The Well-Tempered Ear
Classical music: The UW-Madison School of Music will NOT have a complete brochure for the new season. Use the website and sign up for an email newsletter. The 40th Karp Family Labor Day Concert is Sept. 3
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By Jacob Stockinger
Summer is almost over and the new concert season is about to begin in just a couple weeks.
Just about all the groups in the Madison area, large and small, have announced their upcoming seasons.
But it you are wondering why the brochure for the hundreds of events that will take place at the University of Wisconsin-Madison’s Mead Witter School of Music hasn’t arrived yet, here is the answer.
There isn’t one this year.
For many years the UW-Madison’s SOM — as the School of Music is often abbreviated – has issued a handsome season brochure (below) with names and dates, if not always complete programs.
In the past couple of years, the brochure has been particularly informative with background about performers and events at the school as well as about students and alumni.
But due to a variety of factors, there will be no season brochure although there will be a special brochure for the opening weekend on the new Hamel Music Center (below), which is Oct. 25-27.
A variety of reasons has caused the lack of a brochure, says Publicist and Concert Manager Katherine Esposito. But the familiar full-season brochure will return for the 2020-21 season.
It the meantime, Esposito recommends that you go to the Concert and Events calendar, which has been updated and made more user-friendly, on the website for the school of music. It also features information about faculty and staff as well as news about the school. Here is a link:
https://www.music.wisc.edu/events/
On the right hand side is a menu that allows you to view the calendar as a running list or by the month, week or day with maps or photos.
On the left hand side is another menu that allows you to search by musical category (performers and ensemble) as well as concert date, time, venue and admission cost, if any.
Esposito always recommends that you subscribe to the email newsletters. You can see past ones and sign up to receive future ones if you go to this part of the home website: https://www.music.wisc.edu/recent-newsletters/
As usual, the season at the UW-Madison will open with 40th FREE Karp Family Labor Day Concert, which now takes place the day after the holiday, on Tuesday, Sept. 3, at 7:30 p.m. in Mills Hall.
Over four decades, the Karps (below are the brothers pianist Christopher Karp with cellist Parry Karp, who will team up again this year) have never repeated a piece on the the Labor Day concerts.
The program this year includes the sublime Piano Quartet No. 2 in E-Flat Major, K. 493, by Wolfgang Amadeus Mozart (you can hear the first movement with a visual schematic in the YouTube video at the bottom); the late Sonata No. 10 for Violin and Piano in G major, Op. 96, by Ludwig van Beethoven, which has been transcribed by Parry Karp for cello and piano; and lesser known works by Robert Schumann and Antonin Dvorak.
For more about the program and the performers, who include guest violinist Suzanne Beia of the Pro Arte Quartet, the Madison Symphony Orchestra and the Wisconsin Chamber Orchestra, go to: https://www.music.wisc.edu/event/40th-karp-family-concert/
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Classical music: The eclectic fusion group Mr. Chair plays music by Stravinsky, Satie and others on Monday night in Spring Green
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By Jacob Stockinger
The Ear has received the following announcement from the Rural Musicians Forum:
Mr. Chair looks like a jazz quartet, sounds sometimes like a rock band, but in actuality is a contemporary classical music group in the guise of a modern band.
Classically trained musicians who are well versed in jazz, the players in Mr. Chair create a new sound using both acoustic and electric instruments.(You can hear Mr. Chair perform the original composition “Freed” in the the YouTube video at the bottom.)
The Rural Musicians Forum audience will have the chance to enjoy the soundscapes of this fascinating eclectic fusion group on this coming Monday night, Aug. 19, at 7:30 p.m. at Taliesin’s Hillside Theater (below) in Spring Green.
Members of Mr. Chair (below) are Professor Mark Hetzler, trombone and electronics; Jason Kutz, piano and keyboards; Ben Ferris, acoustic and electric bass; and Mike Koszewski, drums and percussion. All have close ties to the University of Wisconsin-Madison’s Mead Witter School of Music, where they also perform as an ensemble.
