By Jacob Stockinger
Today is Thanksgiving Day – Thursday, Nov. 27, 2014.
And today’s post is simple:
It doesn’t have to be big (an opera, symphony or concerto) or a recognized masterwork. It could be a small work (a prelude or song) that you are perhaps learning to play or sing that you heard most recently.
The music or the composer could be very well-known or obscure.
Your choice could be old or it could be new.
But whatever your choice is, it should hold special meaning for you. The piece of music should speak to you deeply and directly and make you feel that your life is enriched by it –- at least right now, if not in the past or the future, even though such choices tend to have staying power even from childhood into old age.
If The Ear gets enough reader comments and responses, maybe even with links to a YouTube video, it might serve as a list of suggested listening for other readers.
To celebrate all your choices, and all the possibilities of the musical arts, here is the original version with orchestra and 16 singers done by the London Symphony under conductor Sir Adrian Boult, of the lovely “Serenade to Music” by the English composer Ralph Vaughan Williams.
By Jacob Stockinger
The critically acclaimed and long-lived early music group the Wisconsin Baroque Ensemble (below) — which uses period instruments and historically informed performance practices — will celebrate the 300th anniversary of the birth of Carl Philipp Emanuel Bach this Saturday night. (You can hear a sample of C.P.E. Bach’s appealing music at the bottom in a YouTube video of a Trio Sonata.)
The concert – which includes the work of other rarely performed composers and works — will be at 8 p.m. in the landmark and historic Gates of Heaven synagogue in James Madison Park, at 300 East Gorham Street, in downtown Madison.
Members of the Wisconsin Baroque Ensemble include Brett Lipshutz – traverso, recorder; Eric Miller – viola da gamba, baroque cello; Consuelo Sañudo – mezzo-soprano; Monica Steger – traverso flute, recorder, harpsichord; Anton TenWolde – baroque cello; and Max Yount – harpsichord.
Tickets at the door are $20, $10 for students). Feel free to bring your own chair or pillow.
For more information, call (608) 238-5126 or visit www.wisconsinbaroque.org.
Here is the complete program for “Celebrating C.P.E. Bach”:
1. Carl Philipp Emanuel Bach (below, 1714-1788) – Trio Sonata in d-minor Wq 145
2 Michel Pignolet de Montéclair (1667-1737) – “L’Amour vangé
4. Johann Philipp Kirnberger (1721-1783) – Sonata No. 8 for traverso and basso continuo
5. Louis-Gabriel Guillemain (1705-1770) – Sonata in Quartet No. 3, opus 12 (1743)
6. Carl Philipp Emanuel Bach – Sonata for viola da gamba and basso continuo, Wq 88/H 510 (1759)
7. Carl Philipp Emanuel Bach – Six New Keyboard Pieces, from the supplement to “Versuch über die wahre Art das Clavier zu spielen,” 3rd edition (Leipzig, 1787). Sonatina I in G Major: Allegro, Wq 63/7; Sonatina V in F Major: Andante, Wq 63/11; Sonatina III in D Major: Allegretto, Wq 63/9
8. Juan Hidalgo de Polanco (1614-1685) ”Quedito, Pasito”
ALERT: TONIGHT at 7:30 p.m. in Old Music Hall (below) at the foot of Bascom Hill, student singers in the University of Wisconsin-Madison School of Music opera department, under the direction of UW-Madison professors Mimmi Fulmer and David Ronis, will perform a FREE Opera Workshop. Sorry, The Ear has no word on the specific program — and it is not on the UW-Madison School of Music website at http://www.music.wisc.edu/events/uw-opera-workshop/ But it usually features popular arias and familiar scenes from popular operas, all done with piano accompaniment. (JUST IN: The program includes excerpts from: Ludwig van Beethoven‘s “Fidelio,” Wolfgang Amadeus Mozart’s “Le nozze di Figaro” and “Cosi fan tutte”; Claudio Monteverdi’s “L’incoronazione di Poppea”; Gioachino Rossini’s “Il barbiere di Siviglia“; Gaetano Donizetti’s “Don Pasquale”; Jules Massenet’s “Cendrillon”; Johann Strauss’ “Die Fledermaus”; Vincenzo Bellini’s “I Capuleti ed i Montecchi“; and Stephen Sondheim‘s “A Little Night Music.”)
