The Well-Tempered Ear

Classical music: The reviews are in — and they are all raves. This afternoon is your last chance to hear the season-opening concert by maestro John DeMain and the Madison Symphony Orchestra with piano soloist Emanuel Ax

September 30, 2018
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By Jacob Stockinger

Are you still undecided about whether to attend the season-opening concert — this afternoon at 2:30 p.m. in Overture Hall — by the Madison Symphony Orchestra (below top, in a photo by Greg Anderson), with world-famous piano soloist Emanuel Ax (below bottom, in a photo by Lisa-Marie Mazzucco)?

Perhaps the following rave reviews — which all agree on quality of the program and the performances that start DeMain’s 25th anniversary season and the MSO’s 93rd season — will help you to make up your mind.

The program is certainly an attractive one. It features the curtain-raising  “Fanfare Ritmico” by the living American composer Jennifer Higdon (below); Sergei Prokofiev’s dramatic and appealing score to the ballet “Romeo and Juliet” in a suite specially put together by DeMain; and the monumental Piano Concerto No. 2 in B-flat major, Op. 83, by Johannes Brahms.

Here is a link to a longer background story with details about the program, the performers and tickets, which run $18-$93:

https://welltempered.wordpress.com/2018/09/26/classical-music-this-weekend-pianist-emanuel-ax-helps-conductor-john-demain-opens-his-25th-season-with-the-madison-symphony-orchestra/

Here is a review written by Matt Ambrosio (below), a graduate student at the UW-Madison’s Mead Witter School of Music, for The Capital Times:

https://madison.com/ct/entertainment/music/madison-symphony-orchestra-gets-its-season-off-to-a-strong/article_3b90302e-b354-5e95-817c-23a0dffe6950.html

And here is the lengthy review — with many discerning details about the background and the actual performance — from the veteran and very knowledgeable reviewer Greg Hettmansberger (below) from his blog “What Greg Says”:

https://whatgregsays.wordpress.com/2018/09/29/john-demain-launches-his-25th-madison-symphony-season/

Unfortunately, The Ear could not find an opening-night  review by John W. Barker, who usually covers the MSO for Isthmus.

Of course, you can be a critic too. If you already have heard the MSO concert, either on Friday or Saturday night, please leave your own remarks – positive or negative – in the COMMENT section.

The Ear wants to hear.

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Classical music: Here are practicing tips from pianist Emanuel Ax who uses software to help correct wrong notes

September 28, 2018
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By Jacob Stockinger

Even professional musicians can find practicing to be an ordeal.

“Ax is back,” says the publicity.

That’s because world-famous pianist Emanuel Ax (below, in a photo by Lisa-Marie Mazzucco) is back in Madison to help open John DeMain’s 25th anniversary season with the Madison Symphony Orchestra.

Ax will perform the monumental and fiendishly difficult Piano Concerto No. 2 by Johannes Brahms tonight, Saturday night and Sunday afternoon.

It is a piece that Ax performed live some 200 times before he would agree to recording it.

Here is a link to more about the MSO concerts with the famous pianist:

https://welltempered.wordpress.com/2018/09/26/classical-music-this-weekend-pianist-emanuel-ax-helps-conductor-john-demain-opens-his-25th-season-with-the-madison-symphony-orchestra/

And here is a link to a story about how Ax, who describes himself as a slow learner and who teaches students at the Juilliard School in New York City, practices. It contains his own tips and also talks about special software he uses to detect and correct wrong notes that is available to students and amateurs :

https://lifehacker.com/how-emanuel-ax-makes-piano-practice-less-of-a-slog-1826402441

And as a follow-up, here is a short example of the many YouTube videos of master classes with Emanuel Ax. This one small passage in a sonata by Ludwig van Beethoven gives you a good idea of the hard work that goes into the 50-minute concerto by Brahms:


Classical music: This weekend pianist Emanuel Ax helps conductor John DeMain celebrate his 25th anniversary season with the Madison Symphony Orchestra

September 26, 2018
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By Jacob Stockinger

This weekend the Madison Symphony Orchestra (below top, in a photo by Peter Rodgers) will open its season by celebrating the 25th anniversary of its music director and conductor John DeMain, who will collaborate with renowned pianist Emanuel Ax (below bottom, in a photo by Lisa-Marie Mazzucco).

The program opens with the “Fanfare Ritmico” by Jennifer Higdon, the contemporary American composer and Pulitzer Prize winner. Then comes a special suite of favorite movements, cobbled together by DeMain, from the ballet score for “Romeo and Juliet” by Sergei Prokofiev. The grand finale is the monumental Piano Concerto No. 2 by Johannes Brahms.

