By Jacob Stockinger
Was Shinichi Suzuki (seen below teaching British students in 1980) a fraud?
You might recall that he is the man who invented the famous Suzuki Method for learning strings and other kinds of musical instruments, including the piano. Entire schools are based on his method.
O’Connor (below) is the same musician who teaches at the prestigious Berklee School of Music in Boston and who plays and records best-selling CDs like “Appalachian Journey” with bassist Edgar Meyer and superstar cellist Yo-Yo Ma.
Now The Ear suspects there will be millions, probably tens or hundreds of millions, of parents and young people – all Suzuki students at one time – who might wish to disagree with O’Connor.
And it sure seems like the Suzuki has led to a lot of Asian students and others who learned through Suzuki playing in major orchestras and attending major conservatories.
At the bottom is YouTube method by a Dallas-based Suzuki teacher who tries to explain and defend the Suzuki Method as a “natural” method that is based on the idea of a “mother tongue.”
But you should make up you own mind about such matters, which are as ethical as they are pedagogical or musical and which force us to confront the practicality and efficacy of competing teaching methods.
Be sure to read the more than 100 comments from readers.
See what you think and then let us know.
The Ear wants to hear.
By Jacob Stockinger
Here is a special posting, a review written by frequent guest critic and writer for this blog, John W. Barker. Barker (below) is an emeritus professor of Medieval history at the University of Wisconsin-Madison. He also is a well-known classical music critic who writes for Isthmus and the American Record Guide, and who for 20 years hosted an early music show every other Sunday morning on WORT-FM 89.9 FM. He serves on the Board of Advisors for the Madison Early Music Festival and frequently gives pre-concert lectures in Madison.
By John W. Barker
Well, last weekend was another train-wreck weekend with too many good things in competition with each other: pianist Valentina Lisitsa at the Wisconsin Union Theater (Thursday, Nov. 20), the Madison Opera’s Fidelio at the Overture Center (Friday, Nov. 21, and Sunday, Nov. 23), the UW-Madison Choral Union and Symphony Orchestra (Saturday, Nov. 22, and Sunday, Nov. 23), and the intimate Solo Dei Gloria concert at Luther Memorial Church (Saturday, Nov. 22). I won’t mention the basketball game, as well.
I was able to revel in Beethoven’s Fidelio on Friday evening, enjoy the SDGers on Saturday, and catch the UW Choral Union and UW Symphony Orchestra (below) on Sunday evening. And a rewarding finale that was.
Conductor and director Beverly Taylor (below) wisely avoided any seasonal associations and gave us the chance to hear music that we are rarely likely to hear otherwise.
There were three pieces.
The “filler” in the middle was a lushly exotic curiosity by Ralph Vaughan Williams (below), his Flos campi (or “floss campy,” as a Wisconsin Public Radio announcer identified it) — “Flower of the Field,” inspired by lines from the Biblical Song of Songs, and scored for the unusual combination of solo viola, wordless chorus and orchestra.
It is a rhapsodic affair, in six interconnected sections, exploring the sonorities and novel colors that his scoring allows. While it evokes a perfumed “eastern” ambiance, much of its musical character really derives from the composer’s steeping in folksong and folk spirit.
The chorus’s size gave its sound a good carrying power, helping the wordless ah-ing and humming to come through well against the orchestra, while viola soloist Sally Chisholm (below), a UW-Madison professor who also plays in the Pro Arte Quartet, made a beautifully ecstatic web of sound that only the viola can really achieve. When have you last heard such a dreamy novelty, and when again are you likely to?
On other side of that music came two different settings of the familiar Latin canticle, Te Deum laudamus, by two different composers. This all-purpose liturgical text has been set many, many times by a procession of composers over the centuries, but it would be difficult to imagine two more utterly contrasting treatments than the ones we heard.