By Jacob Stockinger
Our friends at the Oakwood Chamber Players, known for the quality of its performance and its unusual repertoire, send us the following information:
The Oakwood Chamber Players (below) continues to celebrate its 30th anniversary season when the ensemble presents “Remix! Christmas Lights Memories” this coming Friday afternoon and Sunday afternoon.
The two concerts this coming weekend continue the group’s tradition of kicking off the holiday season over Thanksgiving weekend with Christmas-themed music. The concerts will revisit favorite holiday music from the past 30 years.
Guest musicians include Heather Thorpe, soprano, Mary Ann Harr, harp (below top), Jennifer Morgan, oboe (below bottom), and Mike Sczyzs, horn.
The concerts are on Friday, November 28, at 1 p.m. and Sunday, November 30, at 1:30 p.m. Both concerts will be held at the Oakwood Center for Arts and Education, 6209 Mineral Point Road, on the far west side of Madison.
This is the second concert in their celebratory 30th anniversary season series titled “Reprise! Looking Back Over 30 Years”
Upcoming concerts include:
The Oakwood Chamber Players is a group of Madison-area professional musicians who have been affiliated with the Madison Symphony Orchestra, the Wisconsin Chamber Orchestra and the University of Wisconsin-Madison School of Music. They have rehearsed and performed at Oakwood Village for 30 years.
Tickets are available at the door. Admission is $20 for the general public, $15 for seniors and $5 for students.
Visit www.oakwoodchamberplayers.com for more information.
The Oakwood Chamber Players are a professional music ensemble proudly supported by Oakwood Lutheran Senior Ministries and the Oakwood Foundation.
By Jacob Stockinger
Valentina Lisitsa (below), the Ukraine-born pianist who has become a YouTube sensation, played a recital here last Thursday night at the Wisconsin Union Theater. It featured music by Ludwig van Beethoven, Robert Schumann, Johannes Brahms and Sergei Rachmaninoff.
All four men were accomplished pianists as well as composers.
So you would have thought that nothing could go wrong.
But it did.
From the time she took the stage, Valentina Lisitsa seemed ill-at-ease and unsure of what to do musically. What resulted was a very long concert with too much boredom and tedium.
Her default position seemed to be to play a lot, and then play some more. It turned out to be more like a marathon or a 19th-century “monster concert” than a typical piano recital. I don’t know what the intent of her program was except perhaps to show off her undeniable stamina.
True, the “new media” phenom, who has a clear gift for self-promotion and who attracts avid groupie-like fans to her many YouTube videos and concerts, played for the better part of three hours and never seemed to break a sweat, even in the most difficult pieces.
But I have to concur with The Wise Piano Teacher who said: “It was the worst piano recital I’ve heard in my life, and I’ve heard a lot of them. I came home angry.”
The teacher wasn’t alone.
Except for a few of the miniature intermezzi by Brahms and a few of the ingenious etudes by Schumann, the piano playing seemed disjointed and the music too often lacked musicality.
Now, my instinct is to be generous and to make allowances. Maybe it was just an “off” night. Or maybe she felt ill or sick. Or maybe she has been overbooked or underrehearsed in recent weeks.
I do know that I have heard Lisitsa play much better, though she seemed at her best when she accompanied the gifted American violinist Hilary Hahn (below), who perhaps gave her some interpretive direction.
The Ear kept thinking of the response by Vladimir Horowitz (below) when somebody asked him why he didn’t take the second repeats in sonatas by Domenico Scarlatti or why he didn’t play late sonatas by Beethoven. “I don’t want to bore the audience,” he said.
Lisitsa showed no such concern for the audience. In fact her program, her stage manner and her playing all seemed listener-unfriendly. At times, her recital even seemed condescending and disdainful of the ordinary listener.
As a critic, I have to call it as I hear it. But I take no joy in writing this. There are few enough solo piano recitals in Madison these days, and I had really looked forward to this one. Rarely do I want to walk out of a concert of any sort, especially a piano concert. But this time I did want to walk out -– and I did leave early, during a Franz Liszt encore that was his arrangement of Franz Schubert’s “Ave Maria.” I also saw some other serious music fans walk out even earlier.