Performances will be held in Overture Hall, 201 State Street, on Friday night, Sept. 28, at 7:30 p.m.; Saturday night, Sept. 29, at 8 p.m.; and Sunday afternoon, Sept. 30, at 2:30 p.m.

Jennifer Higdon’s “Fanfare Ritmico” celebrates the rhythm and speed of life. Written on the eve of the new millennium, the work reflects on the quickening pace of life as time progresses.

Higdon (below) herself notes, “Our lives now move at speeds much greater than what I believe anyone would have imagined in years past. As we move along day-to-day, rhythm plays an integral part of our lives — from the individual heartbeat to the lightning speed of our computers. This fanfare celebrates that rhythmic motion, of man and machine, and the energy which permeates every moment of our being in the new century.”

Soviet composer Sergei Prokofiev (below) originally wrote the Romeo and Juliet Suite in 1935 for the titular ballet produced by the Kirov (now Mariinsky) Theatre. In addition to the somewhat standard instrumentation, the ballet orchestration also requires the use of tenor saxophone, a voice that adds a unique sound and contributes to the sense of drama prevalent in Shakespeare’s original tragedy.

For this performance, John DeMain (below, in a photo by Greg Anderson) has hand-picked the best excerpts from across the work to create one orchestra piece.

The epic Piano Concerto No. 2 in B-Flat Major, Op. 83, is separated by 22 years from Johannes Brahms’ first piano concerto and is dedicated to Brahms’ teacher Eduard Marxsen. It was premiered in 1881 in Budapest, Hungary, with Brahms (below) playing the piano solo.

The work was an immediate success and demonstrates Brahms’ ability to blend beauty with fire, tenderness with drama. (You can hear the unusual and fiery Scherzo movement, played by Krystian Zimmerman and Leonard Bernstein with the Vienna Philharmonic Orchestra, in the YouTube video at the bottom.)

Emanuel Ax (below) is considered one of the best-known concert pianists of the 21st century. As the Seattle Times reports, “[Ax’s] touch is amazing. The keys are not so much struck as sighed upon — moved as if by breath. There is no sense of fingers or hammers or material mechanisms…[it] simply materializes and floats in the air.”

Ax captured public attention in 1974 when he won the first Arthur Rubinstein International Piano Competition in Tel Aviv. In 1975 he won the Michaels Award of Young Concert Artists, followed by the coveted Avery Fisher Prize four years later. In 1975, he made his Madison solo recital debut at the Wisconsin Union Theater and he has frequently performed here since then.

Ax is a particular supporter of contemporary composers and new music, and he has given three world premieres in the last few seasons: “Century Rolls” by John Adams; “Seeing” by Christopher Rouse; and “Red Silk Dance” by Bright Sheng. He has also received Grammy awards for the second and third volumes of his cycle of Haydn’s piano sonatas and has made a series of Grammy-winning recordings with cellist Yo-Yo Ma of the Beethoven and Brahms sonatas for cello and piano.

Emanuel Ax (below, in a photo by Lisa-Marie Mazzucco) is currently a faculty member of the Juilliard School of Music, a Fellow of the American Academy of Arts and Sciences, and a recipient of Yale University’s Sanford Medal.

One hour before each performance, MSO retired trombonist and longtime program annotator J. Michael Allsen will lead a 30-minute Prelude Discussion in Overture Hall to enhance concertgoers’ understanding and listening experience. It is free to ticketholders.

Allsen’s program notes for the concerts are available online at this address: http://www.allsenmusic.com/NOTES/1819/1.Sep18.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 Prelude Discussion.

The lobby opens 90 minutes prior to each concert.

Tickets can be purchased in the following ways:

  • Single Tickets are $18-$93 each and are on sale now at: https://madisonsymphony.org/axthrough the Overture Center Box Office at 201 State Street, or by calling the Box Office at (608) 258-4141.
  • Groups of 10 or more can save 25% by calling the MSO office at (608) 257-3734. For more information, visit, 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 $15 or $20 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.
  • Subscribers to 5 or more symphony subscription concerts can save up to 50% off single ticket prices. More information is available about the season at: https://madisonsymphony.org/18-19
  • Flex-ticket booklets of 10 vouchers for 18-19 symphony subscription concerts are available. Learn more at: https://madisonsymphony.org/flex

 NOTE: Discounted seats are subject to availability, and discounts may not be combined.

