The Well-Tempered Ear

Classical music: What classical music do you find necessary and why?

August 19, 2017
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By Jacob Stockinger

The Ear has heard many themes for concerts and festivals.

But he really, really likes the title of this year’s Token Creek Chamber Music Festival (below, inside the refurbished barn that serves as a concert hall).

It runs from Aug. 26 through Sept. 3.

Here is a link to complete details about the performers, the three programs and the five concerts that focus especially on the music of Johann Sebastian Bach and Franz Schubert, Maurice Ravel and Robert Schumann:

https://welltempered.wordpress.com/2017/08/17/classical-music-this-years-token-creek-chamber-music-festival-will-explore-necessary-music-by-bach-schubert-schumann-ravel-harbison-and-other-composers-from-aug-26-thr/

The theme or concept is NECESSARY MUSIC.

Of course, as the festival press release says, the Token Creek organizers recognize that the whole idea is subjective, so they refuse to be prescriptive:

“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.”

The Ear likes that concept.

And he thinks it applies to all of us.

So today he wants to know: What music is NECESSARY FOR YOU and WHAT MAKES IT NECESSARY

Of course, the idea of necessary music changes over time and in different circumstances.

Do you need relief from the anxiety of political news?

Are you celebrating a happy event?

Are you recovering from some kind of personal sadness or misfortune?

But right now, what piece or pieces of music – or even what composer – do you find necessary and why?

In the COMMENT section, please tell us what it is and what makes it necessary?

And please include a link to a YouTube video performance, if possible.

The Ear wants to hear.


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: The second annual Madison New Music Festival will take place this Thursday through Sunday

August 9, 2017
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By Jacob Stockinger

The summer classical season in Madison just keeps getting busier and more interesting.

The Ear has received the following announcement from Zachary Green (below), a native Madisonian and composer who graduated from Oregon High School and the Juilliard School, which awarded him a grant to start the first Madison New Music Festival last year. He now directs the event:

Dear friends, family, colleagues, and mentors,

I am extremely pleased to invite you to the second season of the Madison New Music Festival, taking place this Thursday-Saturday, Aug. 10-12.

The Madison New Music Festival is an annual weekend-long concert series dedicated to strengthening Madison’s cultural vitality through the celebration of fresh classical music from our lifetimes.

The festival strives to affordably and accessibly share music by the world’s leading living composers with the Madison community, with special emphasis placed on Wisconsin-based composers and performers.

This year, over the course of four concerts, we will be featuring 30 performers playing the music of over 20 composers— including the music of a different living Wisconsin composer at every concert.

The concerts will take place Thursday at the Madison Museum of Contemporary Art (8 p.m.), Friday at Bethel Lutheran Church (8 p.m.), and Saturday at the Memorial Union Terrace (3 p.m.) and Robinia Courtyard (7:30 p.m.).

PROGRAM AND TICKET INFORMATION:

Thursday, Aug. 10, at 8 p.m., Madison Museum of Contemporary Art in the Overture Center. (Below is a photo at MMoCA from last year’s festival)

After an incredibly successful launch in 2016, the Madison New Music Festival is set to return to MMoCA for a concert combining contemporary visual art and new music.

The festival presents brand new pieces by emerging composers, underplayed classics of the contemporary repertoire, and shines a spotlight on new music created here in Wisconsin.

The concert at MMoCA features music with thematic ties to MMoCA’s current exhibitions, including politically charged works such as “But I Still Believe” by composer Zachary Green and inspired by Hillary Clinton’s concession speech, and “Drums of Winter” from Pulitzer Prize-winning composer and environmentalist John Luther Adams (below). You can hear “Drums of Winter” in the YouTube video at the bottom.

There will be a cash bar and opportunities to walk around the exhibits. Tickets are $10, $5 for students and FREE for MMoCA members.

Tickets: https://www.artful.ly/madison-new-music-festival/store/events/13011

Friday, Aug. 11, at 8 p.m. in Bethel Lutheran Church, 312 Wisconsin Avenue

The festival’s second night features an eclectic range of music, from the inventive, folk-inspired music of Romanian composer Doina Rotaru (below top) to the improvisatory soundscapes of recently departed legend Pauline Oliveros (below bottom).

