below) — was the second movement, entitled “Relaxation.” Moments of hushed and moody tones created an atmosphere that historians have referred to as Bartok’s “night music.” 

The audience responded with excitement, applauding through two curtain calls, to the climactic and frenzied close of the piece.

The theme this year is “Alphabet Soup” for the 26 letters marking the BDDS’ 26th anniversary. So after intermission, BDDS directors Jutt and pianist Jeffrey Sikes introduced the audience to Madison’s four-time Spelling Bee Champion, Martius Bautista).

The soon-to-be eighth-grader at Edgewood Campus School tested his spelling of a variety of musical terms like crescendo (growing louder) and sforzando (marked emphasis) while Jeffrey Sykes played the theme from Jeopardy on the keyboard. Bautista (below) was successful and, when given a paper crown, turned to place it on the head of Samantha Crownover, who is celebrating her 20th year as executive director of the BDDS.

Sykes and Birsan served the audience a collection of cabaret songs by English composer Benjamin Britten, American composer William Bolcom and Austrian-American composer Arnold Schoenberg. The only thing missing from this portion of the program was chinking wine glasses and swirling smoke.

The programming of cabaret songs with the musical “primitivism” of Ravel and Bartok was a clever idea, and one that had similar roots at a recent concert at the UW-Madison, in which the Chansons madécasses were paired with Schoenberg’s Pierrot lunaire (while some consider Pierrot a feat of highbrow expressionism, a strong case can be made for its cabaret nature – however grotesque and dark it may be).

Anyone weary of Arnold Schoenberg’s oftentimes deterring development of 12-tone and atonal music need only look as far as his own cabaret songs, which are as melodious and lush as music heard in the great black-and-white musicals of early film.

The programming of the final work, Johannes Brahms’s Piano Trio No. 2 in C Major, Op. 87 (1880-1882) – played by the San Francisco Trio (below) — was problematic in a number of ways.

The monolithic nature of the work – a staple of high Romanticism you can hear in the YouTube video at the bottom – seemed off-putting, after the intimacy of works such as the Ravel songs, the Bartok Contrasts, and especially the cabaret numbers.

In a perfect world, Friday evening’s concert would have foregone an intermission and ended with the cabaret hodgepodge. The quirky and understated close would have certainly left the audience charmed and ever-enticed to attend the remainder of BDDS’s programs – the final weekend, of which, runs June 23-25.

For more information about the concluding BDDS weekend and its dates, times, venues, programs and performers, go to:

http://bachdancing.org


Classical music: The second week of programs by the Bach Dancing and Dynamite Society offers vocal and instrumental music that spans four centuries and includes a world premiere

June 15, 2017
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By Jacob Stockinger

Last weekend, the Bach Dancing and Dynamite Society opened its 26th season with two programs in three venues that all proved highly successful.

Building on that success, the chamber music festival with top local and guest performers, now turns to vocal and instrumental music that ranges from the late 18th century up to today, including a world premiere.

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

Concerts are spiked with stories about the music, mystery guests and even door prizes.

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

The second weekend of concerts features the San Francisco Piano Trio (below) Axel Strauss, violin; Jean-Michel Fonteneau, cello; and Jeffrey Sykes, piano).

They are joined by UW-Madison’s pianist Christopher Taylor, soprano Emily Birsan (another Madison favorite and a graduate of the UW-Madison and Lyric Opera of Chicago) and internationally acclaimed clarinetist Alan Kay.

TWO PROGRAMS

Two Bs or not Two Bs includes evocative songs by Maurice Ravel for soprano, flute, cello and piano and an entertaining bouquet of earthy cabaret songs by composers Benjamin Britten, William Bolcom and Arnold Schoenberg, sung by Emily Birsan.

The program also features Bela Bartok’s “Contrasts” for clarinet, violin and piano, a work commissioned by the legendary jazz clarinetist Benny Goodman (below), and Johannes Brahms’ epic Piano Trio in C Major, Op. 87. (You can hear a historic recording of Benny Goodman performing the Bartok work, with the composer playing the piano, in the YouTube video at the bottom.)