The Madison Symphony Orchestra is celebrating its 93rd season in 2018–2019 and its 25th season under the leadership of Music Director John DeMain. Find more information about the rest of the MSO season at madisonsymphony.org

The Presenting Sponsors for the September concerts are: Joel and Kathryn Belaire. Major funding is provided by: The Wisconsin State Journal and Madison.com; the Irving and Dorothy Levy Family Foundation, Inc.; the Kenneth A. Lattman Foundation, Inc.; Rosemarie and Fred Blancke; and David and Kato Perlman. Additional funding is provided by Jeffrey and Angela Bartell, Martin L. Conney and the Wisconsin Arts Board, with funds from the State of Wisconsin and the National Endowment for the Arts.


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Classical music: “Just Bach” — a monthly mid-day FREE concert series — starts this Thursday at 1 p.m. in Luther Memorial Church. Plus, the FREE fifth annual UW Brass Fest takes place Friday and Saturday

September 25, 2018
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ALERT: This Friday and Saturday, the UW-Madison’s Mead Witter School of Music will host  Brass Fest V. It features guest artists and the faculty group The Wisconsin Brass Quintet. Events are FREE and OPEN to the public. For a schedule and more information about events and performers, go to: https://www.music.wisc.edu/event/brass-fest-v-alumni/

By Jacob Stockinger

A new and noteworthy monthly event starts this Thursday. Here is an announcement:

“Just Bach” is a new monthly mid-day concert series in Madison. It celebrates the music of Johann Sebastian Bach (below).

The series of hour-long concerts kicks off at 1 p.m. this Thursday, Sept. 27,at Luther Memorial Church (below), 1021 University Avenue.

Admission is free, but goodwill offerings will be accepted.

The Madison series, inspired by a model and successful program established by conductor Julian Wachner at the Trinity Wall Street Church in New York City, will offer monthly concerts at Luther Memorial Church, presenting programs curated from Bach’s sacred vocal repertoire.

As in New York City, the concerts will open with all present singing a hymn, followed by an organ solo, with the rest of the program devoted to cantatas, motets, and possibly oratorios or passions. An important component of the initiative will be the training and inclusion of local singers for the chorus. The period-instrument orchestra will include local and regional players.

Audience members may take in food and beverage for their lunch, which can be consumed during the program.

This Thursday afternoon, organist Mark Brampton Smith (below) will play the “Little” Fugue in G Minor, BWV 578 (heard, with a graphic depiction, in the YouTube video at the bottom); and the choir and orchestra will perform two beautiful cantatas: O heileges Geist- und Wasserbad (O Bath of Holy Spirit and Water), BWV 165; and Liebster Jesu, mein Verlangen (Dearest Jesus, My Desire), BWV 32.

Adds the organizer Marika Fischer Hoyt (below), who also directs the annual Bach Around the Clock event in March: “The goal of this series is to share the immense range of Bach’s vocal and instrumental repertoire with the Madison community at large.

“The period-instrument orchestra will bring the music to life in the manner and style that Bach would have conceived. Members of the artistic team will prepare local singers to perform alongside seasoned professionals and develop a familiarity and love of the repertoire.

“The audience will be invited to sing along during the opening hymns and the closing cantata chorales.

“The dream team bringing this venture to Madison consists of four individuals who have each dedicated a significant portion of their careers to the music of J.S. Bach: soprano Sarah Brailey, who did her master’s at the UW-Madison and won the Handel Aria Competition; mezzo-soprano Cheryl Bensman-Rowe; UW-Madison professor and bass-baritone Paul Rowe; and modern and baroque violist Marika Fischer Hoyt who also performs with the Madison Bach Musicians, Sonata à Quattro and the Madison Symphony Orchestra.

The vocal soloists for the concert on this Thursday will be Sarah Brailey (below), Cheryl Bensman-Rowe, tenor Wesley Dunnagan, and Paul Rowe. The period orchestra of local and regional baroque players will be led by concertmaster Kangwon Kim.

After the debut, Just Bach dates go to Wednesdays and will take place at 1 p.m. on Oct. 31, Nov. 28 and Dec. 12.

Our Facebook page is at https://www.facebook.com/SingetdemHerrn

Our Instagram account is at https://www.instagram.com/_just_bach_/

A website is in the process of being constructed.

We are extremely grateful to Pastor Brad Pohlman and the congregation of Luther Memorial Church for hosting the series this Fall.

We invite the Madison community to come spend a lunch hour with the sublime music of J.S. Bach – feed your body and soul!”