As for the all-Romantic program itself, here are some snapshots or mini-critiques:
The “Tempest” Sonata by Beethoven (below): This great sonata was frequently reduced from a tempest to directionless wind by dropped or missed notes and choppy interpretation as well as by inattention to dynamics. It just didn’t make sense intellectually or emotionally -– and it is a great masterpiece of emotional depth. And certainly her playing of the same work in a live concert in Paris in a YouTube video at the bottom is better than what I heard live here.
The “Symphonic Etudes” by Robert Schumann (below top): Decca has just released an 85-minute recording (below bottom) of Lisitsa playing these pieces plus the complete Chopin etudes. She seems drawn to etudes, perhaps because they often favor fingers over music. And this woman has fingers and technique to spare, even if she lacks musical ideas. imagination and something to say.
Selected Intermezzi by Johannes Brahms (below): She didn’t stick to the program, and didn’t announce the changes to the audience. She played 14, but after a while they all ran together and it seemed more like 114. Better she should have played a set of just three or four intermezzi as a quiet interlude –- which was their original intended purpose. But instead she too often rushed through them. We missed the poignant melodies and harmonies, the autumnal soulfulness of late Brahms, to say nothing of the careful construction and counterpoint he used.
Sonata No. 1 in D Minor by Sergei Rachmaninoff (below): The Ear thinks Lisitsa knew she has confused and lost her small audience when she went from the long Brahms set directly into the Rachmaninoff sonata. I heard some audience members wonder about what they were hearing – where Brahms had stopped and Rachmaninoff had begun. This sonata is a hard piece to hold together, and it didn’t help that she favored big noise over music, big chords over subtle voices.
All in all, and despite a standing ovation — for her strength and brilliance, one suspects — The Ear found it a night to forget. I have heard Valentina Lisitsa (below) in better form and I wish I knew what happened here.
“Was she annoyed that the house wasn’t full?” someone asked. Maybe, although such an attitude would be highly unprofessional and too peevish or diva-like.
But I do know that when she next appears in a solo recital, I will think twice -– more than twice -– about attending.
That is too bad for me and too bad for her, too bad for the audience and too bad for the presenter.
But everyone’s a critic.
What did others of you who attended Valentina Lisitsa’s recital think?
Did you judge it a success or a failure?
The Ear wants to hear.
By Jacob Stockinger
The Madison-based duo Ensemble SDG will perform a concert of early music on this Saturday night, November 22, 2014, at 7 p.m. in the Luther Memorial Church (below), 1021 University Avenue, in Madison, Wisconsin.
The concert will feature special guests William Hudson, tenor, and Katherine Shuldiner, viola da gamba.
The program includes settings of Psalm texts by Heinrich Schütz (below with his psalms at bottom in a YouTube video), Johann Hermann Schein, and Jacques de Bournonville, with a setting by Johann Philipp Krieger of the anonymous canticle Laetare anima mea, as well as sonatas by Giovanni Battista Fontana, Dieterich Buxtehude and Elisabeth Jacquet de la Guerre.
Ensemble SDG (below) features Madison musicians Edith Hines, baroque violin, and John Chappell Stowe, professor of harpsichord and organ at the University of Wisconsin-Madison School of Music. The duo has performed across the United States, and their recording of the complete works of J. S. Bach for violin and keyboard is soon to be released by Arabesque Records.
William Hudson is a founding member and director of LIBER: Ensemble for Early Music and was recently appointed Assistant Professor of voice and diction at Illinois Wesleyan University (Bloomington, Ill.).
Katherine Shuldiner recently graduated from Oberlin Conservatory of Music, specializing in viola da gamba performance. She lives and works in Chicago, Illinois.
Admission to the concert on November 22 is $15; admission is free for students with a valid ID.