The better known (or less unknown) one of the two was that by opera composer Giuseppe Verdi (below), among his very last compositions and now reckoned as the fourth of his Quattro pezzi sacri or “Four Sacred Pieces.”
It is in a style familiar from his only other important setting of Latin liturgical texts, his Requiem. It is straightforward but noble, monumental and powerful music, and it was brought off with eloquence. (You can heard it, accompanied by the art of Michelangelo in a YouTube video at the bottom.)
That was the closing work.
The opening one was the other Te Deum. Antonin Dvorák (below), though a devout Roman Catholic, composed very little sacred music in Latin. Setting aside a purely functional Mass setting, his only familiar and recognized examples are his Stabat mater and his Requiem. Both of those are deeply felt, but are grandiose concert works.
The only other such work is his setting of the Te Deum, cruelly neglected and unappreciated. It was composed in 1892 as a debut work for Dvorák’s new residence in New York City, and was intended as a celebration of the 400th anniversary of Christopher Columbus’ discovery of the New World.
Against Verdi’s solemnity, Dvorák’s setting is festive. It is patterned along the lines of the traditional four-movement symphony, with a “slow movement” of folksong-like lyricism and a passionate “scherzo,” framed by flanking outpourings of extraordinary exuberance — all in unbroken succession.
For anyone who loves the music of this composer — as I do — or who is still discovering it, this work is an exciting revelation.
There were solo passages in the two Te Deums, beautifully sung by undergraduate soprano Emi Chen (below right) and graduate student baritone Joel Rathmann (below left).
The UW Choral Union itself, 123 singers strong, sang with appropriate sonority. There were some rough spots in the opening of the Dvorák, with its off-putting rhythmic eccentricities, but the UW Symphony Orchestra played quite well otherwise — even if it sometimes was allowed to overshadow the other participants.
In sum, this proved an evening of truly refreshing choral experience, and another tribute to Beverly Taylor’s enterprise.
By Jacob Stockinger
Loyal readers of this blog know very well the name of Mikko Utevsky. The young violist and conductor is a sophomore at the University of Wisconsin School of Music, where he studies with Pro Arte Quartet violist Sally Chisholm and plays in the UW Symphony Orchestra.
Utevsky, who has won awards and impressive reviews for his work in music education since his days at Madison’s East High School, is the founder and conductor of the Madison Area Youth Chamber Orchestra (MAYCO), which will perform its fifth season next summer. He was recently named the new Music Director of a local community orchestra, The Studio Orchestra. The ensemble has a website at (www.disso.org).
You can check out his many honors and projects by typing his name into the search engine on this blog site.
I immediately took him up on the offer. After all, he is a fine and perceptive writer who, you may recall, blogged for this post when he was on tour two summers ago with the Wisconsin Youth Symphony Orchestras (WYSO) tour to Vienna, Prague and Budapest.
Here is the review of “Fidelio” by Mikko Utevsky (below):
By Mikko Utevsky
The Madison Opera has done it again.
Perhaps it is a mark of Katherine Smith (below, in a photo by James Gill) settling into her tenure as General Director.
Perhaps it is the Madison Symphony Orchestra’s continual growth and development as a regional orchestra of versatility and repute.
Perhaps it is the luck of discovering singers at the outset of promising careers, whose success has not yet priced them out of the range of smaller companies.
Whatever the reason, last Sunday’s performance in Overture Hall of Ludwig van Beethoven’s only opera, the monumental “Fidelio,” was a true triumph for what can only be regarded as a company going places.
Briefly, “Fidelio” is the story of a woman, Leonore, who disguises herself as a boy — “Fidelio” meaning the “faithful one” — to infiltrate the prison where her husband Florestan is being wrongly held by his political rival, Don Pizarro.
When the King’s minister (Don Fernando sung by Liam Moran) announces a surprise visit, Pizarro (sung by Kelly Markgraf) decides to have Florestan killed to avoid the awkward explanation. At the last moment, Fidelio intercedes, and the arrival of Don Fernando saves the day.