Also featured is local composer Scott Gendel (below top) , who will present a set of his own music with frequent Madison Opera guest soprano Emily Birsan (below middle). Both are graduates of the UW-Madison.

Other performers include Chicago-based new music ensemble Chartreuse (below top), local flutist Iva Ugrcic (below middle) and local violinist Lydia Sewell (below bottom).  Tickets are $10, $5 for students.

Tickets: https://www.artful.ly/madison-new-music-festival/store/events/13028

Saturday, Aug. 12, at 3 p.m., Memorial Union Terrace

Local new music wind quintet Black Marigold (below top) will perform “Beer Music” by Brian DuFord (below bottom), inspired by different kinds of beer– and you can sip as you listen!

But first, get your groove on with rhythmic works by emerging composer Andy Akiho (below top), Wilco drummer Glenn Kotche, and local percussionist Dave Alcorn (below bottom) of Clocks in Motion — interspersed with interactive interpretations of Renaissance motets and an electroacoustic work for vibraphone. Featured musicians include percussionist Garrett Mendelow and Chicago-based new music ensemble Chartreuse.  Admission is FREE.

Saturday, Aug. 12, at 7:30 PM, Robinia Courtyard (Jardin Restaurant) at 827 East Washington Avenue. 

Join us at Jardin Restaurant, part of the newly redeveloped Robinia Courtyard to hear local ensemble Mr. Chair (below) present an eclectic, head-banging set ranging from original compositions to versions of Erik Satie, Olivier Messiaen and Igor Stravinsky.

Also featured are the genre-bending Echelon String Quartet(below) and a mesmerizing solo bass piece performed by Grant Blaschka.  Cash bar.  ($10/$5 student)

Tickets: https://www.artful.ly/madison-new-music-festival/store/events/13029


Classical music: The annual Karp Family Labor Day Concert for this year has been CANCELLED

July 30, 2017
3 Comments

By Jacob Stockinger

Today’s posting has sad news to report.

The Ear has learned that the annual Karp Family Labor Day concert for this year has been CANCELLED.

It would have been the 39th annual FREE community gift from the talented Karp family (below) – Madison’s First Family of Music — to the community.

Over the years the well attended family concert, which was usually performed on Labor Day night or the Monday night before classes began at the UW-Madison, had become the unofficial start of the new concert season, both at the UW-Madison and in the larger community.

Performers included grandparents, parents, children and grandchildren as well as guest artists.

For 38 years, many new works were premiered and no work was ever repeated.

That is an impressive record.

The immediate reason for the cancellation is as follows: After the death of pianist Howard Karp in 2014, eldest son Parry Karp (below) became the patriarch and guiding spirit, and the show went on. Parry Karp is a cello professor at the UW-Madison and longtime member of the Pro Arte String Quartet.

But several months ago Parry Karp sustained a serious injury to the fourth finger on his left hand, which is the hand that finds the notes. (You can hear Parry Karp playing a cello duet five years ago with his daughter Ariana Karp in the YouTube video at the bottom.)

That same injury caused him to cancel performances this summer with the Bach Dancing and Dynamite Society and the upcoming Token Creek Chamber Music Festival.

Perhaps the Labor Day tradition will be revived next year. You can read about past concerts by using the search engine on this blog.

But perhaps not, although everyone certainly wishes Parry Karp a full and speedy recovery.

The Ear gives bravos and a big thank you to all the Karps, who gave us so much wonderful music over so many years.

Others can also leave words of gratitude and encouragement in the COMMENT section.


Classical music: See and hear what happens at the Metropolitan Opera just before show time. You will be amazed and entertained

July 15, 2017
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By Jacob Stockinger

One of the most illuminating and entertaining stories The Ear has seen recently came in The New York Times.

It does exactly what great journalism does: Take you to a place where you cannot go yourself.

The Times went behind the scenes at the famed Metropolitan Opera House in New York City (below) – the Met, for short – to see what was going on before show time.

And it was a lot more than opera.

There is so much to see and listen to, as suggested below in the 1966 drawing of the Metropolitan Opera House by David A. Mackay.

From the sets, props, wig and costume shops to rehearsals by the Met and the American Ballet Theatre and the Metropolitan Orchestra and even to the kitchen and dining room, to say nothing of the classes, hallways and stage.