Ensemble SDG, a baroque violin and keyboard duo formed in 2009, performs music spanning the entire Baroque period, with a particular focus on the works of Johann Sebastian Bach. The duo has presented works by German, French and Italian composers of the 17th and 18th centuries in recitals from the Midwest to the East Coast. Venues include Fringe Concerts at the 2009, 2011, and 2013 Boston Early Music Festivals; a recital featuring the Brombaugh organ at First Presbyterian Church in Springfield, Illinois; the biennial meeting of the American Bach Society and the annual joint conclave of the Midwest and Southeastern Historical Keyboard Societies; the Michigan Festival of Sacred Music; Wisconsin Public Radio’s Sunday Afternoon Live from the Chazen; and multiple appearances at the University of Wisconsin–Madison, one being a performance of J.S. Bach’s six sonatas for violin and obbligato keyboard. This fall the duo will release a recording of Bach’s complete works for violin and keyboard.
Ensemble SDG takes its name from the epigraph (below top) used by Johann Sebastian Bach (below bottom) to sign many of his works. Soli Deo Gloria (“to God alone the glory”) represents the members’ common approach to music and to life, and it is with this grounding that they approach their technique, choice of repertoire, and interpretative decisions.
Highly sought after as a specialist in historical performance, tenor William Hudson has been described as “positively hypnotic” by Gramophone magazine. An accomplished ensemble singer, Mr. Hudson has performed with many of the nation’s leading early music ensembles including the Boston Early Music Festival Opera, The New York Collegium, The Waverly Consort, The Rose Ensemble, Boston Bach Ensemble, and Ensemble Project Ars Nova (PAN).
As a founding member and director of LIBER: Ensemble for Early Music (formerly Liber unUsualis), he has performed extensively throughout North America and abroad at international music festivals in England, Wales, Ireland, Belgium, Germany, France, Latvia, Estonia, and Spain. Mr. Hudson also enjoys an active solo career, singing the Evangelist in Johann Sebastian Bach’s St. John Passion, Apollo in Claudio Monteverdi’s Orfeo, the title role in Giacomo Carissimi’s Jephte, Lucano in Monteverdi’s L’incoronazione di Poppea, Mercury in Eccles’ Judgment of Paris, and Alessandro Stradella’s oratorio San Giovanni Battista with the Jerusalem Baroque Orchestra.
An active scholar and clinician, Mr. Hudson (below, in a photo by Tall & Small Photography) was the winner of the 2009 Noah Greenberg award and has presented at the International Congress of Medieval Studies in Kalamazoo. He has led master-classes and given lecture-demonstrations in medieval performance practice at universities throughout North America. He has recorded with Naxos, Passacaille, Arsis, Titanic and Dorian. Mr. Hudson holds a Master’s degree in Historical Performance from the Longy School of Music and a Doctor of Music in Early Music from Indiana University. He is a Visiting Assistant Professor of voice and diction at Illinois Wesleyan University in Bloomington, Illinois.
Katherine Shuldiner graduated from Oberlin Conservatory in viola da gamba performance under the tutelage of Catharina Meints. She has performed with Chicago based ensembles such as The Newberry Consort, BBE: Bach and Beethoven Ensemble, and The OC (The Opera Company).
She has also performed with Washington Bach Consort and La Follia Austin Baroque. Katherine recently finished her two-year term on the board of the Viola da Gamba Society of America and was chosen to perform in the first Early Music America’s Young Performers Festival during Boston Early Music Festival. This past summer, Katherine taught at the Madison Early Music Festival as well as the VdGSA Conclave.
By Jacob Stockinger
Compared to the start of many seasons, surprisingly this fall hasn’t seen a lot of piano music— either solo recitals or concertos.
The Ear says “surprisingly” because box office statistics seem to suggest that piano concerts general draw good audiences. Pianists are favorites as soloists with orchestra fans -– as you could see in October when Russian pianist Olga Kern performed a concerto by Sergei Rachmaninoff with the Madison Symphony Orchestra under conductor John DeMain to a big, enthusiastic house.
Maybe it has to do with the fact that so many people take piano lessons when they are young. Or maybe it is because the repertoire is so big, so varied and so appealing.
And, true to form, next semester promises a whole lot more piano concerts of all kinds at the University of Wisconsin-Madison School of Music, the Madison Symphony Orchestra, the Wisconsin Chamber Orchestra and the Salon Series at Farley’s House of Pianos.