Two Bs or not Two Bs will be performed at The Playhouse, Overture Center for the Arts, on Friday, June 16, 7:30 p.m., and at the Hillside Theater, Taliesin, Spring Green, on Sunday, June 18, 2:30 p.m.


Special K is a showcase for Alan Kay, principal clarinetist of the renowned Orpheus Chamber Ensemble.

It includes “The Shepherd on the Rock” for soprano, clarinet and piano by Franz Schubert; the hip tour-de-force “Techno Parade” by Guillaume Conneson (below) for flute, clarinet and piano; and the Midwest premiere of “Living Frescoes” for clarinet, violin, cello and piano by American composer Kevin Puts.

Many will remember that Kevin Puts (below) was the Pulitzer Prize-winning composer BDDS commissioned for the song cycle “In At The Eye” in its 25th season last summer.

The program is rounded out with Mozart’s Piano Trio in E Major and three songs by Erich Wolfgang Korngold (below) sung by Emily Birsan, accompanied by Jeffrey Sykes.

Special K will be performed at The Playhouse, Overture Center for the Arts, on Saturday, June 17, 7:30 p.m., and at the Hillside Theater, Taliesin, in Spring Green, on Sunday, June 18, 6:30 p.m.

Photos by Dick Ainsworth of BDDS performances and behind-the-scenes will be on exhibit in The Playhouse through Sunday, July 9.

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

For tickets visit: http://www.overture.org/events/bach-dancing

For more information about the programs, performers, performances and background, visit www.bachdancinganddynamite.org or call (608) 255-9866.

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

Tickets are also available at the door at all locations.


Classical music: This Thursday morning, WORT will broadcast a live performance of Gideon Klein’s String Trio, composed in a concentration camp, by three up-and-coming musicians from the Dynamite Factory of the Bach Dancing and Dynamite Society

June 14, 2017
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By Jacob Stockinger

The Ear has received the following note from blog fan and local live music documentarian Rich Samuels, who hosts his radio show “Anything Goes” on Thursday morning on WORTFM 88.9. It concerns an unusual performance of Holocaust music by a kind of apprenticeship program that The Ear really likes as a way for to provide continuity between different generations of musicians:

“At 7:26 a.m. on this Thursday morning, June 15, on my WORT broadcast I’ll be playing a performance of Gideon Klein‘s 1944 String Trio by violinist Misha Vayman, violist Jeremy Kienbaum and cellist Trace Johnson (below, from left, in a photo by Samantha Crownover).

“They are the three members of the “Dynamite Factory,” the three emerging musicians who have joined the Bach Dancing and Dynamite Society for its 2017 season.

“I recorded this performance — thanks to co-artistic director Stephanie Jutt and executive director Samantha Crownover — last Thursday at an event at the Central Library of the Madison Public Library system.

Trace and Jeremy are Madison natives and alumni of the Wisconsin Youth Symphony Orchestras (WYSO); Misha comes to Madison from the Russian Republic by way of southern California.

“I think it’s a compelling performance of a remarkable piece. It was the last work Klein (below) composed before he was transported from the Theresienstadt concentration camp to Auschwitz where, in a coal mining sub-camp, he died in early 1945.”


Classical music: The Isabella Lippi Trio performs piano trios by Mozart, Shostakovich and Dvorak this Friday night at Farley’s House of Pianos

May 15, 2017
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By Jacob Stockinger

On this Friday night at 7:30 p.m., the Isabella Lippi Trio will perform in the Salon Piano Series at Farley’s House of Pianos, 6522 Seybold Road, on Madison far west side near West Towne Mall.

The all-masterpiece program features the Piano Trio in B-flat major, K. 502, by Wolfgang Amadeus Mozart; the Piano Trio No. 2 in E minor, by Dmitri Shostakovich; and the famous “Dumky” Piano Trio by Antonin Dvorak. (You can hear the captivating opening of the “Dumky” Trio, played by the venerable Beaux Arts Trio, in the YouTube video at the bottom).

Tickets are $45.

Members of the trio are Madison violinist Isabella Lippi (below top), who is also the concertmaster of the Elgin Symphony Orchestra; Chicago cellist Paula Kosower (below middle); and Chicago pianist Kuang-Hao Huang (below).

For more information about the artists and about obtaining tickets, got to: http://salonpianoseries.org/concerts.html


Chamber music: The Oakwood Chamber Players wraps up its current season on Saturday night and Sunday afternoon with a concert that explores musical scores and the composers’ intentions

May 9, 2017
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By Jacob Stockinger

The Oakwood Chamber Players (below) wraps up its 2016-17 season series “Perspective” with a concert titled “Looking Closely at the Score” on this coming Saturday night,  May 13, at 7 p.m. and Sunday afternoon, May 14, at 2 p.m.

Both concerts will be held at the Oakwood Center for Arts and Education, 6209 Mineral Point Road, on Madison’s far west side near West Towne.

Looking Closely at the Score considers composers and influences on their scoring.

The concert includes an array of guest artists, with the Oakwood Chamber Players partnering with musical colleagues from the woodwind quintet Black Marigold (below) to expand their programmatic possibilities.

Tickets can be purchased with cash or personal checks at the door: $20 for general admission, $15 for seniors and $5 for students.

French composer Vincent D’Indy (below, in 1911) wrote Chanson et Danses (Song and Dances) for woodwind septet in 1898. He was greatly influenced by Cesar Franck who was his composition teacher and by a personal enthusiasm for the music of Richard Wagner.

This piece has a subtle feel of the pastoral quality of Siegfried’s Idyll and takes the listener from a sweetly stated Chanson through increasing animation of the Danses and a serene return to the song theme at its conclusion.

A student of Ralph Vaughan Williams, admired Irish composer, renowned pianist and fourth-generation newspaper editor, Joan Trimble (below) led a life full of creativity. Her Phantasy Trio for violin, cello and piano won a major compositional award from the Royal College of Music in 1940.

This piece highlights warm and expressive lines that she felt important to provide for musicians and ably reflects her personal view that “performers had to be considered and allowed to play with their individual qualities in mind. How else were they to communicate and have a response from listeners?”

Luise Adolpha Le Beau was a German composer, piano soloist and student of Clara Schumann. Performing in chamber music was of particular interest to her and she wrote many of her compositions for this musical genre.

The Oakwood Chamber Players will perform Allegro con Fuoco from her Piano Trio in d minor. The movement alternates rhythmic motifs with sweetly expressive melodic lines. (You can hear the lovely slow movement from the same piano trio in the YouTube video at the bottom.)

Romantic Swiss-German composer Joachim Raff was influential in the European scene and considered an inspired musician by 19th-century luminaries such as Schumann, Mendelssohn and Liszt and interest in his work was revived by notable 20th-century conductor and composer Bernard Hermann, who was noted for his scores to flms by Alfred Hitchcock.

Raff (below) coined the term Sinfonietta for his piece that combines two woodwind quintets to convey a buoyant and transparent approach in contrast to a more prescribed symphonic approach to scoring. This delightful four movement work has abundant soaring melodic lines, a true understanding of the characteristics of the woodwind family of instruments and a dazzling conclusion.

The Oakwood Chamber Players will be joined by guests J. Elizabeth Marshall, flute; Jennifer Morgan, oboe; Bethany Schultz, clarinet; Juliana Mesa-Jaramillo, bassoon; and Dafyyd Bevil and Kia Karlen, horns.

The Oakwood Chamber Players is a group of Madison-area professional musicians who have rehearsed and performed at Oakwood Village for over 30 years. Visit www.oakwoodchamberplayers.com for more information.

The Oakwood Chamber Players is a professional music ensemble proudly supported by Oakwood Lutheran Senior Ministries and the Oakwood Foundation.


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