What emerged was an enthralling story – full of impromptu serendipity — that made good reading in the newspaper and humanized the arts. Here is the text index version (click on the picture and then on the triangle you will see):

But then The Times took advantage of the Internet to create an interactive look at the same material that features only audiovisual clips and runs 7 minutes and 21 seconds.

https://www.nytimes.com/video/arts/100000005201650/what-happens-just-before-show-time-at-the-met-opera-in-12-rooms-youll-never-see.html

The final result is impressive, both for the great videography of the shoulder-held cameras and for the succinct labeling and explaining that doesn’t interrupt the flow.

What resulted should win some kind of prize or award. It should also serve as a model for what many other media – especially television – can do with various media tools at hand.

One last observation: Is The Ear the only person who thinks the driving drum soundtrack sounds suspiciously similar to the soundtrack of the 2014 Oscar-winning film “Birdman”?

What do you think about the video?

Did you like it?

Did you learn anything?

The Ear wants to hear.


Classical music: New biography explains the professional importance and personal quirks of famed maestro Arturo Toscanini

July 8, 2017
3 Comments

By Jacob Stockinger

You  know  how sometimes a movie preview or trailer gives so much away of the story that it leaves you feeling you don’t really need to see the movie.

That’s how The Ear felt when he read a recent review in The New York Times of a new and exhaustive biography by Harvey Sachs of the famous conductor Arturo Toscanini (below).

Italian conductor Arturo Toscanini (1867 – 1957) conducts the NBC Symphony Orchestra in a televised recording of Verdi‘s ‘Hymn of the Nations‘, 1944. (Photo by Fox Photos/Hulton Archive/Getty Images)

This is the second time that Sachs has written about the maestro. This time, however, he had access to recently released private papers.

And boy, are there some surprises.

In his lengthy review, Robert Gottlieb gives The Ear just about all he wants to know or needs to know about the Italian master from his youth (below, ca. 1890) to old age — and then some. (In the YouTube video at the bottom you can hear and see Toscanini conducting “The Ride of the Valkyries” by Richard Wagner in  1948.)

The Ear knew Toscanini was important. But he was never really quite sure why.

Now he knows.

Here is a link:

https://www.nytimes.com/2017/06/27/books/review/toscanini-biography-harvey-sachs.html

Read the review and see if you agree.

And tell us what you make of Toscanini the musician and Toscanini the man.

The Ear wants to hear.


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

July 3, 2017
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By Jacob Stockinger

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

This concert will include narrations selected from Don Quixote.

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

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

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

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

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

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

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


Classical music: Starting this Friday, the Madison Early Music Festival will devote a week to exploring familiar and unfamiliar Iberian music during the age of Cervantes. Part 1 of 2

July 2, 2017
1 Comment

By Jacob Stockinger

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

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

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

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

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

How successful is this year’s festival compared to others in terms of enrollment, budgets, performers, etc.? How does this program of MEMF’s reach nationally or even internationally compare to previous years?

We will have about 100 students at our workshop this summer, which has been a steady number for the past five years. Our budget increased to cover the big Don Quixote project by Piffaro, which you can read about below.

We continue to attract workshop participants and performers from all over the United States and Canada, and this year our concert series will present Xavier Diaz-Latorre from Spain. For more information, go to: www.xavierdiazlatorre.com

What is new and what is the same in terms of format, students, faculty members and performers?

The following events are new to MEMF this summer:

The Historical Harp Society will be giving a conference before MEMF begins, from Thursday, July 6 through Saturday, July 8, with classes and lectures that will culminate in a concert of Harp Music from the Spanish Golden Age on Friday, July 7, at 7:30 p.m. in Morphy Recital Hall, which is FREE and open to the public. Go to www.historicalharpsociety.org

Master teacher and performer Xavier Diaz-Latorre  will be giving a master class in Morphy Recital Hall on Saturday, July 8, from 10 a.m. to noon. It is free and open to the public.

We have a new partnership with the Latin American, Caribbean, and Iberian Studies (LACIS) Program at UW-Madison. LACIS has helped us translate materials and supported MEMF with two grants. www.lacis.wisc.edu

A new display in the Memorial Library foyer will celebrate the 2017 Madison Early Music Festival with a special exhibit of Don Quixote Through the Ages, featuring a selection of books, musical scores, and other materials from the UW-Madison Libraries. While viewing the exhibition, patrons can scan a QR code and listen to a Spotify playlist featuring music that will be heard at the MEMF 2017 Concert Series! This is a MEMF first, created by co-artistic director Paul Rowe.

