ALERT: Tonight’s concert of African-American spirituals and songs has been CANCELLED because guest scholar and singer Emery Stephens is ill. The UW-Madison School of Music hopes to reschedule the event later this spring.
By Jacob Stockinger
Guess who turns 332 on March 21?
This coming Saturday will bring a 12-hour, noon to midnight, marathon party for the Birthday Boy – Johann Sebastian Bach (1685-1750, seen below in a humorous poster for a similar event held several years ago).
The local event – now part of the nationwide “Early Music Month” — is being revived, thanks to Madison violist Marika Fischer Hoyt (below), who performs with the Madison Bach Musicians, the Ancora String Quartet and the Madison Symphony Orchestra, and to many sponsors.
The party will take place at St. Andrew’s Episcopal Church (below) on Regent Street. (Several years ago, the event, when it was sponsored by Wisconsin Public Radio, was held at the Pres House.) There will be live audio-visual streaming and free wi-fi, and the event will be recorded.
Here is a link to the updated schedule of performances:
Here is a link to an earlier post about the upcoming event:
If you love the music of Bach (below) – and The Ear doesn’t know anyone who is into classical music who doesn’t revere Bach — there will be a lot to love and to listen to at this FREE and OPEN TO THE PUBLIC celebration.
The event is modeled after a longtime similar event in New Orleans and those who attend it can come and go and come back again.
Local performers include groups and individuals who are professionals (Madison Bach Musicians and Wisconsin Chamber Choir), amateurs and students (Suzuki Strings of Madison).
The impressive program includes lots of variety.
There will be preludes and fugues.
Cantatas and concertos.
Sonatas and suites.
Obscure works will be performed.
But there will also be popular works such as two Brandenburg Concertos (Nos. 3 and 5), The Well-Tempered Clavier (Books I and II), the Magnificat, a Violin Concerto, “Jesu, Joy of Man’s Desiring” and some of The Art of Fugue. (You can hear Fugue No. 1 from “The Art of Fugue,” which will be performed at BATC, in the YouTube video at the bottom.)
There will be music played on period instruments and on modern instruments, including the harpsichord and the piano; the baroque violin and the modern violin; older recorders and newer flutes, the viola da gamba and the cello. And of course there will be lots and lots of singing and organ music.
Given such a marathon undertaking, you should know that there will be refreshments (coffee, tea, bottled water and snacks), comfortable seating and special birthday cakes — served at midnight — provided by Clausen’s Eurpean Bakery in Middleton.
NOTE: You can find out more when several organizers and performers from Bach Around the Clock are Norman Gilliland’s guests on Wisconsin Public Radio’s “The Midday” this coming Thursday from noon to 12:30 p.m.
For more information –including how to support the event with a donation and how to participate in it as a performer – go to the event’s homepage:
Here are some links to previous posts on this blog about attending earlier versions of Bach Around the Clock. Read them and look at the pictures, and you will see how enjoyable they are and how informative they are.
See you there!
By Jacob Stockinger
Jazz and classical music are not so different, says Swiss-born composer Daniel Schnyder.
For Schnyder, it is more than an academic matter. He puts his point of view into action in his acclaimed chamber opera “Charlie Parker’s Yardbird,” which deals with the life of the bebop saxophone player and jazz giant. (You can see the YouTube trailer for the productions by Opera Philadelphia and the Apollo Theater in Harlem at the bottom.)
The Madison Opera will offer the work’s Midwest premiere when it stages the chamber opera this Friday night (NOT Saturday night, as first mistakenly posted here) at 8 p.m. and Sunday afternoon at 2:30 p.m. Both performances are in the Capitol Theater of the Overture Center. (Performances photos below are from the world premiere at Opera Philadelphia.)
Here is a link to more general information about the opera, tickets, the cast and the production:
Daniel Schnyder (below) — who will perform a FREE concert of the music of Charlie Parker and do a question-and-answer session on this Thursday night at 7:30 p.m. (NOT 7 p.m. as mistakenly first stated here) in Morphy Hall on the UW-Madison campus — also agreed to an email interview with The Ear:
What was the work’s genesis and what gave you the idea for “Charlie Parker’s Yardbird”? Are you a big jazz fan and did you see the work as a way to meld the jazz and classical styles of music?
I am a jazz fan. I am also a jazz musician and I love to compose, play and improvise in the jazz idiom. I have recorded more than 30 jazz CDs.
I love to combine jazz and classical music. I just finished a symphony for orchestra and big band, a commission by the Temple University in Philadelphia.
The idea from the very beginning was to write an opera for Lawrence Brownlee, the great African-American tenor. Opera Philadelphia asked me to write a work for him and we tried several libretto options. After hearing a recital by Larry singing gospel songs, I came up with the idea to write an opera about Charlie Parker’s life.
How would you describe the musical style of the opera in terms of tonality and melody, and its accessibility to the general public? What were the audience reactions in Philadelphia and New York City?
In both places, the audiences were very moved by the story and the music. The topic hit a nerve, something our society has to reflect upon, a general issue that concerns us all as a nation.
The music itself is not hard to listen to and moves swiftly. For the orchestra and singers, the opera is rather challenging, since Charlie Parker (below) was a virtuoso. The music moves fast and often in off-beat rhythms that are unusual for classical musicians. There are also a lot of odd meters and tricky patterns that sometimes connect to Parker’s music and sometimes relate to the music that came after him.
The audience will have a ball. There are 12-tone music passages reflecting on new music and opera — mostly in Nica’s parts — but there are a lot of R&B influences and jazz and Latin music grooves.
It would be false to see the opera as a patchwork of different musical sequences and styles. It is my music that is based on all these influences. The opera can be described as a modern music carpet with lots of colors of today’s music, rather than a quilt.
In what ways do you see the characters and the story as offering lessons and being relevant to today?
I guess this is obvious: Our society has to understand that different cultures and different ethnic backgrounds enrich America and are fundamental to its culture and success.
If we go down the path of segregation, divisiveness and disrespect, we all will lose. Jazz is the great coming together of different heritages, the roots of America, and it conquered the world.
We still erect barriers in society and music that are detrimental to growth and innovation. Other contemporary issues are also important in the opera, such as being a single parent, drug addiction and faith.
The opera also highlights that jazz musicians at the time could not earn money from recorded music, something that is true again today. The stealing of royalties from Parker and Dizzie Gillespie were different from today’s issues of streaming, but the problem of jazz musicians not receiving money for their creative works stays the same.
In the opera, Parker discusses the very nature of music, its volatility and the fact that you cannot physically possess it. This is one of the reasons why he wants to write the music down on paper. He wants to make it abstract, but realizes that he loses some of the essence of what he wants to say. That is the dilemma of the composer.
He also reflects on the notation system, which was not designed for jazz. He sings: “How can I put down these black dots on white paper, how can I capture these sheets of sound?”
The opera reflects on American history, but it simultaneously relates to today’s world. This is not just some nice story about the past; it is about us.
Quite a few other productions have been planned. What do you think explains the work’s popularity? Do you think it attracts new audiences to opera?
There might be many different reasons for that:
1) There are very few operas using the modern jazz idiom.
2) There are very few operas in which the leading roles are African-American.
3) The opera is flexible; it can be produced with a moderate budget in a lot of different venues. It is mobile, which is similar to L’Histoire du Soldat (The Soldier’s Tale) by Igor Stravinsky. It also has a length of just over 100 minutes.
4) As mentioned above, the opera hits a nerve; it is about our time and about us.
5) Charlie Parker is a legend, but very few people really know about him and his music. People are intrigued.
6) The music is very accessible; it can be played on the radio without getting boring or incomprehensible. Some modern operas rely a lot on light, staging and special visual effects. This opera works more like Carmen or a Verdi opera, told through the music.
7) It is an opera, not a musical. It only uses a song format in a few instances. The opera is composed in an open and evolving format, connected by leitmotifs similar to Wagner’s operas.
The music definitely has a lot of jazz influences, but the format is mostly one not used in jazz music. That creates a new experience. It does not fit into one of the known “drawers” of music, so it can be tempting to try to compare it to their pieces but it sticks out as musically different.
8) The opera is composed very close to the sound and rhythms of the words. Hence you can understand a lot. The language is very direct and clear, close to spoken language. That helps. You can actually understand a lot of the lyrics without reading the supertitles.
I tried to avoid the Strauss or Wagner effect of creating something where the mix of complex language and complex music creates something beautiful but often incomprehensible. French and Italian operas are better in this regard. “Yardbird” has a message that needs to be understood.
9) There are many riddles in the opera – musical riddles, but also hidden messages and references in the text – that can be explored. The opera plays in a twilight zone between death and life. This is also intriguing.
Is there something else you would like to say about yourself and the opera?
I enjoyed writing the opera very much. It was a great pleasure and an honor to reflect on one of the great music geniuses in American history.
By Jacob Stockinger
The Ear has received the following announcement from the Madison Symphony Orchestra:
The Madison Symphony Orchestra (MSO, below), with Music Director John DeMain conducting, opens its 91st season – and its 23rd season under Maestro DeMain — with three works by 20th-century composers.
Science, music and stunning visuals come together with Gustav Holst’s The Planets accompanied by a spectacular, high-definition film featuring NASA imagery. (Below is a photo of Jupiter, “The Bringer of Jollity” to Holst. The musical depiction of Jupiter — performed by James Levine conducting the Chicago Symphony Orchestra — is in the YouTube video at the bottom.
The concerts are in Overture Hall on this Friday., Sept. 23, at 7:30 p.m.; Saturday, Sept. 24, at 8 p.m.; and Sunday, Sept. 25, at 2:30 p.m.
A national hero in his homeland, Enescu rarely included hints of his Romanian heritage in his music, except when he composed the Romanian Rhapsodies as a teenager. Romanian Rhapsody No. 1 captures a series of Romanian folk songs, including melodies of increasingly wild Gypsy dances. This is MSO’s first performance of this work.
In the Chaconne, American composer John Corigliano (below) draws the audience in with a foreboding and haunting signature tune, which he wrote for the powerful film about music, The Red Violin. His film score for the movie earned him an Academy Award in 1999 for his original music. This will be the first time MSO has performed this Oscar-winning work, and features MSO Concertmaster Naha Greenholtz.
Greenholtz (below) has captivated audiences as Concertmaster of the MSO and the Quad City Symphony Orchestra. A Canadian violinist, Greenholtz was born in Kyoto, Japan, where she began her violin studies at age three.
Since her solo debut at 14, she continues to perform internationally, most notably with: the Oregon Symphony, Calgary Philharmonic, National Ballet of Canada, Omaha Symphony, and Memphis Symphony.
The Planets is known as Holst’s most popular work. The musical movements were inspired by characteristics connected with astrology’s seven planets. For instance, ominous sounding Mars, the Bringer of War, is followed by the calmly flowing Venus, the Bringer of Peace. (Below top is Mars and below bottom is Venus.)
The performances will be accompanied by a high-definition film projecting celestial images above the main stage.
According to New York Times senior critic Anthony Tommasini, the film shows “photographs from rovers and satellites, radar images and computer-generated graphics … combining to give the audience the impression of circling individual planets and sometimes flying over their awesomely barren landscapes.” (Below is a close-up of the surface of Mars.)
The Madison Symphony Women’s Chorus (below top, in a photo by Greg Anderson), under the direction of Beverly Taylor, will be part of the final movement of The Planets, and the Overture Concert Organ (below bottom) is featured at several moments in the piece.
This is the first time MSO’s performance of The Planets will be accompanied by the high-definition film.
One hour before each performance, Randal Swiggum, the artistic director of the Elgin Youth Symphony Orchestra Artistic, will lead a 30-minute Prelude Discussion in Overture Hall to enhance concertgoers’ understanding and listening experience.
For more background on the music, please view the Program Notes at: http://www.allsenmusic.com/NOTES/1617/1.Sep16.html or madisonsymphony.org/planets.
Before all of the concerts and at intermission, Friends of University of Wisconsin–Madison Astronomy will have an interactive display in the lobby concertgoers can experience.
The Symphony recommends that concert attendees arrive early for each performance to make sure they have time to pass through Overture Center’s security stations, and so they can experience the pre-concert talk and the astronomy exhibit (free for all ticket-holders).
Single Tickets are $16 to $87 each and are on sale now at madisonsymphony.org/planets, through 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, madisonsymphony.org/groups.
Student rush tickets can be purchased in person on the day of the concert at the Overture Box Center 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: madisonsymphony.org/studentrush.
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.
Major funding for the September concerts is provided by: NBC15, Diane Ballweg, Capitol Lakes, Friends of University of Wisconsin–Madison Astronomy, The Gialamas Company, Inc., and Nicholas and Elaine Mischler. Additional funding is provided by: Analucia and Mark Allie, for their beloved “Doc” Richard Greiner; Judith and Nick Topitzes, and the Wisconsin Arts Board with funds from the State of Wisconsin and the National Endowment for the Arts.