The Well-Tempered Ear

Classical music: The Middleton Community Orchestra honors retired music critic John W. Barker with a special performance of Brahms and a season dedication

September 11, 2019
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By Jacob Stockinger

How does an individual  musician or musical group pay tribute and say thank you to a critic?

By performing, of course.

And that is exactly what 30 members of the Middleton Community Orchestra did, playing under guest conductor Kyle Knox (below top), last Friday night for the veteran music critic John W. Barker (below bottom).

The orchestra performed for him at the downtown Capitol Lakes Retirement Community, near the Capitol Square, where the ailing Barker lives with his wife Margaret.

Because of space limitations, word of the special performance never went public. But the large basement room was packed with affectionate and respectful fans and friends.

The MCO members played the lyrical and sunny Serenade No. 1, Op. 11, of Johannes Brahms. (You can hear the opening movement of the Serenade by Brahms in the YouTube video at the bottom.)

The orchestra also announced that it would dedicate its upcoming 10th anniversary season to Barker as a gesture of thanks for all he has done over the past nine years to promote the mostly amateur orchestra — which opens its new season on Wednesday, Oct. 9. 

“I’ve known this piece most of my life,” said Barker, who soon turns 86 and who started reviewing in his teens. “It’s lots of fun.”

And so was the unusual honor.

“An orchestra paying tribute to a critic? It’s unprecedented,” Barker quipped, as both he and the audience laughed. Barker also quoted the Finnish composer Jean Sibelius who once said, “A statue has never been erected in honor of a critic.”

After the 40-minute performance, Barker spoke briefly to the players and audience.

“The job of the critic,” he said, “is to stimulate performers to play up to their best standards and to give readers some background and context. Being critical doesn’t mean being negative, although at times I have made some negative comments. But you never have to be nasty. I guess I’ve succeeded,” he said looking around at the players and the public, both of whom generously applauded his remarks.

Barker’s list of personal accomplishments is impressive. He has written local music reviews for The Capital Times, Isthmus and this blog.

But he is a participant as well as a critic. He has sung in many choirs, including 47 years in the one at the local Greek Orthodox Church, and has performed with the Madison Opera. He directed Gilbert and Sullivan productions for the Madison Savoyards.

Barker is an emeritus professor of Medieval history at the University of Wisconsin-Madison, which may help to explain his general taste for the traditional. He also is a well-known classical music critic, with a national reputation, who has written for 63 years for the American Record Guide. For many years, he hosted an early music radio show on Sunday mornings for WORT-FM 89.9.

He also worked with Opera Props, the support group for University Opera, and was a member of the Board of Advisors for the Madison Early Music Festival. And he frequently gave pre-concert lectures in Madison. He has published two books on Wagner and written a definitive history of the Pro Arte Quartet.

But this time even the voluble Barker had to admit, “I am grateful and thankful. I am very moved, even floored. But I’m afraid I’m finally at a loss for words.”

You can leave your own words of tribute in the Comment section.

To see the full “Barker season” schedule for the Middleton Community Orchestra and to read many of Barker’s past reviews of the MCO, go to: http://middletoncommunityorchestra.org

Thank you, John, for all you have done to enrich the cultural and musical life of Madison!


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Classical music: A veteran reviewer bids farewell with a rave review of this summer’s last concert by the Willy Street Chamber Players and UW-Madison pianist Christopher Taylor

July 29, 2019
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By Jacob Stockinger

Here is a very special posting, the final review that will be written by frequent guest critic and writer for this blog, John W. Barker.

Barker (below), who is dealing with medical issues, is an emeritus professor of Medieval history at the University of Wisconsin-Madison. He also is a well-known classical music critic who wrote for The Capital Times, Isthmus and the American Record Guide, and who, until two weeks ago, hosted an early music show once a month on a Sunday morning on WORT-FM 89.9. For years, he served on the Board of Advisors for the Madison Early Music Festival and frequently gave pre-concert lectures in Madison.

Please use the comment section to join The Ear in thanking Barker for his many years of public service and wishing him well.

