The Well-Tempered Ear
Classical music: This weekend the Madison Symphony Orchestra opens its new season with Mendelssohn’s “Reformation” Symphony and music by Bach. It also highlights principal violist in music by Berlioz | September 13, 2017
By Jacob Stockinger
This coming weekend, the Madison Symphony Orchestra (MSO, below in a photo by Peter Rodgers), with music director John DeMain conducting, opens its 92nd season with a celebration of the 500th anniversary of the Lutheran Reformation.
The season-opening concert also showcases the Madison Symphony Orchestra as an ensemble with no guest soloist. The MSO’s Principal Violist Chris Dozoryst (below) will solo in Hector Berlioz’s “Harold in Italy.”
Also featured is Leopold Stokowski’s famous orchestral arrangement of Johann Sebastian Bach’s Toccata and Fugue in D Minor, and the 500th anniversary of the Lutheran Reformation will be honored with Felix Mendelssohn’s “Reformation” Symphony.
The concerts in Overture Hall of the Overture Center, 201 State Street, are on Friday night, Sept. 15, at 7:30 p.m.; Saturday night, Sept. 16, at 8 p.m., and Sunday afternoon, Sept. 17, at 2:30 p.m.
Ticket information is below.
According to the MSO press release: “The concerts present the music of two composers who shared a deeply spiritual relationship with the Lutheran faith, and passion for music. It is said that Johann Sebastian Bach set faith to music, and Felix Mendelssohn clarified faith for all to hear.
MSO Music Director John DeMain (below, in a photo by Greg Anderson) chose to pair Bach and Mendelssohn specifically for this program.
“Both Bach (below top) and Mendelssohn (below bottom) were devout Lutherans, Mendelssohn having converted from Judaism when he was 12 years old,” DeMain says.
“I decided to open the season with Leopold Stokowski’s great transcription of Bach’s Toccata and Fugue in D Minor for organ, and then give the first performance by the MSO of Mendelssohn’s Symphony No. 5, subtitled the Reformation. Indeed, this symphony quotes extensively from one of the greatest Christian hymns of all time — “A Mighty Fortress Is Our God.””
Bach’s Toccata and Fugue in D minor is a transcription for orchestra by Leopold Stokowski (below) and became well-known after its inclusion in Disney’s film Fantasia. The piece was originally cut from the theatrical release of the film, but was later added back in a 1946 re-release and included Stokowski directing the orchestra at the beginning of the piece. (You can hear the original version for organ, with an unusual graphic display, in the YouTube video at the bottom.)
Hector Berlioz’s “Harold in Italy” is considered an autobiographical vignette recounting the composer’s Italian experience. The piece is filled with youthful vitality, tinged with an appealing Romantic sensibility that Berlioz (below) borrowed freely from literature, most specifically Lord Byron’s poem “Childe Harold’s Pilgrimage.” Playing the solo viola part is MSO’s Principal Violist Chris Dozoryst.
The 2017–18 season will mark Christopher Dozoryst’s 10th season as principal viola with the Madison Symphony Orchestra. In addition to his orchestral duties, Chris also performs with the MSO’s HeartStrings Program as violist with the Rhapsodie Quartet. He also performs and records, working locally and regionally in Madison and Chicago. He has performed numerous engagements with well-known musicians including Tony Bennett, Ray Charles, and Smokey Robinson.
Originally commissioned in 1830 for a celebration of the 300th anniversary of the Augsburg Confession, Mendelssohn honors Martin Luther (below) in his Symphony No. 5 “Reformation” by including in the finale the beloved hymn Ein’ feste Burg is unser Gott (A Mighty Fortress Is Our God) that Luther had written while the Augsburg Confession was in session. This year marks the 500th anniversary of Luther’s Ninety-Five Theses and the establishment of the Lutheran Church.
One hour before each performance, Amy Hartsough (below), acting director of music at Bethel Lutheran Church, will lead a FREE 30-minute Prelude Discussion in Overture Hall to enhance concertgoers’ understanding and listening experience.
For more background on the music, please read the Program Notes by MSO trombonist and UW-Whitewater professor Michael Allsen at: http://www.allsenmusic.com/NOTES/1718/1.Sep17.html.
The MSO recommends that concert attendees arrive early for each performance to make sure they have time to pass through Overture Center’s security stations, and so they can experience the pre-concert talk (free for all ticket-holders).
Single Tickets are $18-$90 each and are on sale now at https://www.madisonsymphony.org/singletickets, through the Overture Center Box Office at 201 State Street, or by calling the Box Office at (608) 258-4141.