Mr. Chair’s compositions are long-form journeys, telling stories through sound by using and exploring the three pillars of music: melody, harmony and rhythm. Think cinematic, orchestral, surreal, romantic, emotional and gripping, and always equal parts dissonant and consonant. Their influences are far-reaching from classical, blues and rock to soul, funk, jazz and beyond.
For this concert, Mr. Chair will perform re-imagined excerpts from Igor Stravinsky’s Neo-Classical ballet masterpiece Pulcinella as well as music by Erik Satie and selections from their debut album, NEBULEBULA, which will be released on Thursday, Sept. 5, on vinyl, CD and digital streaming platforms.
The genre-bending quartet will perform in the beautiful Hillside Theater designed by Frank Lloyd Wright as part of his Taliesin compound. It is located at 6604 State Highway 23, about five miles south of Spring Green.
Admission is by free will offering, with a suggested donation of $15.
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Classical music: On Saturday and Sunday, the Madison Savoyards and Central Wisconsin Ballet team up in Gilbert and Sullivan’s “Pineapple Poll” and “Trial by Jury.” Plus, the first Stoughton Chamber Music Festival starts Saturday
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ALERT: The two concerts of the first Stoughton Chamber Music Festival will take place on this Saturday afternoon, Aug. 17, at 3 p.m. and on Monday night, Aug. 19, at 7 p.m. at the Stoughton Opera House, 381 East Main Street. Admission is FREE with a suggested donation of $15.
Featured is music by Johann Sebastian Bach, Johannes Brahms, Samuel Barber, Edvard Grieg, George Gershwin and Paul Schoenfield as well as Norwegian folk music. The Ear did not receive details, but here is more information from a story in Isthmus: https://isthmus.com/events/stoughton-chamber-music-festival/
By Jacob Stockinger
This weekend, the Madison Savoyards and Central Midwest Ballet Academy team up to present two of the less well-known works by Gilbert and Sullivan: the comic ballet Pineapple Poll and the operetta Trial by Jury (below, in a photo by Kat Stiennon).
The performances of the two one-acts are in the Mitby Theater at Madison College (formerly Madison Area Technical College), located at 1701 Wright Street on Madison’s east side, at 7:30 p.m. on Saturday night, Aug. 17, and at 3 p.m. on Sunday afternoon, Aug. 18.
Tickets are $30 for adults; $28 for seniors; and $15 for young people and students. Children 3 and under get in for free.
For more information, call the Mitby Theater Box Office at (608) 243-4000 or got to: www.TrialbyPineapple.com
The music director and conductor of the professional orchestra, who is making his debut with the Madison Savoyards, is Sergei Pavlov (below), who teaches at Edgewood College and directs the Festival Choir of Madison.
The “Pineapple Poll” choreography is by Marguerite Luksik (below) of the Central Midwest Ballet Academy.
The stage director of “Trial by Jury” is J. Adam Shelton (below).
PROGRAM NOTES
Here are some program notes provided by The Madison Savoyards:
In an age of international copyright and patent tension, Pineapple Poll ballet suite is an intriguing story. The composer, Arthur Sullivan, had died in 1900. The 50-year copyright moratorium on his music expired in 1950, but his librettist partner, W.S. Gilbert, died in 1911. So in 1950, the leading 20th-century conductor, the late Sir Charles Mackerras (below), could only use the work of the former to create a new work in their honor.
From this legal oddity came the only ballet based on the works of Gilbert and Sullivan (below) and, according to The Times of London, one of the best loved of English ballets. It was first performed in the United States in 1970 by the Joffrey Ballet in New York City; and, most recently, in El Paso, Tulsa, Pittsburgh, Seattle, Livermore, Sarasota and Northampton, Mass.
The music for Pineapple Poll,as a suite, has been played in numerous venues in the U.S., including a performance with band director Mike Leckrone at the UW-Madison in 2008 and at the UW-La Crosse in 2015, thus indicating a strong Wisconsin interest in the music alone.
From its opening notes leaping off the pages of Mikado, Pineapple Poll is a vigorous listen and a visual delight. Clement Crisp of the Financial Times called it, “that rarest of delights, a true balletic comedy.” The National Association for Music Education had identified it as a model piece for elementary school children. In 2003, Christopher Rawson of the Pittsburgh Post-Gazette observed that, in its pairing with Trial by Jury, “if there’s ever been a Gilbert and Sullivan show for people who don’t like Gilbert and Sullivan, this is it.”