The Madison Symphony Orchestra under artistic director John DeMain (below), in its usual reduced string complement, shone forth from the pit in more than its usual splendor this Sunday, with a firm, centered string sound and particularly powerful playing from the horns.
Above it soared a cast of creditable balance, with a veritable jewel in the center: Alexandra LoBianco, in the title role of Leonore/Fidelio.
LoBianco, in her first turn as the titular trouser role of Fidelio/Leonore, was beyond reproach in every way. Her captivating Verdian soprano that seemed equally at home in every moment of the opera, rendered with proper dramatic heft the imposing vocal challenges of the part, including a powerful lower register.
The moment when she steps forward at last to defend her husband from the evil Don Pizarro sent chills down my spine. It is hard to believe she has not sung this before; given how completely the role fit her.
Of the others, Clay Hilley’s (Florestan) powerful tenor sometimes substituted steel for warmth in navigating Beethoven’s punishingly high writing — a forgivable flaw in a role whose characterization leaves little room for luxury. His opening scene (“Gott! Welch Dunkel hier” or “God! How dark it is here!”) at the start of Act II was nevertheless absolutely spellbinding.
The chorus (below top and at the bottom, conducted by James Levine, in a YouTube video) was superbly prepared by Chorus Master Anthony Cao (below), who has brought the group’s performance level up considerably in recent years. A timid beginning to the famed prisoner chorus “O welche Lust” was quickly surmounted, and more than made up for by the rousing “Heil sei dem Tag” in the second act.
Sensitive lighting by Christopher Maravich relieved some of the potential for monotony in a visually subdued staging, which featured sets from Michigan Opera Theater and costumes from the Utah Opera.
Both the sets and the costumes relied mostly on hues of brown. The sky showing above the walls of the prison shifted subtly to reflect the passage of time and the mood of the ensemble, providing as well a glimpse of the freedom held at arm’s length from most of the characters. The darkness of Florestan’s prison at the start of the second act was also evocatively rendered.
The scene change from dungeon to daylight before the final scene was distractingly long — could we have had one of the three other overtures Beethoven wrote to this opera to fill the silence? Certainly the orchestra was one of the stars of this production; let them play on!
The staging by director Tara Faircloth (below), in her Madison Opera debut, maintained interest and rewarded careful attention with choice details, though the melodrama and confrontation scenes in the dungeon were rather weak.
Neither of these sapped the sheer power of Leonore’s unveiling, or of the 11th-hour trumpet call announcing the arrival of Florestan’s savior (below left, with Don Pizarro below right) — moments that were absolutely electrifying and worth the price of admission on their own — but they did slow the pace of the act.
Unfortunately, the staging seemed to dodge the political difficulties of the plot, focusing merely on the abstract notion of “freedom” without exploring the implications of Don Fernando’s benevolent proclamations in the final scene.
In the current political climate, I would have hoped for a stronger thesis here — surely Beethoven (below) the revolutionary would have something to say today!
For the most part, these are quibbles with an overwhelmingly excellent production of which the Madison Opera can be justifiably proud. I left the hall feeling uplifted, and I look forward to the rest of the season.
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.
ALERT: Today at 2:30 p.m. in Overture Hall of the Overture Center is your last chance to see the Madison Opera‘s production of Ludwig van Beethoven‘s only opera “Fidelio.” The production has drawn high praise from local critics. (Below, in a photo by James Gill, are the lead singers tenor Clay Hilley as the imprisoned Florestan and soprano Alexandra LoBianco as his wife Leonore.) For tickets, call the Overture Center box office at (608) 258-4141.
Here is a review by John W. Barker for Isthmus:
And here is a review by Greg Hettmansberger for Madison Magazine’s blog “Classically Speaking”:
By Jacob Stockinger
Did you hear about Avery Fisher Hall (below)? They want to rename it!!!!
It needs major work and expensive upgrading.