Anyway, one piano standout of the fall is about to happen this week.
The program is an outstanding one. It features the dramatic “Tempest” Sonata in D minor, Op 31, No. 2, by Ludwig van Beethoven; the “Symphonic Etudes” by Robert Schumann; a medley of the late piano intermezzi and other miniatures, Op. 116 through Op. 119, by Johannes Brahms, works we hear too infrequently, possibly because they are more for the home than the concert hall; and the rarely played Piano Sonata No. 1 in D minor by Sergei Rachmaninoff.
Tickets are $40, $42 and $45; $10 for UW-Madison students.
For more information, plus a video and some reviews, visit this link:
And here is a link to a story about her unusual career that appeared in The New York Times:
This is Valentina Lisitsa’s third appearance at the Wisconsin Union Theater. She has performed there twice when she accompanied American violinist Hillary Hahn in what The Ear found to be memorable programs that offered a wonderful balance of dynamics in a chamber music partnership.
Lisitsa has established a special reputation for building her live concert and recording career not through the traditional ways or by winning competitions, but through using new media. In particular, she has amassed a huge following with something like 62 million individual views of and 98,000 subscribers to her many YouTube videos.
So impressive was her record with YouTube, in fact, that the venerable record label Decca offered her a contract. Her first release was a live recording of a recital of music by Beethoven, Chopin, Liszt, Rachmaninoff and Scriabin that she gave in the Royal Albert Hall in London — a recital for which she let her fans determine the program through voting on-line.
Then she recorded the complete knuckle-busting Rachmaninoff concertos, an all-Liszt album and a bestselling CD of “Chasing Pianos” by the contemporary British composer Michael Nyman, who wrote the well-known score for the popular gothic romance film “The Piano.”
Here is a link to an interview Valentina Lisitsa did with NPR (National Public Radio):
Now she has a new and nuanced recording out of the complete Etudes, Opp. 10 and 24, by Frederic Chopin plus the “Symphonic Etudes” By Robert Schumann that she will perform here. (You can hear Chopin excerpts from the new CD in a YouTube video at the bottom.) The Ear is betting that, if an encore is in the offing this Thursday night, it will be a Chopin etude or two from the new recording — perhaps a slow and poetic one, perhaps a virtuosic one, or perhaps one of both kinds.
Her Madison appearance features a big and difficult program. But Lisitsa has the technique and power, the chops, to bring it off. She also demonstrated how she combines that substantial power with sensitive musicality in memorable solo recitals at Farley’s House of Pianos. And she claims to have developed a keyboard method that allows her to play difficult music for long periods of time without strain or injury. To one admiring reader comment about the new YouTube etude video, she says simply: “Playing piano is easy!”
Well, good for her! But I say go and judge for yourself — and don’t forget to enjoy the music as much as the musician.
By Jacob Stockinger
It has been a few years since the acclaimed and impressive Milwaukee Symphony Orchestra (MSO, below) –- still in the news (a link to a story on NPR, or National Public Radio, is below) because of the attempted theft of concertmaster Frank Almond’s $3-million Stradivarius violin — played an annual concert at the Wisconsin Union Theater. The Ear always looked forward to the top-flight playing and fine programs that the Milwaukee group brought to Madison.
But this week, the MSO, playing under an assistant conductor, will perform in nearby Edgerton at the Edgerton Performing Arts Center.
The Milwaukee Symphony Orchestra – without its music director Edo de Waart — will perform at the Edgerton Performing Arts Center on this coming Tuesday, November 18, 2014 at 7:30 p.m. Tickets are $30 in advance, $35 at the door.
Here is some information from a press release: “The Milwaukee Symphony Orchestra, under the dynamic leadership of Music Director Edo de Waart, has embarked upon a new era of artistic excellence and critical acclaim. Now in his fifth season with the MSO, Maestro de Waart has led sold-out concerts, elicited rave reviews, and conducted an acclaimed performance at Carnegie Hall. The Milwaukee Symphony Orchestra has four purposes: to comfort, educate, entertain and exhilarate the human soul.” For more information, visit www.mso.org
The concert will feature conductor Francesco Lecce-Chong and violin soloist Jeanyi Kim.