Trial by Jury contrasts with the non-verbal Pineapple Poll, showcasing Gilbert’s lyric style in songs that tell the Victorian tale of marital promissory breach with the resulting farcical trial ending in marriage. It was Gilbert and Sullivan’s second collaboration and established their successful reputations. (In photos by Aimee Broman, below top shows Thore Dosdall playing the defendant Edwin (at left) getting the feeling that the jury is not on his side. Below bottom shows the plaintiff Angelina, played by Megan McCarthy).
The Central Midwest Ballet Academy’s Marguerite Luksik and Michael Knight have created original choreography for Pineapple Poll, and performances will feature students from the Academy’s pre-professional level.
In contrast to the tragic-dramatic plots of traditional ballets, the lighthearted nature of Pineapple Poll appeals to a broader audience. Pineapple Poll presents a combination of balanced spectacle and the challenge of experimental work.
Yoked to Trial by Jury, the two productions spark social and artistic novelty, critique and entertainment.
It is worth noting that the performances this weekend are a new collaboration between two homegrown Madison troupes. The Savoyards have been performing every summer since 1963, while Central Midwest Ballet has been active since 2015.
Here is an example of the Sullivan operetta tunes patched together in the Opening Dance of “Pineapple Poll.” (You can hear the Overture in the YouTube video at the bottom):
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- The Mikado, Opening Act 1.
- Trial By Jury, “Hark, the hour of Ten is sounding.”
- The Mikado, “So please you, sir, we much regret” (“But youth, of course, must have its fling. . .”
- Patience, “The Soldiers of our Queen.”
- Trial by Jury, “He will treat us with awe” (“Trial-la- law”).
- The Gondoliers, “Good Morrow, Pretty Maids” (orchestral accompaniment).
- Trial By Jury, “Hark, the hour of Ten is sounding.”
- The Mikado, “So please you, sir, we much regret.”
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Classical music: The Token Creek Chamber Music Festival starts this Friday and marks 30 years with jazz plus music by Bach, Mozart, Liszt, Brahms, Ravel, Schoenberg and John Harbison
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By Jacob Stockinger
Starting this coming Friday, Aug. 16, and running through Sept. 1, the Token Creek Chamber Music Festival will mark its 30th anniversary with the theme of “Sanctuary.” (The festival takes place in a refurbished barn, below, at 4037 Highway 19 in DeForest.)
Add the festival directors: “The term ‘sanctuary’ attempts to capture in a single word something essential about what the festival has meant to players and listeners over all these years. From the start it aspired to offer something of retreat, an oasis, a place of refreshment and nourishment in art, both for musician participants who find a welcoming environment to “re-charge” their work, and for audience attendees who engage in and become a part of it.”
“In our small country barn,” writes prize-winning composer John Harbison (below top, in a photo by Tom Artin) who co-directs the festival with his violinist wife Rose Mary Harbison (below bottom, in a photo by Tom Artin), “we have always remained devoted to the scale and address of much chamber music, which speaks as often in a whisper as in a shout.
“Where larger musical institutions have been habitually frustrated by trying to live in the business model of growth, we have remained devoted to the intensity of the experience, which explains why the music never goes away, rather than to claims of numbers, which begs the music itself to change its very nature.
“Our conviction is that today’s composers, just like Schubert and Mozart, are still striving to embody daily experience, to connect to the natural world, and to ask philosophically and spiritually unanswerable questions, surrounded and interrupting silence, asking only for our most precious commodity — time. We continue to look for valuable ways to offer this transaction to our listeners, and are grateful for their interest over so many years.”
The first two concerts, at 5 p.m., on Friday and Saturday nights, feature the return of a jazz cabaret featuring standard works in the Great American Songbook. For more information about the program and performers, as well as tickets, go to: www.tokencreekfestival.org or call (608) 241-2525.
Tickets for the two jazz concerts are $40 for the balcony and $45 for cafe seating. Tickets for the other concerts are $32 with a limited number of student tickets available for $12.