The stakes only get higher and more expensive, of course. But Big Money is no doubt up to the challenge.
Some you may remember the comments I recently posted about the renaming of the Wisconsin Union Theater as Shannon Hall (below) because of generous donations. A plaque would have sufficed, like at Camp Randall Stadium.
It shouldn’t be too hard for Big Money to follow the more modest and more respectable examples of local philanthropists Jerry Frautschi and Pleasant Rowland, who funded the Overture Center for the Arts without plastering their names all over it.
But no! The rich need to splash their names all over the buildings so that we honor wealth more than public service or history.
Or should I say “re-naming rights.”
Officials will even pay the Fisher family millions of dollars to allow the renaming of the legendary hall where so many great careers have started and been put on display for the public.
The Ear didn’t like that, either. But at least the UW-Madison didn’t pay for the family’s permission, didn’t buy back the honor and then turn around and give it to someone else.
Maybe that is the reality of financing projects in today’s income disparity and wealth gap plus lower taxes on the rich that Trickle-Downers want to lower even more.
But it is nonetheless shameful.
What’s next? Avery Fisher Hall becomes David H. Koch Hall?
When do we become the Wal-Mart States of America?
Here is the story that appeared in The New York Times:
Tell us what you think of it.
The Ear wants to hear.
By Jacob Stockinger
Today is Nov. 22, 2014.
The Ear remembers the deep sadness and immense sense of frustration that surrounded the assassination. American politics has never seemed the same since his death.
He also remembers hearing broadcasts of the Requiem by Gabriel Faure and the “German” Requiem by Johannes Brahms – both fitting choices to honor the dead president.
But since then, The Ear has learned that JFK -– whose own family was well acquainted with tragedy and loss — especially liked the saddest of all music, the “Adagio for Strings” by American composer Samuel Barber. Barber (below) had arranged it from the slow movement of his String Quartet No. 1 in B Minor to a String Orchestra at the request of the world-famous conductor Arturo Toscanini.
By the way, in the original string quartet form, the work was given its world premiere by the University of Wisconsin-Madison Pro Arte Quartet in Rome in 1936. And the original quartet form seems somehow less lush and self-indulgent, more restrained and dignified or even complex, while the string orchestra version seems more overpowering and Romantic.
Compare the two versions for yourself by listening to both of them on YouTube.
And here is the more familiar version for string orchestra in a version that has more than 3 million hits:
Which one do you like best and why?
The Ear wants to hear.
By Jacob Stockinger
If you don’t already know about A Tempo, you should.
It is the official blog of the University of Wisconsin-Madison School of Music.
Started by Katherine Esposito (below), the new concert manager and director of public relations, the blog contains updates about upcoming concerts as well as behind-the-scenes news concerning students and faculty and the entire UW-Madison School of Music.
It is rich with links and sound samples.
Perhaps you want to know about the two performances this weekend (in Mills Hall on Saturday night at 8 p.m. and Sunday night at 7:30 p.m.) by the UW Choral Union and the UW Symphony Orchestra. They include the first-ever UW-Madison performance of the “Te Deum” by Antonin Dvorak (at bottom in a YouTube video) as well as the “Te Deum” of Italian opera composer Giuseppe Verdi and the “Flos Campi” by British composer Ralph Vaughan Williams.
Perhaps you want to know about the school’s beefed up jazz program and early December events under the leadership of pianist Johannes Wallmann (below) and how it cooperates with area high schools.
Perhaps you want to know about the scholarship donation program or catch up on a klezmer workshop that took place this past week.
Or maybe you need to know how to sign up for the annual summer national cello workshop and cello choir (below top), run by UW-Madison cellist Uri Vardi (below bottom) and his wife.
Or maybe you don’t know about the latest award won by the UW-Madison composer Laura Schwendinger (below).
They are all in the latest online issue of A Tempo.
Here is a link.
If The Ear were you, he would bookmark it or subscribe to it.