Groups of 15 or more can save 25% by calling the MSO office at (608) 257-3734. For more information, go to: https://www.madisonsymphony.org/groups.
Student rush tickets can be purchased in person on the day of the concert at the Overture Center Box Office at 201 State Street. Students must show a valid student ID and can receive up to two $12 or $18 tickets.
More information is at: https://www.madisonsymphony.org/studentrush
Seniors age 62 and up receive 20% savings on advance and day-of-concert ticket purchases in select areas of the hall.
Discounted seats are subject to availability, and discounts may not be combined.
Major funding for the September concerts is provided by: the Wisconsin State Journal and Madison.com, Rosemarie and Fred Blancke, Capitol Lakes, The Gialamas Company, Inc., Marvin J. Levy, Nancy Mohs, and Peggy and Tom Pyle. Additional funding is provided by: DeWitt Ross & Stevens S.C., Forte Research Systems and Nimblify, the Wisconsin Arts Board with funds from the State of Wisconsin, and the federal National Endowment for the Arts.
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Pingback by Classical music: This afternoon is your last chance to hear the season-opening concert of music by Bach, Mendelssohn and Berlioz by the Madison Symphony Orchestra. Read the positive reviews here | The Well-Tempered Ear — September 17, 2017 @ 12:00 am
Wikipedia has a nice entry on Mendelssohn, who by the way, was considered to be an even greater “Wunderkind” (child prodigy) than Mozart.
From Wikipedia:
“Religion
On 21 March 1816, at the age of seven years, Mendelssohn was baptised with his brother and sisters in a home ceremony by Johann Jakob Stegemann, minister of the Evangelical congregation of Berlin’s Jerusalem Church and New Church. Although Mendelssohn was a conforming Christian as a member of the Reformed Church,[n 4] he was both conscious and proud of his Jewish ancestry and notably of his connection with his grandfather Moses Mendelssohn. He was the prime mover in proposing to the publisher Heinrich Brockhaus a complete edition of Moses’s works, which continued with the support of his uncle Joseph Mendelssohn.[65] Mendelssohn was notably reluctant, either in his letters or conversation, to comment on his innermost beliefs; his friend Devrient wrote that “[his] deep convictions were never uttered in intercourse with the world; only in rare and intimate moments did they ever appear, and then only in the slightest and most humorous allusions”.[66] Thus for example in a letter to his sister Rebecka, Mendelssohn rebukes her complaint about an unpleasant relative: “What do you mean by saying you are not hostile to Jews? I hope this was a joke […] It is really sweet of you that you do not despise your family, isn’t it?”[67] Some modern scholars have devoted considerable energy to demonstrate either that Mendelssohn was deeply sympathetic to his ancestors’ Jewish beliefs, or that he was hostile to this and sincere in his Christian beliefs.[n 5]”.
I’m sure there are readers out there who know more about this too!
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Comment by fflambeau — September 13, 2017 @ 2:33 am
This is a great idea and I don’t want to rain on the parade of something so worthy.
However, readers should be aware that it was a very common practice for those who were Jewish to take on the main religion of where they were living. A kind of cultural “camouflage”: forced upon them by persecution and intolerance. They were called “conversos”; and the Jewish historian Henry Kamen wrote a wonderful book that covers this topic and when Jews were first required to wear the “yellow star” of David as markers of their identity. That was way back in 1235 after the Council of Arles, See Kamen, “The Spanish Inquisition” at 23 (Mentor paperback edition, 1968)(this famous book has gone through many editions). The book, despite its title, is really about religious intolerance.
Kamen, by the way, wrote this famous book when he was in attendance at the Institute for Research in the Humanities at UW.
Victor Klemperer, cousin of world famous conductor Otto Klemperer, was another Jew who took on a Christian religion, Roman Catholicism as I recall. See his best selling diary, “I Will Bear Witness” (he survived the fire bombing of Dresden and the Nazis, you will be pleased to hear). Victor Klemperer, by the way, pretty much considered himself still Jewish, even after his “conversion”; I don’t know about Mendelssohn. As I recall, Mendelsohnn’s music was banned in Germany during Nazi times!
Otto Klemperer also faced persecution: by the U.S. government! According to Wikipedia, “Klemperer experienced difficulties arising from his U.S. citizenship. American union policies made it difficult for him to record in Europe, while his left-wing views made him increasingly unpopular with the State Department and FBI: in 1952 the United States refused to renew his passport. In 1954 Klemperer again returned to Europe, and acquired a German passport.[6][9]”
Let’s hope the concert centers on tolerance of all religions and the wonderful people who wrote it (and performed it).
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Comment by fflambeau — September 13, 2017 @ 2:19 am