We worked with several librarians to select the materials: Paloma Celis-Carbajal, Ibero-American Studies and Romance Languages Librarian; Jeanette Casey, head of Mills Music Library; and Lisa Wettleson from Special Collections at Memorial Library (below, in a photo by Brent Nicastro).

Dates: June 26 – August 10, 2017

Location: Memorial Library foyer | 728 State Street | Madison

Library Hours: 8 a.m.-9:45 p.m.

We have several new performers this year.

Xavier Diaz-Latorre, a vihuela player from Spain, and the ensemble Sonnambula from New York. Xavier is a world-renowned musician, and plays the vihuela, a Spanish Renaissance type of guitar, and the lute.

Xavier will perform a solo recital featuring music of the vihuela by composers Luis Narváez, Alonso Mudarra, Gaspar Sanz and Santiago de Murcia. The link below will give you more information about the predecessors to the guitar:

http://www.cs.dartmouth.edu/~lsa/aboutLute/Vihuela.html

Daphna Mor and Kane Mathis will present a program featuring music from the geographic regions of Andalusia, North Africa, the Ottoman Empire and the Sephardic Diaspora. Based on the monophonic music of modes referred to as the Makam, the audience will be drawn to distinct beauty and great similarities of music from the courts, liturgical forms, dance airs and folk music.

Daphna Mor (below top) sings and plays several historical wind instruments, and Kane Mathis (below bottom) plays the oud, a lute type of stringed instrument with 11 or 13 strings grouped in 5 or 6 courses, commonly used in Middle Eastern music.

Percussionist Shane Shanahan (below) will join them. Shane is an original member of the Silk Road Ensemble with Yo-Yo Ma and a Grammy award winner. https://www.stepsnyc.com/faculty/bio/Shane-Shanahan/

And watch Shane play frame drum in the Cave Temples of Dunhuang at the Getty Museum:

https://www.youtube.com/watch?v=tQjC3y6CXQ8

Hear and read about Daphna Mor: http://www.daphnamor.com/

You can watch Kane Mathis play the oud at this link:

https://www.youtube.com/watch?v=7tHrxEohai8

Sonnambula (below), an ensemble of violins and viol da gambas, has performed at the Metropolitan Museum of Art, and have a regular series at the Hispanic Society of America in New York. It played a sold-out program of Spanish Golden Age works drawn from the over 450 pieces in the Cancionero Musical de Palacio, a manuscript at the Royal Palace of Madrid. This same program will be presented at MEMF on Friday, July 14. (You can hear them perform Spanish music in the YouTube video at the bottom.)

www.sonnambula.org

Why was the theme of the Spain’s Golden Age and The Age of Cervantes and Don Quixote chosen for the festival? What composers and works will be highlighted?

We liked the connection with last year’s theme, Shakespeare 400, because, although they never knew one another, Cervantes and Shakespeare (below) were contemporaries and share a “deathaversary,” as they both died on April 23, 1616. They led quite different lives, as Shakespeare was very successful throughout his lifetime and Cervantes wasn’t well known until the end of his life, when Don Quixote was published in 1605.

http://www.dw.com/en/shakespeare-and-cervantes-two-geniuses-and-one-death-date/a-19203237

Also, the Renaissance band Piffaro (below, in a photo by Church Street Studios) — an ensemble from Philadelphia that is well loved by MEMF audiences — suggested we explore this connection to Don Quixote and present their program The Musical World of Don Quixote, a huge project that they have been researching for several years.

They created a musical soundtrack to the novel in chronological order, and their program will open our 2017 concert series. This link from the Early Music America article “Piffaro Tilts At Musical Windmills” will tell you about their project in depth:

https://www.earlymusicamerica.org/web-articles/emag-piffaro-tilts-at-musical-windmills/

www.piffaro.org

The other concerts in the series draw from the music that is mentioned in Don Quixote and from the Spanish Renaissance, known as Siglo de Oro, or the Century of Gold. Many composers from this time period will be represented: Tomás Luis de VictoriaCristóbal de MoralesFrancisco GuerreroLuis de Milán and Alonso Lobo

https://en.wikipedia.org/wiki/Spanish_Golden_Age

https://artsinstitute.wisc.edu/memf/concerts.htm

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

www.madisonearlymusic.org

Tomorrow: What makes Renaissance music in Spain different? What composers and music will be featured in concerts?