HERE IS THE LINEUP FOR THE REST OF THE FESTIVAL
Program 2: Music of Brahms at 4 p.m. on Saturday, Aug. 24, and Sunday, Aug. 25
Johannes Brahms is the only composer whose complete catalogue of chamber music is still in constant use. This is due to his fastidious high standards, and to his ideal temperament for music played by smaller groups of players. His music is universally admired for the astounding combination of sheer craft and deep emotional impact.
The program includes the Regenlied (Rain Song), Op. 57 no. 3; Sonata for Violin and Piano in G major, Op. 78; the Sonata for Cello and Piano in E minor, Op. 38; and the Piano Quartet in C minor, Op. 60. (The “Rain Song” is used as the theme of the last movement of the violin sonata. You can hear it performed by violinist Leonidas Kavakos and pianist Yuja Wang in the YouTube video at the bottom, which also features the score so that you can follow along.)
Performers are Edgewood College mezzo-soprano Kathleen Otterson (below top); violinist Rose Mary Harbison; violist Lila Brown (below second); cellist Rhonda Rider (below third, in a photo by Liz Linder); and pianist Janice Weber (below bottom).
Program 3: Then and Now, Words and Music – An 80th Birthday Tribute to John Harbison. Wednesday, Aug. 28, at 7:30 p.m.
Last February, when Madison launched a citywide celebration of co-artistic director John Harbison’s 80th birthday, bitter cold and deep snow made it impossible for the festival to open up The Barn and join in the festivities.
The Wednesday program – an intimate concert of words and music curated by the Harbisons — is the festival’s belated birthday tribute. Harbison will read from his new book about Johann Sebastian Bach, and Boston poet Lloyd Schwartz (below top) will offer a reading of his poems that are the basis of a song cycle to presented by baritone Simon Barrad (below bottom). The evening will include a discussion on setting text, “Poem to Song,” and the world premiere of new Harbison songs, still in progress, on poems of Gary Snyder.
The program includes: Selections from the Violin Sonata in B minor, with violinist Rose Mary Harbison, and “The Art of Fugue” by Johann Sebastian Bach; “Four Songs of Solitude” and “Nocturne” by John Harbison; the Violin Sonata in G Major by Wolfgang Amadeus Mozart; the “Phantasy” for violin and piano by Arnold Schoenberg; the “SchwartzSongs” and “Four Poems for Robin” by John Harbison.
Program 4: The Piano , at 4 p.m. on Sunday, Aug. 31, and Sunday, Sept. 1.
The closing program welcomes back husband-and-wife pianists Robert Levin and Ya-Fei Chuang, playing together and as soloists.
Chuang (below top) is acclaimed by critics in the U.S. and abroad for performances of stunning virtuosity, refinement and communicative power. Levin (below bottom, in a photo by Clive Barda), who teaches at Harvard University, is revered for his Mozart completions and classical period improvisations.
Their program explores the question of the composer-performer — that is, composers who were also formidable pianists: Mozart, Ravel and Liszt.
Beethoven’s fourth piano concerto, arranged by the composer for chamber ensemble, and excerpts of Harbison’s Piano Sonata No. 2, written for Levin, will be performed. Also on the program are Mozart’s Allegro in G Major, K. 357 (completion by Robert Levin); Maurice Ravel’s “Gaspard de la Nuit”; and Franz Liszt’s “Reminiscences of Don Juan.”
Other performers are: violinists Rose Mary Harbison and Laura Burns, of the Madison Symphony Orchestra and Rhapsodie String Quartet; violists Jen Paulson and Kaleigh Acord; cellist Karl Lavine, who is principal cello of both the Madison Symphony Orchestra and the Wisconsin Chamber Orchestra as well as the Chamber Music Director of the Wisconsin Youth Symphony Orchestras (WYSO); and double bassist Ross Gilliland.
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Classical music: After a year recovering from an injury, Chinese superstar pianist Lang Lang says he has become a more serious musician
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By Jacob Stockinger
The Chinese pianist Lang Lang (below) has long been popular, a best-selling superstar and one of the most bankable players in the business.
Yet such was his flamboyant showmanship and self-indulgence that many of his colleagues and critics did not take him very seriously. Many thought of him more as the Liberace of the classical concert stage.