By John W. Barker

I had to miss the first concert this summer by the Willy Street Chamber Players (below) on July 12; and the next one, on July 19, was cancelled because of power failures. But the final one, last Friday night, was well worth waiting for — one of the really memorable events of the year, I think.

The program, performed at the usual near East Side venue of the Immanuel Lutheran Church, 1021 Spaight Street, began with some short items.

First, there was a set of Three Nocturnes (1924) for piano trio — violin, cello and piano — by Ernest Bloch. They contain elements of the Hebraic sound that Bloch cultivated but also had their own individualities, the first two contemplative and the third marked “tempestuoso.” Interesting was Bloch’s alternating uses of muting the strings.

After this came an example of the short pieces for string quartet by the contemporary composer Jessie Montgomery, her “Voodoo Dolls” (2008). Much is packed into this five-minute piece. A few lyrical touches aside, it sounded like a hoedown gone crazy, full of quite novel sounds, including rhythmic thumping on the wood of the instruments.

All that was a curtain-raiser to the big event of the program: the Piano Quintet No. 2 in A major, Op. 81, by Antonin Dvorak. This 40-minute work is one of the composer’s best-known chamber music compositions, and one of the standouts in the whole chamber music literature.

The very opening notes of the first movement bring a flood of warm well-being.  (After hearing just that, I commented, “I haven’t felt such happiness in months.”)

The fecundity and richness of invention pervaded the entire work. For me, its high point is the second movement, in which Dvorak (below) used the Czech formula of the dumka, a kind of folk music lament that is paced slow-fast-slow-fast. (You can hear the Dumka movement, played by the Jerusalem Quartet and pianist Stefan Vladar, in the YouTube video below.)

Dvorak liked to play viola in chamber music, and so he always wrote some good things for himself. The sublime passages for viola in this movement were played with such transcendent beauty by Rachael Hauser (below) – who is leaving Madison for New York City — that I felt I was hearing the composer’s voice directly. Put simply, this was one of the greatest examples of chamber-music performance that I have ever heard.

All of the players, many of whom play in the Madison Symphony Orchestra,  of course matched remarkable skill with humane vitality and vibrancy.

And a measure of the Willys’ standards was the fact that they were able to draw as a partner no less than that magnificent UW-Madison music school pianist, Christopher Taylor (below), who also performed the same Dvorak Piano Quintet in the 1993 Van Cliburn International Piano Competition, where he won a bronze medal. Much of his excellence here was demonstrated by the fact that he did not play the star, but joined with the Willys in perfect collegial integration.

This ends the Willy Street group’s fifth summer season. As a symbol of vibrancy and fresh spirit, they are among the most important of Madison’s classical music world today. They have drawn steadily growing audiences, and the house was truly packed for this concert.  We can only hope that they will continue to brighten that world in the years ahead.

I am now ending my time as a music critic. I can think of no more satisfying a final review to write than of the Willy Street Chamber Players.


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Classical music: The seventh annual Make Music Madison is on Friday, June 21, and features 17 different FREE classical concerts as well as dozens of performances of jazz, folk, blues, hip-hop, swing and other genres

June 15, 2019
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REMINDER: TODAY, Saturday, June 15, at noon in Grace Episcopal Church, 116 West Washington Avenue, on the Capitol Square, the Ancora String Quartet will give a FREE performance as part of “Grace Presents.” The one-hour program includes the String Quartet in A Major, Op. 13, by Felix Mendelssohn; the String Quartet in B-flat Major, “La Malinconia” (Melancholy), Op. 18, No. 6, by Ludwig van Beethoven; and “Entr’acte” by the contemporary Pulitzer Prize-winning composer Caroline Shaw. The Ear heard an earlier performance of the same program by the Ancora, and highly recommends it.

By Jacob Stockinger

This coming Friday, June 21, is the Summer Solstice, which arrives at 10:54 a.m. CDT.

That means not only the first day of summer, but also the seventh annual Make Music Madison – a day-long FREE mostly outdoor festival of live performances.

The event, which is organized and staffed by volunteers and costs about $45,000,  will take place from easy morning until midnight. Madison will be joining more than 80 cities in the United States and more than 1,000 cities around the world for the global event. The estimated audience worldwide is in the tens of millions.

The local lineup is impressive.

More than 400 concerts at more than 100 venues will take place all around the Madison area.

Many genres of music besides classical will be featured: jazz, folk, ethnic, rock, blues, hip-hop, reggae, gospel, swing and more. (In the YouTube video at the bottom,  you can hear a compilation of different music and assessments from Make Music Madison participants in 2014.) 

And many forms of music, both instrumental and vocal, will be featured. (Below is the Madison Flute Club performing during last year’s event.)

Performers include professionals and amateurs, young people and adults, students and teachers, individuals and ensembles.

Some events will be more formal, while others will be jam sessions. Some events will have an open mic.

The Ear counts 17 different venues for classical music, including a public piano in the University of Wisconsin-Madison’s Alumni Park, between the Memorial Union and the Red Gym. Also featured there is opera singer Prenicia Clifton (below).

You will also find classical music at Metcalfe’s market in the Hilldale Mall; the First Congregational United Church of Christ near Camp Randall Stadium;  branches of the Madison Public Library; and other places. You can hear the Suzuki Strings as well as violin, viola, cello, brass, winds, piano and guitar ensembles.

Unfortunately, though, specific programs and works are not listed, which might cut into the attendance at some performances. 

To whet your appetite, here is a link to the Make Music Madison home website, with lots of background, some fine photos, a complete listing of events and the names of major funding sources, which include the Madison Arts Commission, Isthmus, Dane Arts,  WORT FM 89.9, Wisconsin Public Radio. WSUM-FM 91.7 (the student radio at the University of Wisconsin-Madison) and La Voz de Latinoamerica Desde Wisconsin as well as individual private donors.

To help classical fans decide what to attend and what works in their weekday schedule, here is a map of concerts. Just click on “Classical” in “Filter Map,” which is first tab on the top right, to see classical events listed by genre, location and name:

http://www.makemusicmadison.org/listings/

Have you ever attended Make Music Madison?

What did you think of it? Did you have a good time? Did you hear good music and fine performances?

Do you have any words of advice, tips or recommendations for organizers, performers and listeners?

The Ear wants to hear.


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Classical music: The Middleton Community Orchestra and UW duo-pianists showcase the remarkable music of Camille Saint-Saens and Mozart in the popular concert that closes its season

June 1, 2019
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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 hosts an early music show once a month on Sunday morning on WORT-FM 89.9. For years, he served on the Board of Advisors for the Madison Early Music Festival and frequently gives pre-concert lectures in Madison.

By John W. Barker

The mostly amateur Middleton Community Orchestra (below, in a  photo by Margaret Barker) closed its season Thursday night at the Middleton Performing Arts Center with a promising and well-received program.

The centerpiece featured two graduate student soloists from the University of Wisconsin-Madison’s Mead Witter School of Music, pianists Thomas Kasdorf (below right) and Satoko Hayami (below left), who joined in Mozart’s Concerto in E-flat Major, K. 365, for two pianos and orchestra. The two soloists were alert and polished collaborators. (You can hear the energetic and catchy final movement, used in the Academy Award-winning film “Amadeus,” in the YouTube video at the bottom.)

Conductor Steve Kurr (below) set a bouncy pace but a rather fast and overpowering one, and with an orchestra — especially strings — quite overblown by the standards of Mozart’s day.

The MCO was blessed by the loan of a very special model of a Model B Steinway instrument, now owned and lovingly restored by Farley’s House of Pianos. This was paired against a Steinway of much later vintage, owned by the hall. But nowhere was there identification about which piano was which as they sat onstage, much less which pianist was playing which piano (and they switched between the two works utilizing them.) This was disappointing for it prevented making an informed comparison of the two instruments.

Camille Saint-Saens (1835-1921, below) is backhandedly treated as being on the margins of composer greatness. But his scope was remarkable, as witnessed by the two works that were the program’s bookends.

The opener was his humorous Suite, “Carnival of the Animals.” This set of 14 short pieces was written for one private performance, in chamber terms, one player per part. So the orchestra that was used — of 87 listed musicians, 60 of them were string players — became a crushing distortion. The two pianists were a bit formal, but ideally facile.

Saint-Saens made no provision for any kind of spoken text, certainly not in French. In the middle of the last century, the American poet of high-spirited doggerel, Ogden Nash, wrote wickedly funny verses with offbeat rhymes and puns to go with each movement.

It was these Nash verses that Wisconsin Public Radio host Norman Gilliland (below), who was only identified as the “narrator,” read with a good bit of tongue-in-cheek. Nowhere are these at all identified or credited in the bumbling program booklet.  (Many in the audience might have just thought that they were written by Gilliland himself.)

In many of the suite’s movements, Saint-Saens quoted or alluded to hit tunes by earlier composers, for parodistic purposes. Unfortunately, there are no program notes in the booklet, so these tidbits would easily go unnoticed by many listeners.

Saint-Saens composed, among his numerous orchestral works, a total of five symphonies, only three of which are numbered. I had originally been given to expect No. 2, a charming work I love, as the program closer. All but the last of them are early works in a graceful post-Classical style.

But No. 3 was composed much later in his life, and in a more expansive style. This is a frequently performed spectacle, unconventional in plan and in scoring. It adds the two pianists and an organ — hence the nickname the “Organ Symphony.”

Unfortunately, the hall has no organ of its own, so the substitute was a rig of electronic organ with its own booming speakers and exaggerated pedal notes. Again totally unmentioned is that this contraption was played by MCO sound technician Alex Ford (below, with the portable electronic organ keyboard from Austria with its computer-screen stops).

This kind of organ could never be integrated into the full orchestral texture and served only to allow the orchestra to play this grandiose score. Such ambition was backed by really splendid and well-balanced orchestral playing.

As intended, the large local audience, with many children and families, was wildly enthusiastic.


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Classical music: The Ancora String Quartet closes out its season with polished, precise and emotionally intense performances of contrasting music by Mendelssohn, Beethoven and Caroline Shaw

May 16, 2019
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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 hosts an early music show once a month on Sunday morning on WORT-FM 89.9. For years, he served on the Board of Advisors for the Madison Early Music Festival and frequently gives pre-concert lectures in Madison.

By John W. Barker

The Ancora String Quartet (below) is closing its season with a cluster of concerts around the area, including a central one Tuesday night at St. Andrew’s Episcopal Church on Regent Street in Madison.

Of the three works in the program, the centerpiece was the Entr’acte by the American musician and Pulitzer Prize-winning composer Caroline Shaw (below, in a photo by Kait Moreno). It was written in 2011 when Shaw was 29, and has won some acclaim over the years.

It is cast roughly in the traditional form of a minuet and trio, but its point is less any musical substance than the invention of new and utterly eccentric ways of string playing for ear-catching sound effects. Many of those effects are, to be sure, intriguing.

Surrounding this was a pair of quartets seemingly very distinct from each other but related.

The first published quartet, in A major, Op. 13, by Felix Mendelssohn (below), was written in the wake of a romantic song he wrote and whose motives he then used in the quartet.

Emotional suggestions aside, however, it is notable as a darker and more intense work than his subsequent ones in this form. It was composed in 1827, when Mendelssohn was 18, but also the year in which Beethoven died. And it is the shadow of Beethoven, and of Beethoven’s innovations in his later quartets, that hangs over the Mendelssohn work.

Clearly the young master was trying to see how he could absorb the older master’s progressive style into his own still emerging one. I think he found in the process that the two could not be reconciled, and so his subsequent quartets were to be in a less stressful vein.

Against that 1827 work, we were then offered a composition from Beethoven’s own earlier years when he was 29 or 30.  This was the final quartet in the set of six published as his Op. 18.

This Op. 18, No. 6, by Beethoven (below) in B-flat major — the program had it mistakenly in G major — is a Janus-faced work, its first two movements still rooted in the late 18th-century background, but with a scherzo full of quirks and tricks that point to the future, and a finale that plays on emotional contrasts.

Its opening Malinconia – or melancholic – music is contested by music of rousing joy, somewhat prefiguring Beethoven’s absorption with recovering his health in the Heiliger Dankgesang (Sacred Hymn of Thanksgiving) of his late string quartet, Op. 132. (You can hear the two contrasting moods and themes in the last movement, played by the Alban Berg Quartet, in the YouTube video at the bottom.)

For all three of these scores, a quartet member gave some introductory comments. (Below, first violinist Wes Luke introduces the work by Caroline Shaw.)

Members of the Ancora String Quartet are violinists Wes Luke and Robin Rynan, violist Marika Fischer Hoyt and cellist Benjamin Whitcomb. As a group, the Ancora players displayed intensity and absorption as well as polished precision, in a program of contrasts.


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Classical music: Sonata à Quattro does justice to the spiritual piety and beautiful music in Haydn’s “Seven Last Words of Christ”

April 28, 2019
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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 hosts an early music show once a month on Sunday morning on WORT 89.9 FM. For years, he served on the Board of Advisors for the Madison Early Music Festival and frequently gives pre-concert lectures in Madison. He also took the performance photos.

By John W. Barker

Marika Fischer Hoyt’s newest ensemble is called Sonata à Quattro (below), using the Italian Baroque expression for instrumental works scored for three upper parts and basso continuo. That idiom was the background to the more integrated balance of the string quartet.

It was Franz Joseph Haydn (below) who really consolidated that transformation, and so it was appropriate that the new group should at this early point in its development pay a major tribute to that composer.

Responding to a commission from a Spanish prelate, in 1786-87 Haydn composed a set of seven orchestral adagios  — plus opening and closing pieces — to be played in a Good Friday ceremony celebrating the seven final statements by Christ from the cross (below, in a painting by Diego Velazquez) that are cumulatively reported by the Gospel writers.

At the same time, Haydn made a reduction of those orchestral movements into the string quartet format. That version he published outside his regular sets of string quartets, which had opus numbers.

Especially in the quartet form, this music achieved wide circulation, so much so that several attempts were made by others to create an oratorio out of this music, prompting Haydn himself to make his own oratorio version in 1795-96. Along the way, someone else made a keyboard transcription of the music that Haydn sanctioned.

It was, of course, the string quartet version — The Seven Last Words of Christ — that the Sonata à Quattro performed. It did so, first as part of a Good Friday church service in Milwaukee on April 19, and then as an independent one-hour free and public concert at the Oakwood Village West auditorium last Thursday night.

Fischer Hoyt (below), the group’s founder and violist, gave an introductory talk about the group’s name and about its decisions as to instrumentation.  (It usually plays on period instruments, but chose this time to use modern ones with period bows.) Cellist Charlie Rasmussen added some comments about the music and its history. Violinists  Kangwon Kim and Nathan Giglierano were happy just to play.

Haydn’s music was written in the deepest piety and sincerity, and that comes through in the individual components, which cost him much effort. (You can hear the second half of the work in the YouTube video at the bottom.)

The seven Sonatas are framed by a solemn Introduction and a furious evocation of the “earthquake” that we are told followed the death of Jesus. Each successive Sonata is cast in very tight and concentrated sonata form. Haydn makes the Latin form of each statement or “word” the theme of each sonata. In all, the cycle makes the most deeply absorbing combination of spirituality and ingenuity.

The players brought out both those dimensions in a performance of rapt beauty. This score has quite a few recordings, but it is not heard in concert all that often, so it was a treasure to be given this wonderful presentation.

And now we know that Sonata à Quattro has great possibilities to develop.


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Classical music: The Middleton Community Orchestra and conductor Kyle Knox brightened a soggy spring with early Beethoven and Elgar. On Tuesday night, an organ and cello concert takes place in Overture Hall.

April 15, 2019
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ALERT: On  this Tuesday night, April 16, at 7:30 p.m. in Overture Hall, organist Greg Zelek and guest cellist Thomas Mesa will close out the season of Concert Organ performances sponsored by the Madison Symphony Orchestra. The program includes music by Johann Sebastian Bach, Franz Joseph Haydn, Ludwig van Beethoven, Franz Schubert, Peter Ilyich Tchaikovsky, Claude Debussy and Charles-Marie Widor. For tickets ($20) and more information about the program with detailed biographies of the performers, go to:  https://madisonsymphony.org/event/thoms-mesa-greg-zelek/

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 veteran and well-known classical music critic who writes for Isthmus and the American Record Guide, and who hosts an early music show once a month on Sunday morning on WORT FM 89.9 FM. For years, he served on the Board of Advisors for the Madison Early Music Festival and frequently gives pre-concert lectures in Madison.

By John W. Barker

The early spring concert on last Wednesday night by the Middleton Community Orchestra (below, in a photo by Brian Ruppert) at the Middleton Performing Arts Center that is attached to Middleton High School was comparatively short – it had no intermission — and was devoted to only two composers.

The first was Edward Elgar (below, in 1910), whose early orchestral works included a good deal of music drawn from his youthful sketchbooks. Notable in that category were two suites, given the joint title of The Wand of Youth.

From the eight sections of the First Suite (1907), six were played, and from the six sections comprising the Second Suite (1908), four were given. All these movements are colorful and evocative little miniatures, reflecting early imagination, often touching, but many quite boisterous.

The other composer was Ludwig van Beethoven (below), as represented by his Symphony No. 2. This shows the young composer moving quite distinctly beyond the stylistic world of Haydn and Mozart into the rambunctious new symphonic idiom he would go on to create. (You can hear Leonard Bernstein and the Vienna Philharmonic play the opening of Beethoven’s Symphony No. 2 in the YouTube video at the bottom.)

The guest conductor this time, Kyle Knox – the recent University of Wisconsin-Madison graduate who is the music director of Wisconsin Youth Symphony Orchestras and the associate conductor of the Madison Symphony Orchestra — chose to give the music a “big orchestra” approach.

For both the suites and the symphony, the lighter and cleaner textures of a chamber orchestra would seem best. But with an orchestra totaling some 91 players, Knox chose to go for volume and sonority.

His tempos, especially in the Beethoven were notably fast. As the largely amateur orchestra followed loyally, there was some raw playing at times.

Still, the MCO asserted strong character, which made a very happy impression on the audience and brightened an evening of soggy weather.


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Classical music: The 16th annual all-day Wisconsin Flute Festival will be held this Saturday and will present a FREE public concert on Saturday afternoon

April 3, 2019
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By Jacob Stockinger

The Ear has received the following announcement to post:

The 16th annual Wisconsin Flute Festival will be held on this coming Saturday, April 6, at the Pyle Center, 702 Langdon Street, at the University of Wisconsin-Madison.

The Wisconsin Flute Festival brings together flutists and music lovers of all ages from Wisconsin, the greater Midwest, and across the country, for an engaging and educational day celebrating everything flute.

The festival includes: workshops; lectures; performances; junior, youth, and collegiate artist competitions; master classes and an extensive exhibit hall.

This year’s festival will feature guest artist Bonita Boyd (below in a photo by Kate Lemmon), an internationally renowned performer and Professor of Flute at the Eastman School of Music. (You can hear a sample of her teaching in the YouTube video at the bottom.)

The festival will begin at 8 a.m. at the Pyle Center at the University of Wisconsin-Madison and will culminate in a FREE 90-minute public concert beginning at 5:30 p.m. in Music Hall, at the bottom of Bascom Hill and a short walk from the Pyle Center.

The free evening concert will be performed by featured guest artist Bonita Boyd with Madison guitarist Christopher Allen (below).

Workshop topics will include yoga for flutists, orchestral audition preparation, recording techniques, a repair clinic, piccolo techniques, and more.

Participants will also have the opportunity to participate in an interactive session with low flutes including; alto flutes, bass flutes, and a contrabass flute, and take part in two flute choir reading sessions.

Performances during the day will feature an eclectic mix of music performed by professional and student flutists.

Festival attendees will hear music by composers from around the globe and from a variety of periods. Compositions by living composers will feature prominently in many of the recitals at the festival. Solo flute, flute and piano, flute quartet, and flute with mixed ensemble can be heard.

For flutists shopping for an instrument, music or accessories, companies from across the U.S. will be on-site in the Festival’s exhibit hall. Technicians will be also available to evaluate instruments and conduct minor repairs. Confirmed exhibitors include Burkart Flutes and Piccolos, Flute Specialists, Inc., Flute World, the Geoghegan Company, Heid Music and Verne Q. Powell Flutes.

Tickets range from $30 to $40 for festival participants. Tickets for non-flutist family members of participants (parents, siblings, etc.) are available for at a special rate of $7. Registration is now open and information is available online at https://wisconsinflutefestival.org. Tickets can also be purchased at the festival.

The evening concert, beginning at 5:30 p.m., will be held in Music Hall at the UW-Madison and is FREE and open to the public.

The program will include Mountain Songs by Robert Beaser, Histoire du Tango by Astor Piazzolla, Canyon Echoes by Katherine Hoover, Entr’acte by Jacques Ibert and Pièce en form de Habenera by Maurice Ravel.

The 2019 Flute Festival – which is a program of the Madison Flute Club — is sponsored by Heid Music. Major funding is provided by Verne Q. Powell Flutes, American Printing, Eric and Tobi Breisach, Distillery Marketing and Design, and Karl Sandelin – in memory of Joyce Sandelin.

Additional funding is provided by Audio for the Arts, Breisach Cordell PLLC, Dr. Danielle and Jeffrey Breisach, Madison Classical Guitar Society, Wisconsin Youth Symphony Orchestras, and Jessica and Jim Yehle.

ABOUT THE MADISON FLUTE CLUB

The Madison Flute Club was founded in 2002 and currently presents over 20 concerts each year to an audience of more than 1,500 community members. The club involves, on average, 35 active adult members and over 30 youth from the surrounding area.

To advance and achieve its mission, the Madison Flute Club has undertaken several large projects and partnered with numerous organizations and events in Dane County. These projects include the commissioning and world premiere of a work for flute choir for Design MMoCA, successfully fundraising for a contrabass flute — the first such instrument in Wisconsin — and performing at the National Flute Association Convention.

Madison Flute Club ensembles and members have been featured on Wisconsin Public Radio’s The Midday with Norman Gilliland, on WORT 89.9 FM in Madison and in the publication The Flutist Quarterly.

For more information about the Madison Flute Club, go to: http://www.madisonfluteclub.org


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Classical music: The Middleton Community Orchestra and solo trumpeter Jessica Jensen score big with an unusual program

March 2, 2019
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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 hosts an early music show once a month on Sunday morning on WORT FM 89.9 FM. For years, he served on the Board of Advisors for the Madison Early Music Festival and frequently gives pre-concert lectures in Madison. He also took the performance photos.

By John W. Barker

The concert by the largely amateur Middleton Community Orchestra (below, in a photo by Margaret Barker) on Wednesday night presented a novel program at the Middleton Performing Arts Center.

In the relatively brief first part, it presented two unusual items.

The first was by Nebojsa “Neb” Macura (b. 1982, below right with conductor Steve Kurr), a local musician of Serbian background, who has been particularly identified with Russian folk music and ensembles. But he also plays viola in the MCO, which gave him this opportunity in the spotlight.

His piece, Polar Night, is quite brief, but in this version for full orchestra (with piano), it is grounded with secure melodic flow, and it unfolds into a tonal picture full of beautiful colors. My only reservation was that I wanted more of it — either more music in this piece or other sections around it.

Macura is obviously talented, and he has a confident sense of orchestral writing. I really look forward to hearing more of him. Indeed, the MCO might well serve as exactly the laboratory in which he can develop new creations.

The second item was only a bit longer, a Trumpet Concerto by Russian composer Aleksandra Pakhmutova (b. 1929, below). Her long career has involved her in jazz, and also in extensive scoring for films. But she has a feeling for Russian traditional song, and that could be heard in this concerto.

It is cast in only a single movement, but it proceeds episodically.  There is certainly much flashy writing for the solo instrument, and local trumpeter Jessica Jensen (below) brought off her role dashingly.

The longer second part of the concert was devoted to the Symphony No. 3, the “Rhenish,” by Robert Schumann. This splendid work was inspired by observation of life along the Rhine River.

It is unusual in being written in five movements, not the conventional four. (Oddly, their individual markings were not printed in the program, but conductor Steve Kurr (below) gave a clever spoken introduction that outlined the score for the audience.)

This is a very extroverted work, calling for a lot of orchestral sonority. I suspect that a little more rehearsal time would have helped the avoidance of some blemishes: rapid passages, especially in the first movement, were roughly articulated, and there were some tiny gaffes all along.

But the players were devoted in responding to maestro Kurr’s rather propulsive tempos. This score gives a lot to do particularly to the horn section, which played with ardent splendor.

As always, then, the MCO earned further laurels for presenting this very adventurous program.


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Classical music: This Friday night, the Wisconsin Union Theater presents a world-class Spanish string quartet and will also announce the special concerts to mark its centennial anniversary next season

February 28, 2019
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By Jacob Stockinger

Think of it as a two-fer, and then some, at the Wisconsin Union Theater this Friday night, March 1.

The main event is the Madison debut of a world-class string quartet from Spain.

The other event is the announcement of the schedule for the Concert Series’ 2019-2020 season — the series’ 100th season.

The first event is the concert by Cuarteto Casals (below) at 7:30 p.m. in Shannon Hall.

Prices for the event are: the general public, $25-40; for Union members, $25-36; for UW faculty and staff members, $25-38; for young people, $20; and for UW-Madison students, $10. Tickets can be bought online, by phone at 608-265-ARTS (2787) or in person. See locations and hours here.

The program includes the String Quartet in C Major “The Bird,” Op. 33, No. 3, by Franz Joseph Haydn; the String Quartet No. 3 by Bela Bartok; selections from the Fantasies for String Quartet by Henry Purcell; and the String Quartet in G Minor, Op. 10, by Claude Debussy. (You can hear the Cuarteto Casals play a movement of a different Haydn string quartet in the YouTube video at the bottom.)

Cuarteto Casals was founded in 1997 at the Escuela Reina Sofia in Madrid. They are named after great 20th-century Catalan cellist Pau (Pablo) Casals (below). Members of the quartet are Vera Martinez Mehner and Abel Tomas, violins; Jonathan Brown, viola; and Arnau Tomas, cello.

The group achieved international recognition after winning First Prizes at the London and Brahms-Hamburg competitions. After receiving the prestigious Burletti-Buitoni Trust award designed to assist young musicians, the quartet acquired a matching set of Baroque and Classical period bows, used to distinguish between musical styles.

The year 2017 marked the 20th anniversary of the quartet, and also the start of a commemorative project: a six-concert series of the complete Beethoven quartets, accompanied by six commissioned works from great composers since the 17th century.

The quartet was selected as ambassadors of Catalan culture by the Generalitat of Catalunya, and accompanies the King of Spain on diplomatic visits.

It is the quartet-in-residence at the Spanish Royal Palace through 2020 and the quartet-in-residence at the Escola Superior de Musica de Catalunya in Barcelona.

Carol Carlson (below) will offer a free pre-concert lecture at 6 p.m. Carol holds both Doctor of Musical Arts and Master of Music degrees in violin performance from the UW-Madison.

Carlson dedicates herself to music education as co-founder, co-director and teacher of Music con Brio, a non-profit organization that provides affordable violin lessons and equipment for students at Emerson Elementary School in Madison. Music con Brio (below, in a photo by Scott Maurer) will perform on the stage of Shannon Hall from 7 to 7:20 p.m.

This program was supported in part by a grant from the Wisconsin Arts Board with funds from the State of Wisconsin and the National Endowment for the Arts. The media sponsor is WORT 89.9 FM.


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