The program will include the Overture to the opera “Semiramide” by the Italian composer Gioachino Rossini (below top); the Concerto for Violin No. 2 in D Minor, Op. 22, by the well-traveled Polish violin virtuoso and composer Henryk Wieniawski (below middle); and the popular Symphony No. 5 in E minor, Opus 64, by the Russian composer Peter Ilyich Tchaikovsky (below bottom). You can hear the tuneful and melancholy Tchaikovsky symphony, played by the Boston Symphony Orchestra under Leonard Bernstein, in a popular YouTube video at the bottom.
Jeanyi Kim (below) is the associate concertmaster (third chair) of the Milwaukee Symphony Orchestra and the concertmaster of the Milwaukee Chamber Orchestra. In 2007, she served as a guest assistant concertmaster of the London Symphony Orchestra under Sir Colin Davis and Valery Gergiev.
As an orchestral musician, the Toronto native has performed in illustrious venues around the world, including Carnegie Hall, the Barbican Centre, Salle Pleyel, and the Concertgebouw. In addition to maintaining a private studio, she has served on the faculties at the University of Wisconsin-Parkside, University of New Haven, and Neighborhood Music School, to name a few.
She holds a Doctor of Musical Arts degree from Yale University, from which she also earned her BA, MM, and MMA degrees.
Francesco Lecce-Chong (below), currently associate conductor of the Milwaukee Symphony Orchestra, has worked with the Atlanta, Indianapolis, and St. Louis Symphony Orchestras, Saint Paul Chamber Orchestra, and the Hong Kong, Pitesti (Romania), and Ruse (Bulgaria) philharmonic orchestras. Equally at ease in the opera house, Maestro Lecce-Chong has served as principal conductor for the Brooklyn Repertory Opera and as staff conductor for the Santa Fe Opera.
He has earned national distinction, including the Solti Foundation Career Assistance Award and The Presser Foundation Music Award. In summer 2014, he served as the associate conductor at the Grand Tetons Music Festival and had guest appearances with the Toronto Symphony Orchestra, Las Vegas Philharmonic and the Breckenridge Music Festival.
He is a graduate of the Mannes College of Music, where he received his Bachelor of Music degree with honors in piano and orchestral conducting. Lecce-Chong also holds a diploma from the Curtis Institute of Music.
Tickets are $30 in advance, $35 at the door. They are available at the Edgerton Pharmacy and Edgerton Piggly Wiggly; and in Janesville at Knapton Musik Knotes and Voigt Music Center, and by calling (608) 561-6093. Online, go to at iTickets.com
All performances funded by the William and Joyce Wartmann Endowment for the Performing Arts. An additional sponsor is the Edgerton Piggly Wiggly.
ALERT: This week’s FREE Friday Noon Musicale, held from 12:15 to 1 p.m. at the First Unitarian Society of Madison, 900 University Bay Drive, features violinist Kangwon Kim (below) and pianist Junghwa Moon Auer in music by Antonin Dvorak, Johann Sebastian Bach, Fritz Kreisler, Frederic Chopin, Claude Debussy and Sergei Rachmaninoff.
By Jacob Stockinger
The Wisconsin Youth Symphony Orchestras (WYSO) will present its first concerts of the new season, the Evelyn Steenbock Fall Concerts, on this Saturday afternoon, Nov. 15, and then on Saturday afternoon, Dec. 13.
More than 350 young musicians will display their great talents to the community during the three concerts, which are dedicated to private and school music teachers.
These young musicians, who get into WYSO through competitive auditions, are really good.
They also play to some of the liveliest and most responsive and enthusiastic audiences in the city.
WYSO’s string orchestra, Sinfonietta (below), will kick off the concert series at 1:30 p.m. on Saturday afternoon with “Highland Cathedral” by Korb and Roever; the “Danse Infernal” by Del Borgo; Eureka! by Sharp; “Fantasia on Theme from Thailand” by Meyer; the “Haunted Carousel” by Newbold; and “Tuxedo Junction” by Hawkins, Feyne, Johnson and Dash.
