By Jacob Stockinger
Here is a special posting, a review written by frequent guest critic and writer for this blog, John W. Barker. Barker (below) is an emeritus professor of Medieval history at the University of Wisconsin-Madison. He also is a well-known classical music critic who writes for Isthmus and the American Record Guide, and who hosts an early music show once a month on Sunday morning on WORT FM 89.9 FM. For years, he served on the Board of Advisors for the Madison Early Music Festival and frequently gives pre-concert lectures in Madison. He also took the performance photos for this review.
By John W. Barker
Despite nasty weather and icy conditions, a quite substantial audience turned out for the concert Wednesday night by the Middleton Community Orchestra (below).
There was an unusual element to the program.
The mostly amateur orchestra opened with an exuberant performance of Rossini’s overture to his opera Il turco in Italia (The Turk in Italy).
Then the normal procedures were interrupted by a local writer, Matt Geiger (below), reading two of his short essays from a recently published collection, which was sold in the lobby.
This appearance was based on his long and valiant boosting of the orchestra in his journalism, but it would have been more appropriate at some community festival than in the midst of an orchestra concert. His essays were not without wit, but had absolutely nothing to do with music.
Back to business with guest soloist Andrew Briggs (below), a young cellist who played two miniatures for his instrument, with orchestra, by Antonin Dvorak.
Silent Woods, Op. 68, No. 5, is sometimes heard as a foil or filler for the composer’s great cello concerto, especially in recordings. Still less familiar is a Rondo in G minor for Cello and Orchestra, Op. 94. It is a work of charm and imagination.
Briggs played both of these with affectionate sensitivity. Currently finishing his doctoral studies at the University of Wisconsin-Madison School of Music, he is an artist with an already expanding reputation and a great future.
The second half of the concert was devoted to Felix Mendelssohn’s Symphony No. 5, the “Reformation.” Composed to celebrate the 300th anniversary of the Augsburg Confession, it was offered here as a gesture to this year’s 500th anniversary of Martin Luther’s launching of his Reformation movement with the posting of his 95 Theses. This is a score full of Lutheran symbolism, particularly with the prominent use of Luther’s chorale, Ein feste Burg ist unser Gott (“A Mighty Fortress is our God”).
NOTE: You can hear how Mendelssohn uses the Luther hymn in the symphony’s final movement by listening to the YouTube video at the bottom.
Commentators have sometimes shrugged off this work, and it has been overshadowed in audience favor by the composer’s popular third and fourth symphonies. But it is a well-wrought score, full of fine musical interest. Conductor Steve Kurr (below) led the orchestra through a sturdy and solidly played performance, ending the concert on a triumphant note.