But then a serious injury to his left arm, tendonitis from over-practicing and straining, forced Lang Lang to take a year off to recover.
During that time he married. He worked with young children and music students, even funding a new piano lab. And he released a new CD (“Piano Book”) of short pieces that he has loved since his student days. (You can see Lang Lang coaching a young pianist about a Mozart sonata that played a pivotal role in his life during a master class in the YouTube video at the bottom.)
Lang Lang now says that during that recovery period he rethought everything about his career and has made some major changes from practicing to performing.
And what seems to have emerged, at age 37, is a new approach that emphasizes more seriousness and regularity coupled with greater respect for the music he plays.
Time will tell – in both live and recorded performances — how much has really changed in Lang Lang’s approach to making music.
Nonetheless, the dramatic change was recounted recently in a comprehensive story in The New York Times, which even goes back to trace the pianist’s career, including failures, from his early childhood (below) in China.
Read it and see what you think.
https://www.nytimes.com/2019/07/24/arts/music/lang-lang-piano.html
Then tell us in the Comment section if it has changed how you think about Lang Lang.
The Ear wants to hear.
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Classical music: YOU MUST HEAR THIS – Ernest Bloch’s Nocturne No. 2 for piano trio
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By Jacob Stockinger
Suddenly, in August, you sense fall coming.
The Ear has noticed how the sun is setting sooner and rising later.
And it brought to mind a wonderful performance of a memorable and moving work he heard a couple of weeks ago at the last concert by The Willy Street Chamber Players with University of Wisconsin-Madison pianist Christopher Taylor (below).
In fact, the group says the program – which also included Jessie Montgomery’s “Voodoo Dolls” and the Piano Quintet No. 2 in A Major by Antonin Dvorak – drew a record-setting audience for the group that marked its fifth anniversary this July.
The piece of music in question is the Nocturne No. 2 – the slow and most quiet one — from Three Nocturnes for Piano Trio by Ernest Bloch (below).
It sounds right and feels right with the right touch of autumnal bittersweetness to the evocation of darkness.
Listen for yourself on YouTube (below) and let The Ear know if you like it and agree:
Tags: #AntoninDvorak, #BlogPost, #BlogPosting, #ChamberMusic, #ChristopherTaylor, #ErnestBloch, #FacebookPost, #FacebookPosting, #JessieMontgomery, #MeadWitterSchoolofMusic, #PianoQuintet, #PianoTrio, #SlowMovement, #TheEar, #UniversityofWisconsin-Madison, #VoodooDolls, #WillyStreetChamberPlayers, #YouTubevideo, agree, anniversary, Anton Dvorak, Antonín Dvořák, Arts, attendance, audience, Autumn, autumnal, bittersweetness, blog, cellist, Cello, Chamber music, Christopher Taylor, Classical music, classicalmusic, composer, Concert, darkness, dolls, Ernest Bloch, evocation, Facebook, fall, feel, forward, group, Jacob Stockinger, Jessie Montgomery, July, last, link, Madison, Mead Witter School of Music, memorable, moving, Music, nocturne, performer, Pianist, Piano, Piano Quintet, Piano Trio, piece, post, posting, question, quiet, quintet, record, record-setting, right, rising, setting, share, slow, Sound, sun, tag, The Ear, trio, United States, University of Wisconsin-Madison School of Music, University of Wisconsin–Madison, Violin, violinist, Voodoo, Voodoo Dolls, week, Willy Street Chamber Players, Wisconsin, wonderful, work, yourself, YouTube
Classical music: The fourth annual Madison New Music Festival takes place this Friday, Saturday and Sunday. It features Wisconsin composers and several world premieres
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By Jacob Stockinger
The fourth season of the Madison New Music Festival (below, in a photo from 2017 by Max Schmidt) will take place this coming Friday, Aug. 9, through Sunday, Aug. 11.
The Madison New Music Festival is an annual, weekend-long celebration for the Madison community of classical works written by contemporary composers.
In four concerts – three with admission and one free — the festival will showcase Wisconsin-based composers and performers of new music, as well as world premiere performances by guest artists.
Tickets for each concert are $15 for adults and $5 for students. Subscriptions to all three concerts are available for $35. For more information, go to http://madisonnewmusic.org or to Facebook (@Madison New Music Festival) or Instagram (@madisonnewmusic).
Here is the line-up:
Concert 1: Music from Wisconsin – Friday, Aug. 9, at 7:30 p.m.
Where: Madison Museum of Contemporary Art (227 State St.)
What: In anticipation of this fall’s Wisconsin Triennial and the Madison Museum of Contemporary Art, this concert spotlights all Wisconsin-born, -based, or -educated composers, curated by pianist Robert Fleitz (below, with a toy piano he often performs on), whom The New York Times called “mesmerizing.” Joined by young local musicians, Fleitz explores music created right here in their own backyard.
Concert 2: World Premieres – Saturday, Aug. 10, at 7:30 p.m.
Where: First Unitarian Society of Madison’s Atrium Auditorium (900 University Bay Drive)
What: Internationally acclaimed violist Anne Leilehua Lanzilotti and Wisconsin-born pianist Karl Larson (below top) will give the world premieres of new viola sonatas from three of the world’s leading composers: Andrew Norman, Anna Thorvaldsdottir and Scott Wollschleger. In addition, local cellist James Waldo will kick off the evening with a premiere of a work for solo cello by University of Wisconsin-Madison professor Les Thimmig (below bottom).
Concert 3: SistaStrings – Sunday, Aug. 11, at 2:30 p.m.
Where: Robinia Courtyard (829 East Washington Avenue)
What: The concert features the Milwaukee-based sister duo SistaStrings (below, in a photo by Adam Ryan Morris). Violinist Chauntee Ross and cellist Monique LaDora Ross blend their training as accomplished classical instrumentalists with “R&B and a touch of gospel influence that culminates in a vibey, lush sound.” The sisters will play tracks from their new and acclaimed Extended Play recording in the cozy courtyard. (You can hear them in the YouTube video at the bottom.)
Partner concert: Madison New Music Ensemble (FREE concert) – Sunday, Aug. 11, at 5 p.m.
Where: Memorial Union Terrace (800 Langdon Street, below)
What: Join the newly formed Madison New Music Ensemble (below top), led by UW-Madison composer Joseph Koykkar (below bottom), at the Memorial Union Terrace as part of their Summer Serenade series. The group will perform works by Koykkar, Ian Clarke, Gabriela Lena Frank, Gareth Farr and Kirsten Volness.
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Classical music education: The 18th annual family-friendly and FREE Concert in the Park by the Wisconsin Youth Symphony Orchestras, with two student soloists, is this Wednesday night on the far west wide of Madison
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By Jacob Stockinger
The Wisconsin Youth Symphony Orchestras will perform its 18th annual FREE summer Concert in the Park (below) on this coming Wednesday, Aug. 7, at 1200 John Q. Hammons Drive in the Old Sauk Trails Business Park. (The rain date is this Thursday.)
Hosted by The Gialamas Company, the Concert in the Park is designed to be fun for all ages and is FREE to the public. The Ear can attest to the excellent quality of the musical performances.
Led by WYSO’s music director and Youth Orchestra conductor Kyle Knox (below), who is a graduate of the UW-Madison and the associate conductor of the Madison Symphony Orchestra, WYSO’s Youth Orchestra will perform works by Antonin Dvorak, Peter Ilyich Tchaikovsky, Modest Mussorgsky, Felix Mendelssohn, Camille Saint-Saens, John Philip Sousa and Dmitri Shostakovich.
The program includes concerto performances by two WYSO student soloists: violinist Ellen Zhou; and cellist Grace Kim.
The grounds will open at 5 p.m. for setting up lawn chairs and blankets for picnics and socializing, and for engaging in pre-concert activities, including an ice cream social (below top) and a WYSO instrument petting zoo. Also scheduled are a visit by The Big Red Reading Bus (below bottom) from the Madison Reading Project and activities by the Madison Children’s Museum.
The concert begins at 7 p.m., followed by a fireworks display.