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Classical music: Two FREE “garage” performances of Fresco Opera Theatre’s “The Ugly Duckling” remain in Fitchburg and Madison on Saturday and Sunday afternoons

June 23, 2017
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By Jacob Stockinger

The Ear has received the following information from Fresco Opera Theatre:

Take “The Ugly Duckling” — the fairy tale by Danish writer Hans Christian Andersen — mashed up with opera and all set in the context of a typical John Hughes movie.

Fresco revisits the joys that were the ’80s.

The hair.

The fashion.

The mean girls.

The cute boys.

Teenage angst at its best, and what better way to convey it than through opera?

Best of all – WE BRING THE SHOW TO YOU!

This is fun for the whole family, whether you are an opera fan, unfamiliar with opera, or frankly even think you hate opera. This is a totally awesome production!

The final two FREE “garage” performances (below top, by Max Wendt, and below bottom) are this Saturday at 2 p.m. at 4412 Sentinel Pass in Fitchburg and Sunday at 2 p.m. at 21 Shea Court, on Madison’s west side)

This is part of Fresco’s 2017 season of outreach. All that we do this year will be FREE OF CHARGE to get people interested in the fine arts.

We will have our Opera Unplugged series starting up at the end of July, which will take place on the Capitol Square during the Saturday morning Dane County Farmers’ Markets.

This is a great opportunity for families of young children to introduce them to opera.

For more information about Fresco Opera Theatre, including portraits of the cast for “The Ugly Duckling”; past productions; dates and places of Opera Unplugged productions; opera at Olbrich Gardens; and how to support the company, look at the YouTube video at the bottom and go to: http://www.frescooperatheatre.com


Classical music: The fifth annual Handel Aria Competition is this Friday night – and the event has grown into a major event with broad cross-cultural appeal

June 7, 2017
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By Jacob Stockinger

In a short time, it has become one of the year’s MUST-HEAR local events for fans of Baroque music, fine singing, and the music of composer George Frideric Handel.

This Friday night at 7:30 p.m. in Mills Hall on the University of Wisconsin-Madison campus, the fifth annual Handel Aria Competition will take place.

Handel Aria Competition tickets are $15 for general admission, and will be available at the door.

For the third year, the Madison Bach Musicians, led by the keyboardist founder and artistic director Trevor Stephenson, will accompany the seven finalists who were selected from over 100 applicants from China, Canada, Mexico, Puerto Rico and 26 states including Hawaii.

Finalists in the 2017 Handel Aria Competition are pictured below (left to right): Gene Stenger, Clara Osowski, Nicole Heinen (who studied at the UW-Madison), Brian Giebler, Nian Wang, Andrew Rader and Johanna Bronk.

In addition to the professional judging for first, second and third prize, there will be a cash prize for Audience Favorite.

The Handel Aria Competition is an annual event held in Madison, Wisconsin to promote the performance of Handel’s extensive vocal repertoire.

Once connected to the Madison Early Music Festival in July, it has evolved into a separate event due to logistics and staffing.

Founders Dean and Orange Schroeder (below) are enthusiasts of George Frideric Handel’s music and lifelong supporters of the arts.

They write:

“In the spring of 2013, we started the Handel Aria Competition with no real experience, using only the Handel Singing Competition in London – the world’s only, at that time – as a model. We were inspired by the recent groundswell of interest in Handel’s operas and oratorios, most of which have been rarely performed for some 300 years!”

Since then, the competition has grown from 50 to 105 applicants and features orchestral accompaniment as well as large, enthusiastic and often partisan audiences.

You can follow the competition, with news and background stories on the Facebook page for the Handel Aria Competition at https://www.facebook.com/search/top/?q=handel%20aria%20competition

For more information, including extensive biographies of the finalists and the results of past competitions as well as advice about how to apply for the competition and how to support it, go to the website HandelAriaCompetition.com

Countertenor Eric Jurenas, winner of the 2016 competition, can be heard in the YouTube video below:


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