The Concert Orchestra (below) will then take over with Washburn’s “St. Lawrence” Overture, Del Borgo’s “Meditation,” “A Pirate’s Legend” by Newbold and Slavonic Dances by Antonin Dvorak.
At 4 p.m. on Saturday, the popular Percussion Ensemble will perform “Spanish Point” by Ben Wahlund and the “Danse Bacchanale” from the opera “Samson and Delilah” by Camille Saint-Saens.
The Philharmonia Orchestra will then end the concert with Ernest Bloch’s Concerto Grosso No. 1, the Danse Macabre, Op. 40, by Camille Saint-Saens; the “Pavane pour une infante defunte” by Maurice Ravel, featuring Logan Willis on piano; the fourth movement, “March to the Scaffold,” from the “Symphonie Fantastique” by Hector Berlioz; and the Hoedown from Aaron Copland’s “Rodeo,” featuring Moqiu Cheng on piano.
At 1 p.m. on Saturday afternoon, Dec. 13, the Harp Ensemble (below top) will perform before the Youth Orchestra (below bottom) closes out the concert series with “The Roman Carnival” Overture by Hector Berlioz; Excerpts from “Die Meistersinger” by Richard Wagner; and movements 1, 3 and 4 from the Symphony No. 1 in D Minor, Op. 13, by Sergei Rachmaninoff.
TICKETS AND OTHER INFORMATION
The Evelyn Steenbock Fall Concerts will be held in Mills Concert Hall in the UW-Madison George Mosse Humanities Building, 455 North Park Street in Madison on the University of Wisconsin-Madison campus.
WYSO concerts are generally about an hour and a half in length, providing a great orchestral concert opportunity for families.
Tickets for each concert are available at the door, $10 for adults and $5 for youth 18 and under.
This project is supported by Dane Arts with additional funding from the Pleasant T. Rowland Foundation and the Endres Mfg. Company Foundation. This project is also supported by the Alliant Energy Foundation and by a grant from the Wisconsin Arts Board with funds from the State of Wisconsin and the National Endowment for the Arts.
ALERT: Today at 2:30 p.m. in Overture Hall is your last chance to catch the all-Scandinavian program by the Madison Symphony Orchestra (below top) and guest violinist Sarah Chang (below bottom) under John DeMain.
The Ear didn’t go on Friday or Saturday night.
But here are two reviews by reliable critics who did.
Here is a review by John W. Barker for Isthmus:
Here is a review by Greg Hettmansberger, who writes the Classically Speaking blog for Madison Magazine:
Here is a link to Jess Courtier’s review for The Capital Times:
And here is a link to a previous posting on this blog that served as a preview and included a Q&A with violinist Sarah Chang:
By Jacob Stockinger
The Ear was very pleased to see that music director John DeMain and the Madison Symphony Orchestra had programmed an all-Scandinavian program this weekend.
It featured the accessible a d folk-like Lyric Suite by Norwegian composer Edvard Grieg; the famous Violin Concerto in D minor by Finnish composer Jean Sibelius with violinist Sarah Chang as guest soloist; and the powerful Symphony No. 4 (“The Inextinguishable”), done in the aftermath of World War I — which also makes it timely choice for Veterans Day on this Tuesday — by Danish composer Carl Nielsen.
That got The Ear to thinking: Which Nordic country is least well represented in classical music performances?
I think Norway is pretty popular precisely because of Edvard Grieg (below), especially his Piano Concerto in A Minor and his “Peer Gynt” Suite and his Lyric Piece for solo piano.
And Jean Sibelius (below) is a in a kind of one-man band for Finland, plus he seems to be rediscovered, especially thanks to the new Grammy-winning Sibelius symphony cycle on the BIS label by the Finnish award-winning conductor Osmo Vanska and the Minnesota Orchestra.
The Swedes seem pretty underrepresented to me and probably take the prize. But I really need to do some research and know more about Swedish composers .
But Denmark is also not especially well-known, although may be changing, The current revival of Carl Nielsen (below), who was championed by Leonard Bernstein and the New York Philharmonic, the same superstar conductor and composer who did so much to bring Gustav Mahler into the mainstream, has been renewed by Alan Gilbert and the New York Philharmonic.