Here is the concert program:
Slavonic Dances Nos. 1, 3, 4, 6, 8 by Antonin Dvorak
Violin Concerto by Felix Mendelssohn
- Allegro molto appassionato
Ellen Zhou, violin (below)
Cello Concerto No. 1 in A minor, Op. 33, by Camille Saint-Saens
III. Tempo primo
Grace Kim, cello (below)
Symphony No. 4 in F minor, Op. 36, by Peter Ilyich Tchaikovsky
- Finale: Allegro con fuoco
Intermission
“Tahiti Trot” (Tea for Two) by Dmitri Shostakovich (orchestrated by Dave Brubeck and heard in the YouTube video at the bottom)
“Stars and Stripes Forever” March by John Philip Sousa (orchestrated by Leopold Stokowski)
“Pictures at an Exhibition” by Modest Mussorgsky (orchestrated by Maurice Ravel)
1st Promenade
Gnomus
2nd Promenade
4th Promenade
Ballet of Unhatched Chicks
The Hut on Hen’s Legs (Baba Yaga)
The Great Gate of Kiev
For more information, food and beverage menus, and information about how to reserve tables, call (608) 836-8000 or visit www.Gialamas.com (click on Events) or email office@Gialamas.com
For more information about WYSO, including how to join it, support it, learn about its background and attend future events, go to https://www.wysomusic.org
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Classical music: The New Milwaukee Consort performs Renaissance and early Baroque love songs this Monday night in Spring Green
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By Jacob Stockinger
The Rural Musicians Forum will present the New Milwaukee Consort in a program of Baroque love songs on this coming Monday, Aug. 5, at 7:30 p.m. at the Unity Chapel in Spring Green.
This group of professionals and experts in early music includes soprano Kristin Knutson (below top), who competed in the 2015 Handel Aria Competition in Madison (in the YouTube video at the bottom); cellist and viol player Charlie Rasmussen (below middle); and lutenist Tim Sterner Miller (below bottom). They will perform on period instruments, bringing audiences back in time to the courts and chambers of Italy, England and France.
The New Milwaukee Consort is dedicated to the music of the European Renaissance and Baroque eras, crafting intimate performances around stories in words and music that resonate across the centuries.
They particularly relish bringing lesser-known sounds of the 17th century to modern audiences, from the work of women composers such as Barbara Strozzi (below) to music from handwritten manuscripts documenting the early development of the cello and ongoing experiments on the lute.
This concert features music from the chamber cantatas of the Venetian singer and composer Strozzi to celebrate her 400th birthday as well as works by her compatriots Claudio Monteverdi and Taruinio Merula; Elizabethan songs by lutenist and composer John Dowland (below); and “airs de cour” (Court music) by French court composer Etienne Moulinie.
Interwoven with these vocal works are pieces for the lute by Dowland and his contemporary Nicholas Vallet; for the viola da gamba by Tobia Hume and Marin Marais (below); and for the cello by Giulio Ruvo, Francesco Supriani and Giuseppe Jacchini.
This is an opportunity to enjoy some of the most precious pieces of Renaissance and Baroque era in the beautiful Unity Chapel (below) designed by Frank Lloyd Wright.
The Chapel is located at 6597 County Highway T in Spring Green.
Admission is by free will offering, with a suggested donation of $15.
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Classical music: The Well-Tempered Ear turns 10 today. Changes are probably in store. What do you like and dislike? What changes would you like to see or not to see?
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By Jacob Stockinger
Today – August 20, 2019 – The Well-Tempered Ear turns 10 years old.
To keep it interesting, entertaining, relevant and useful, but also to offer an easier workload for something that is a hobby, some changes are probably in store and maybe even needed.
For example, the “You Must Hear This” postings that offer pieces of classical music or stories about national and international issues often generate more traffic than local events.
And even with 2.1 million hits, subscriptions seem to have plateaued.
Perhaps all that is because, even with the explosion in classical music over the past decade, many individuals and groups now have their own websites and email newsletters.
But The Ear wants to know what you think.
What would make you and others read the blog more and pass it along?
What do you like or dislike?
Should it even continue?
What changes, if any, would you like to see – or not to see?
Whatever you decide and share, thank you for 10 years of loyal reading, positive reactions and many, many comments.
The Ear wants to hear.
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