The Well-Tempered Ear

Classical music: How is the bad flu epidemic affecting classical music in Madison?

February 3, 2018
4 Comments

By Jacob Stockinger

It seems like every news report has an update on how the bad flu epidemic this winter continues to get worse, filling emergency rooms and hospital beds, and killing especially the young and the elderly.

So here is what The Ear wants to know: How is the bad flu epidemic affecting the classical music scene in Madison?

After all, the second half of the season is just getting underway. This month will see performances by the Madison Opera, the University Opera, the Madison Symphony Orchestra, the Wisconsin Chamber Orchestra, the Willy Street Chamber Players, the Wisconsin Baroque Ensemble, the Wisconsin Union Theater,  various performers at the University of Wisconsin-Madison’s Mead Witter School of Music, and many more.

He wants to hear both ideas and first-person stories or experiences from performers, presenters and audience members.

Has the fear of getting sick kept you, as an individual or group, from performing or affected your performance?

Has the flu affected the overall attendance of performances?

Has the flu, and fear of catching it, already kept you personally from being in a crowd and attending a performance or concert? How about in the future?

What could local music presenters do to help the situation?

Do you think providing surgical face masks would help?

How about providing cough drops?

Should people exhibiting symptoms be asked to leave, either by other patrons or by an usher or another official representative, as The Ear heard was done recently at a volunteer food pantry?

Should organizations make it easier to exchange dates or get a refund if you are ill?

Leave an answer or suggestion in the COMMENT section.

And let us all hope that the deadly flu epidemic starts to ebb very soon.


Classical music: Who should be Musician of the Year for 2017 and why?

December 9, 2017
8 Comments

By Jacob Stockinger

At the end of each year for the past nine years, The Ear has named a Musician of the Year.

It can be an individual, a small group or a large ensemble. But it must be a local music-maker, not just a presenter.

In past years, The Ear named the mostly amateur Middleton Community Orchestra; the long-lived and thoroughly professional Pro Arte Quartet; the recently formed and always impressive Willy Street Chamber Players (below); and the veteran and always reliable summer chamber music group, the Bach Dancing and Dynamite Society.

He has also named retired UW-Madison professor and conductor James Smith; Madison Bach Musicians founder and director Trevor Stephenson; Madison Symphony Orchestra and Madison Opera conductor John DeMain (below, in a photo by Prasad); and UW collaborative pianist Martha Fischer.

If you want to check out those postings, you can use the blog page.

Just enter Musician of the Year in the search engine. Or go to the calendar and look it up by the date it appears, which is usually Dec. 30 or 31.

To be honest The Ear already has a nominee in mind for this year.

But it is not set in stone and definite yet. And he thought it would be informative and entertaining to open up the process and ask readers for their suggestions.

So if you have a name to nominate for Musician of the Year for 2017, please use the COMMENT section to leave the name of the recipient you propose and why they deserve the honor.

The Ear wants to hear.


Classical music: The Willy Street Chamber Players excel again – this time in music by Franz Schubert, Arnold Schoenberg and UW-Madison composer Laura Schwendinger

July 19, 2016
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By Jacob Stockinger

Here is a special posting, a review written by frequent guest critic and writer for this blog, John W. Barker. Barker (below) is an emeritus professor of Medieval history at the University of Wisconsin-Madison. He also is a well-known classical music critic who writes for Isthmus and the American Record Guide, and who for 12 years hosted an early music show every other Sunday morning on WORT-FM 89.9 FM. He serves on the Board of Advisors for the Madison Early Music Festival and frequently gives pre-concert lectures in Madison.

John-Barker

By John W. Barker

The Willy Street Chamber Players (below) gave the second concert of their 2016 season on Friday night at Immanuel Lutheran Church, 1021 Spright Street, on Madison’s near east side.

Willy Street Chamber Players group color

The program might have been called the “three Sch-es” in view of the alphabetical incipits of the three composers involved.

The first item was titled The Violinists in My Life, composed in 2011 by Laura Schwendinger (below), the American composer currently on the faculty of the University of Wisconsin-Madison School of Music.

The Belgian violin virtuoso and composer Eugène Ysaÿe set an example with his set of six Sonatas, Op. 27, for solo violin, each one a tribute to a great musician with whom he had worked. So Schwendinger composed five pieces for violin and piano, each one a kind of character piece about violinists with whom she has had fruitful contact.

Laura Schwendinger 2

The style can be sharp and abrupt, but there is a clear individuality to each piece, evoking the different personalities. The first of the five is dedicated to UW-Madison alumna Eleanor Bartsch (below), one of our Willys, and she played the whole set, deeply engaged in it, with pianist Thomas Kasdorf, also a graduate of the UW-Madison.

Eleanor Bartsch

Kasdorf (below) joined another of the group’s violinists, Paran Amirinazari, who also graduated from the UW-Madison, in a rarely heard late work by Franz Schubert, the Fantasie in C Major (D.934).(You can hear it played by violinist Benjamin Beilman, who has performed with the Wisconsin Chamber Orchestra, in the YouTube video at the bottom.)

Schubert’s compositions for violin and piano are rarely heard in concerts these days, but this one has particular interest in that its latter portion is another of the composers set of variations on one of his own songs—in this case, the beautiful Sei mir gegrüsst. The total piece has a lot of lively passage work, which Amarinazari played with a mix of flair and affection.

thomas kasdorf 2:jpg

The crowning work was that extraordinary string sextet by Arnold Schoenberg (below), Verklärte Nacht (Transfigured Night). Composed in 1899 at the beginning of the composer’s career, it catches him still emerging from Late Romantic sensibilities, a good way before his radical move into the 12-tone idiom he created.

Arnold Schoenberg 1936

The score is just a trifle longish for the musical content, but its gorgeous chromatic richness is irresistible. It was inspired by a poem of Richard Dehmel, and both the original German text and an English translation were supplied to the audience, an interesting touch.

Above all, however, the performance was glowing, avoiding too much sentimental lushness, but conveying the emotionally charged writing with beautiful balance.

A clever touch, too, was the sitting pattern chosen, with the two violas facing the two violins and the two cellos in the rear—allowing the recurrent interaction between the first violin and first viola to emerge more clearly.

In sum, this was another wonderful session of first-class music-making by this remarkable assemblage of young talent.

NOTE: A program of music by Ludwig vanBeethoven, Philip Glass and Dmitri Shostakovich will be given next Friday at Immanuel Lutheran, but at NOON; and then that evening (at 8:30 p.m.) the group will participate in a special performance of George Crumb’s “Black Angels” — with an accompanying video — at the Madison Museum of Contemporary Art in the Overture Center.

The final Friday evening concert will be back at Immanuel Lutheran, at 6 p.m. on Friday, July 29, with music by Baroque composer Arcangelo Corelli (Concerto Grosso), Wolfgang Amadeus Mozart (Clarinet Quintet), and George Enescu (Octet).


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