Anyway, just by coincidence it turns out that the outstanding Deceptive Cadence blog on the website of NPR (National Public Radio) feature reviews of recent recordings of music by three Danish composers.
The three Danish composers featured are: the experimental Per Nørgård (below top); the more mainstream Poul Ruders (below bottom, in a photo by Kirsten Bille), whose Violin Concerto is at the bottom in a YouTube video; and of course Carl Nielsen, who represented by the “Inextinguishable” Symphony as interpreted by Alan Gilbert and the New York Philharmonic.
Here is a link that also has sound samples as well as background and critical comments.
By Jacob Stockinger
The Ear recently came across this news item — reprinted below.
He remembers when Wisconsin Public Radio, under the direction of its former music program director Cheryl Dring, marked the annual birthday of Baroque master composer Johann Sebastian Bach (below). At bottom you can hear almost two hours of Bach’s best and most popular music — from solo piano to orchestra — in YouTube video that has almost 10 million hits.
The noon-to-midnight event was called “Bach Around the Clock” (below) and was based on an event that Dring used to go to in New Orleans, Louisiana. It featured singers and choral music, instrumental music of all kinds and at all levels, and audiences who wandered in and out as well as a special birthday cake for The Birthday Boy.
The FREE and PUBLIC event took place in the Pres House, 731 State St., near the UW-Madison School of Music. It featured lots of classical amateur musicians – including The Ear who played solo piano works and also collaborated with a flutist – but also professional musicians, including members of the UW-Madison School of Music,UW-Whitewater, Edgewood College, the Madison Symphony Orchestra, the Wisconsin Chamber orchestra the Madison Bach Musicians and its keyboardist founder and director Trevor Stephenson, church organists and various choral groups. It was also webcast live by WPR.
I wrote about it every year, and was also surprised and pleased by the quality of the music-making I heard from young students through adult amateurs and of course professional musicians. I loved it, both as a participant and as an audience member.
Here are some links with lots of photos:
But Wisconsin Public Radio backed out of the celebration after four years, citing weekend staff time and expense. No one stepped in to pick it up, though I suppose you could make the case that the “Make Music Madison” citywide event of the past two summers took up the baton. But that event includes all kinds of music — not just classical and not mainly classical and not just Bach.
Now there is a similar populist movement nationwide and even worldwide, but based in New York City, to mark Bach’s birthday. It is called “Bach in the Subways” and started several years ago. Since then it has been growing.
My question now is: Who, if anybody, will host the Madison event in this movement in 2015 and in coming years?
The UW-Madison has the School of Music, including Morphy Hall (below) and Music Hall as well as Mills Hall.
The centrally located Pres House, which also features an organ, a piano, a low-profile stage, many chairs and good acoustics as well as a dining room for snacks and socializing, is an excellent candidate.
Farley’s House of Pianos seems the kind of customer-friendly and community-helping business that might be open to the event.
Maybe there are other churches or community centers or organizations that would be willing to set this up.
Anyway, your reactions and suggestions are welcome.
And here is the original announcement I found:
CALLING ALL MUSICIANS
Bach in the Subways Day
Saturday, March 21, 2015
On J.S. Bach’s 330th birthday, musicians around the world will unite to perform Bach for free in subways and public spaces, throughout the day and night, to celebrate our art and to sow the seeds for future generations of classical music lovers.
Musicians, organizers and everyone else who wish to spread the joy of Bach are invited to join us! Solos, ensembles, flash mobs and Bach marathons are all encouraged.
Join us as we fill the world with Bach!
For more information visit http://bachinthesubways.com, facebook.com/bachinthesubways, or twitter.com/bachinthesubway. (The list of participants on the main website says that Madison, Wisconsin, is taking part, along with many cities around the country and world. But I don’t see any specifics. Does anyone know the details of the local celebration?)
For more information, write to firstname.lastname@example.org.
Need inspiration? Free Bach scores (in the public domain), as well as transcriptions for many solo instruments and a wide variety of ensembles, are available at www.imslp.org
Meanwhile, here are almost two hours of popular music by J.S. Bach to listen to: