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
In the essay below, John and Rose Mary Harbison (below, in a photo by Katrin Talbot), the founders and co-artistic directors of the Token Creek Chamber Music Festival, explain the origins of the upcoming “water music” programs that mark the 27th festival.
Here is a link to a posting earlier this week with much more information about the concerts, the programs and the performers:
ECOLOGICAL RESTORATION: THE BROOK AT TOKEN CREEK — WHY NOW?
By John and Rose Mary Harbison
In 1932 Dan and Alice Pedersen, Rose Mary Harbison’s parents, came from Chicago to Madison and purchased a small farm on State Highway 19, then a seldom travelled dirt road. (Below is a photo by Jess Anderson of a more recent barn built on the farm property.)
The farm eventually became a producer of organic vegetables for sale, and a place of contemplation, leading to Dan’s life as a Swedenborgian pastor, wartime fireman and early sustainable farmer; and Alice’s as a Sunday school teacher and eventually a much published anti-Vietnam War activist. (Below is a photo by Jess Anderson of a field on the farm.)
But it was just three years into their tenure on the farm that the State of Wisconsin came up with a plan to raise carp for New York markets, and by eminent domain seized four acres of land from the Pedersen farm, building a 400-foot carp pond, and routing the tributary trout stream on the Pedersen farm into it. (Historic photos are from the Token Creek Watershed Association.)
This was a loss from which the couple never really recovered, since it cost the stream, which had originally flowed into Token Creek, much loss of vitality, swiftness and natural flow.
Within a decade the State had lost interest in the original project, but the Pedersens were never able to persuade the necessary agencies to undertake restoration of the trout stream and repair the damage.
The 2012 Token Creek Festival season included a forum, “Listen to the Land,” with an eminent group of ecologists commenting on our attempt to redevelop as prairie a large set-aside field.
As it turned out, the best outcome of this gathering, in spite of the expensive and to this point discouraging track of that project, was the unanimous view of that forum that the restoration of the tributary trout stream, and the elimination of the carp pond, would dynamically and radically upgrade the entire ecology of the area, one that is an extremely important component of the Cherokee Marsh and Lake Mendota watershed. (below is a picnic by Token Creek.)
This year’s festival, “Water Music,” celebrates the unlikely achievement of that goal. Unable to find civic partners, the transformation was a private initiative, brilliantly realized by the river restoration firm Inter-Fluve, and spearheaded by the participants in our opening forum. (Below is a mill on the creek.)
Art and Nature are already familiar partners; Art and Technology increasingly so. One common impulse seems to be to increase harmony and invention; to limit pointless destruction; and to preserve enhance and develop, positively, some of the forces we cannot control, or fully understand.
By Jacob Stockinger
He had forgotten quite how quietly and intimately sensual, even sexy, it is.
The Ear has never heard the work in a live performance because, unfortunately, it isn’t programmed often – a fate it shares with most of Fauré’s music save his Requiem. But Fauré also wrote beautiful chamber music, songs and solo piano music.
Just listen to the opening watery sounds of the piano and the luscious string sounds. Just listen to the melodies and harmonies. It is such seductive music, filled with yearning and softly stated passion.
See if you don’t agree when you listen to the first movement in the YouTube video at the bottom. (You can also find a complete performance of the work in YouTube.)
It offers more proof that Faure (1845-1924, below), who taught Maurice Ravel, is severely underestimated and underperformed in the non-French music world.
In The COMMENT section, tell The Ear if you agree and what other sexy pieces of chamber music you want others to listen to.
By Jacob Stockinger
Get out your datebooks.
Madison now has great classical music year-round, including in the summer, which long ago ceased being an artistic desert.
This summer’s offerings include:
The 25th anniversary season, filled with new music but also tried-and-true treasured masterpieces, of the Bach Dancing and Dynamite Society that runs June 10-26:
The annual Madison Savoyards’ production of Gilbert & Sullivan will stage “The Gondoliers” for six performances July 29-Aug. 7:
The second season of the Willy Street Chamber Players (below):
The 27th annual Token Creek Chamber Music Festival, which runs Aug. 27-Sept 4 and this year features music celebrating water and the natural world. Programs include music by Johann Sebastian Bach, English Renaissance music of John Dowland, William Byrd and Henry Purcell and a Wisconsin premiere by composer and co-director John Harbison plus Franz Schubert’s song cycle “Die Schöne Müllerin” and his equally famous masterpiece, the “Trout” Piano Quintet:
Plus there are a lot of smaller groups including the Madison Summer Choir and the Isthmus Vocal Ensemble, both of which have received critical acclaim. And there is the Green Lake Festival. Some I might also include the six Concerts on the Square by the Wisconsin Chamber Orchestra, which this year features a hefty dose of classical fare.
But if you don’t stay around town and hit the road instead, there is a lot that might interest you in the way of summer music festivals around the country. There are festivals of chamber music, orchestral music and opera.
And The Ear has always wanted to attend the Bard Music Festival (below), which emphasizes the cultural context of the music, and the Mostly Mozart Festival. One of these years! (You can hear from co-artistic director and Bard College president Leon Botstein how the unique Bard Music Festival is run in a YouTube video at the bottom.)
Here is a roundup by The New York Times, which put all kinds of genres together. Just scroll down until you hit the Classical Festivals section that was compiled and annotated by the Times’ trustworthy critic Vivien Schweitzer:
Here is a fairly comprehensive national guide from Wikipedia:
Here is a guide from two years ago, done by NPR or National Public Radio, that includes the Madison Early Music Festival and divides up the selection by regions of the country:
And for good measure, for those taking international vacations here is a guide to international music festivals:
Happy hunting and choosing. Then happy and safe traveling. And finally Happy Listening.
The Ear hopes you have a classic “classical” summer.
By Jacob Stockinger
The third time is the charm.
By then you know a tradition has been born.
For the third year in a row, the University of Wisconsin-Madison is holding a Schubertiade at the end of January, near the birthday of Austrian composer Franz Schubert (1797-1828, below). Can there be a better way to kick off the second semester of concerts and music-making?
The event, which was founded by and now is organized by and performed by the wife-and-husband team of UW-Madison collaborative piano professor Martha Fischer and piano teacher and former music director for Wisconsin Public Radio Bill Lutes, takes place this Saturday night at 8 p.m. in Mills Hall.
Admission is $15 for adults, free for students of all ages. A post-concert reception is included.
ALSO, BE ADVISED THAT THERE IS A UW HOCKEY GAME THAT NIGHT, SO FINDNG PARKING WILL BE MORE CHALLENGING THAN USUAL. ALLOW FOR EXTRA TIME TO GET TO THE CONCERT. THE HALL WILL OPEN AT 7:30 P.M., IF YOU WANT TO COME EARLY AND GET TO YOUR FAVORITE SEATS.
What is it about Schubert that makes him special to the many performers and listeners who will take part?
One answer can be found in a press release from the UW-Madison:
More can be found in a story written by Sandy Tabachnick for Isthmus:
But Bill Lutes also agreed to talk about Schubert (below) and the Schubertiade in an email Q&A with The Ear:
This is the third consecutive year of the UW-Madison Schubertiades that you have presented in honor of his birthday on Jan. 31, this year being the 219th. What is it about Schubert that draws audiences and performers to his music?
Probably the most obvious thing we love about Schubert is the endless stream of glorious, memorable melody – melodies that we can only call “Schubertian.” Who can forget a tune like “The Trout” or “Ave Maria” or the famous “Serenade”? These are part of our cultural DNA.
Then there is Schubert’s rich harmonic vocabulary, and his expansiveness and generosity of form. Although he fashioned innumerable miniatures of exquisite perfection – short songs and piano pieces – he also wrote some of the biggest works of the time, including some of the songs we are performing.
They are big in every way, the “heavenly length” that Robert Schumann wrote about and loved, the sense of adventure and the unexpected and the sheer spaciousness of his musical paragraphs — and the long passages of rhythmic obsession that seem to anticipate today’s Minimalist composers.
Above all, his music is unique in the ways it explores the most joyful and the most tragic aspects of our experience, often interwoven, and ambiguously overlapping.
Those of us who are attracted to Schubert feel that he is our friend, our consoler, our guru and our guide to something that shines beyond the travails of our earthly life. He left us such a rich and varied body of music. The amount he composed in his 31 years is absolutely incredible. But also the level of inspiration is so high throughout so much of it.
Your program has a lot of variety. Is there some overarching “theme” that ties the program together?
This year, the pieces we are doing are all inspired by Schubert’s exploration of the sounds and imagery of nature. We’re calling it Schubertian “Naturescapes: Water, Winds and Woodlands.” Schubert came along at a time when the Romantic poets, painters and musicians began to think of nature in a new way.
Like Frank Lloyd Wright, Schubert and his poets spelled Nature with a capital N. The poetry he set to music often evokes the grandeur and sublimity of Nature, and the ways that we humans experience transcendence by observing mountains, forests, lakes and seas, and rushing winds or gentle breezes. All of the lieder that we have selected for this program reflect this almost religious attitude toward Nature (depicted below in the painting “Summer,” with a couple embracing amorously under a tree, by the Romantic German artist Casper David Friedrich.)
What are some of the challenges that Schubert’s music poses to pianists in particular?
Schubert’s piano style is unique, and calls for an ability to sing on the instrument, and to play with an array of orchestral colors.
Playing his songs of course means that you understand something about what it takes to sing them, and you have to completely get into the poetry and the ideas being explored.
He was a very social and sociable composer, and so a lot of playing Schubert involves playing nicely with others. That includes of course playing duets by two pianists at one keyboard.
Schubert was probably the greatest composer for this medium and wrote some of this greatest works for piano duet.
The two pianists must play the same instrument, and sound as one. It is harder than you might think! The issue of playing in such close proximity to your partner invites a level of physical intimacy that can be quite pleasant or quite awkward, depending on the music in question.
The great pianist Artur Schnabel (below) spoke of “music that is better than it can be played.” He included most of Schubert in this category.
The idea for the Schubertiades originated in Schubert’s lifetime — social gatherings devoted to hearing Schubert’s music, but also to having a good time with friends. How do modern performers recreate this informal atmosphere?
Part of it is the variety of the music, and the large number of performers who will be joining us, most of whom will be seated around the piano on stage during the concert (below top). We will also have seating on stage for audience members who want to have a bit of the intimate feeling of those first legendary Schubertiades (below bottom) held in salons in Vienna.
We aim for an atmosphere of spontaneity and informality, as we have in the past two Schubertiades. We are thrilled this year that our concert is underwritten by a generous donor, Ann Boyer, whose gift has allowed us to include opera singer Jamie-Rose Guarrine (below, in a photo by Peter Konerko) as our featured guest artist and alumna.
We both worked a lot with Jamie-Rose when she was a student here and she’s a wonderful singer who will be travelling to us from New England where she is a new voice faculty member at the University of Massachusetts at Amherst.
And of course we are delighted to be making music with so many of our UW-Madison School of Music faculty, other alumni and friends.
Anything else you want to add?
We will be performing all the songs in their original German. However, you’ll find full German texts and translations at the door. We encourage people to come early and read the poetry before the concert begins. It’s a nice way to familiarize yourself with the gist of the poems without having to be glued to your program while the songs are being sung.
Here is the impressive and appealing complete list of works and performers:
Schubertian Naturescapes – Water, Winds and Woodlands
Jamie-Rose Guarrine (JRG), Mimmi Fulmer (MF), Sara Guttenberg (SG), Marie McManama (MM), Daniel O’Dea (DO), David Ronis (DR), Paul Rowe (PF), Benjamin Schultz, (BS), singers
Soh-hyun Park Altino (SP), violin
Sally Chisholm (SC), viola
Parry Karp (PK), cello
Ben Ferris, (BF), double bass
Daniel Grabois (DG), horn
Wesley Warnhoff (WW), clarinet
Bill Lutes (BL) and Martha Fischer (MF), piano
Wanderers Nachtlied (II), D. 768 Wayfarer’s Night Song (MF, BL) Johann Wolfgang von Goethe
Der Fluss D. 693 The River (JRG, BL) Friedrich von Schlegel
Widerspruch, D. 865, Contrariness (DO, DR, BS, PR, MF) Johann Gabriel Seidl
Auf dem Wasser zu Singen, D. 774, To Be Sung on the Water (SG, MF) Friedrich Leopold, Graf zu Stolberg-Stolberg
Fischerweise D. 881, Fisherman’s Ditty, (BS, MF) Franz Xaver von Schlechta
Die Forelle, D. 550, The Trout (MM, BL) Christian Friedrich Schubart
Piano Quintet in A major “Trout,” D. 667 (SP, SC, PK, BF, MF) Movement IV: Theme and Variations (heard in a YouTube video at the bottom)
Suleika I, D. 720 (JRG, BL); Suleika II, D. 717 (JRG,MF) Marianne von Willemer, rev. Goethe
Auf dem Strom, D. 943, On the River (DO, DG, MF) Ludwig Rellstab
Frühlingsglaube, D. 686, Faith in Spring (DR, BL) Ludwig Uhland
Im Walde “Waldesnacht,” D. 707, In the Forest “Forest Night” (PR, BL) Friedrich Schlegel
Dass sie hier gewesen, D. 775, That She has Been Here (MF, BL) Friedrich Rückert
Allegro in a minor ”Lebensstürme,” D. 947, Life’s Storms (MF, BL)
Der 23 Psalm, D. 706, (MM, SG, MF, MF, BL) The Bible, trans. Moses Mendelssohn
Der Hirt auf dem Felsen D. 965, The Shepherd on the Rock (JRG, WW, MF) Wilhelm Müller/Karl August Varnhagen von Ense
An die Musik, D. 547 To Music. Franz von Schober. Everyone is invited to sing along. You can find the words in your texts and translations.