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Classical music: The UW-Madison’s Pro Arte Quartet opens its new season in top form

September 24, 2018
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By Jacob Stockinger

On Friday night in Mills Hall, in an all-masterpiece program that featured Classical, Romantic and Modernist works, the University of Wisconsin-Madison’s Pro Arte Quartet (below, in a photo by Rick Langer) opened its new season .

And it did so in top form. The Ear came away with one thought: You just can’t find better chamber music in Madison — and it’s free!

In the “Sunrise” Quartet in B-flat Major, Op. 76, No. 4, by Franz Joseph Haydn, the Pro Arte exhibited the ideal Classical style with its balance, voicing and clarity.

The sunrise motif proved utterly convincing and evocative. Particularly noteworthy was how the group highlighted the dissonances in the Classical era’s slow movement. (Hear it in the YouTube video at the bottom.)

The interpretation offered more proof that when the work is consonant, you play for the dissonance; and when the work is dissonant, you play for the consonance.

In the short, non-stop Quartet No. 7 in F-sharp minor, Op. 108, by Dmitri Shostakovich, The Ear was impressed by how the Pro Arte teased out the remnants of late Russian Romanticism that creep into the mostly modernist works of Shostakovich and Prokofiev.

Also remarkable was how the Pro Arte highlighted the structure and counterpoint that Shostakovich, a devotee of Bach, brought to his modernism. This seemed a softer and more lyrical Shostakovich, less strident or percussive, than you often hear. And the approach worked beautifully to engage the listener.

And then came the grand finale done grandly: the late Beethoven Quartet No. 15 in A minor, Op. 132. The quartet unraveled the often perplexing and thick texture; the epic length; and the forward-looking compositional methods.

The Pro Arte used a low-key and restrained approach that only highlighted the heart-rending lyricism of the “Heiliger Dangesang,” or Sacred Hymn of Thanksgiving, that the aging Beethoven composed when he had recovered from what he thought might be a fatal illness.

How fitting! The perfectly planned program started with one dawn by the teacher and ended with another dawn by the student.

Madison keeps getting more new chamber music groups, all very accomplished and all very good. But the Pro Arte Quartet — now in its 106th season of existence and its 78th season in residence at the UW-Madison — is still tops. As one fan said in near disbelief, “That concert was out of this world.” He wasn’t alone as the performance drew a prolonged standing ovation and loud bravos from the two-thirds house.

When it comes to chamber music, you just can’t do better than the Pro Arte Quartet. It’s that simple. With such quality and affordability, the Pro Arte should always be playing to a full house.

The Pro Arte Quartet will repeat the same program on Sunday afternoon, Oct. 7, at 12:30 p.m. for “Sunday Afternoon Live at the Chazen.” Admission to the Brittingham Gallery 3 performance space is free, and the concert will be streamed live. Go here for details and a link:

https://www.chazen.wisc.edu/index.php?/events-calendar-demo/event/sunday-afternoon-live-at-the-chazen-10-7-18/

And the dates and times — without programs — of future Pro Arte Quartet concerts can be found here: https://www.music.wisc.edu/pro-arte-quartet/


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Classical music: Autumn arrives today. What composers, works and instruments do you like to listen to in fall? The Ear favors late Brahms – specially the strings, the piano and the clarinet

September 22, 2018
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By Jacob Stockinger

Fall arrives today.

The autumn equinox will occur at 8:54 p.m. Central Daylight Time.

As the days get markedly shorter and the night longer, one’s mood often changes as do one’s listening preferences.

Many composers have written pieces about autumn, and you are sure to hear many of them on Wisconsin Public Radio or other media outlets.

But The Ear has his favorites.

Not for nothing is the late music of Johannes Brahms described as autumnal, both because it happens late in the composer’s life and because of its bittersweet sounds, its poignant harmonies and its melancholy melodies.

For The Ear, you will find it in most of late Brahms, especially in the slow movements. He loves the string music – the violin, the cello and especially the viola sonatas – as well as the clarinet sonatas and piano intermezzi.

Below are three samples.

Here is the slow movement from the Violin Sonata No. 3 in D Minor, played by violinist Itzhak Perlman and pianist Daniel Barenboim:

Here is the slow movement of the Sonata in F Minor, Op. 120, No. 1, for, in this case, clarinet or viola:

And here is a particularly moving piano intermezzo, Op. 117, No. 2, in B-flat minor, played by Arthur Rubinstein:

And should you still be unsure what music you like for the fall, here is a link to two hours of music for fall  — vocal and instrumental music by Antonio Vivaldi, Franz Joseph Haydn, Ludwig van Beethoven, Franz Schubert, Felix Mendelssohn  Alexander Glazunov, Peter Tchaikovsky, Giuseppe Verdi, Edvard Grieg, Gustav Mahler and others — put together by Minnesota Public Radio:

Is there a special composer who evokes autumn for you?

What instruments most speak to you of fall?

Are there special works you like to listen to in autumn?

Leave your thoughts in the COMMENT section, along with a link to a YouTube performance if possible.

The Ear wants to hear.


Classical music: This Sunday afternoon brings percussion music from Clocks in Motion and a performance by the Edgewood Chamber Orchestra.

September 21, 2018
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By Jacob Stockinger

This Sunday afternoon brings two noteworthy concerts: a selection of percussion music from Clocks in Motion and a performance of classic composers by the Edgewood Chamber Orchestra.

Here are the details:

CLOCKS IN MOTION

This Sunday afternoon at 2 p.m., the local percussion group Clocks in Motion will perform at its Rehearsal Facility, located at 126 West Fulton Street in Edgerton, Wisconsin.

Members of Clocks in Motion (below, performing in 2017) are Matthew Coley, Chris Jones, Sean Kleve and Andrew Veit.

Admission to the limited seating is $10, with donations accepted.

For more information, tickets and driving directions, go to:

https://www.artful.ly/store/events/15960

Presenting music never before heard in Wisconsin, Clocks in Motion Percussion will be performing classic repertoire and local premieres in this special event.

Here is the complete program: *”Gravity” by Marc Melltis; *Atomic Atomic” by Andrew Rindfleisch (below and heard in the YouTube video at the bottom); “Third Construction” by John Cage; selections from “Threads” by Paul Lansky; “Mechanical Ballet” by Anders Koppel; “Fantezie” by Sergiu Cretu; and “Glitz!” Bejorn Berkhout

*Denotes this piece was written specifically for Clocks in Motion.

Hailed as “nothing short of remarkable” (ClevelandClassical.com) and “the most exciting addition to Madison’s classical music scene” (Isthmus), Clocks in Motion is a percussion quartet that performs new music, builds many of its own instruments, and breaks down the boundaries of the traditional concert program.

Formed in 2011, Clocks in Motion is quickly becoming a major artistic force in today’s contemporary music scene. Among its many recent and upcoming engagements, the group served as performers at the Interlochen Arts Academy in Michigan; The Stone in New York City; The Overture Center for the Arts; Casper College in Wyoming; the University of Michigan;, Baldwin-Wallace University in Ohio; the University of North Carolina-Pembroke; and the Ewell Concert Series in Virginia.

EDGEWOOD CHAMBER ORCHESTRA

The Edgewood Chamber Orchestra will give a concert on this Sunday afternoon at 2:30 p.m. in the newly remodeled St. Joseph Chapel, 1000 Edgewood College Drive.

The orchestra will perform under the baton of Blake Walter (below).

The program features three arrangements of piano works by Claude Debussy; Arabesques 1 and2, arranged by Henri Mouton, and the seldom-performed Sarabande, arranged by Maurice Ravel.

Other works to be performed include Luigi Cherubini’s Overture to the opera Medea, and Symphony No. 59, subtitled “Fire,” by Franz Joseph Haydn.

Admission is $5 for the general public, free with Edgewood College ID.


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Classical music: A FREE concert of songs and piano music by Norwegian composer Edvard Grieg will be given this Saturday afternoon at the UW-Madison

September 20, 2018
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By Jacob Stockinger

The Ear has always liked Claude Debussy’s quote that the “both strange and delightful taste” of the music by Edvard Grieg is like “a bonbon filled with snow.”

And there is certainly much more to Grieg (1843-1907, below), Norway’s first internationally renowned composer, than the popular Piano Concerto in A minor and “Peer Gynt” Suite.

Here is a link to his biographical entry in Wikipedia

https://en.wikipedia.org/wiki/Edvard_Grieg

To help spread the word about this original but accessible composer who mastered melody and harmony as he incorporated Norwegian folk songs and folk dances into his work, the Edvard Grieg Society of the Great Lakes was formed last year.

This semester’s meeting will be on Saturday afternoon at the University of Wisconsin-Madison’s Mead Witter School of Music.

It will start with a master class at 1 p.m. that is FREE and open to the public.

Then at 4 p.m., in Morphy Recital Hall is a FREE recital of piano works, especially many of the Lyric Pieces, and songs by Grieg, whose wife was a singer. (The lyric piece “Evening in the Mountains” will be performed and you can hear Norwegian pianist Leif Ove Andsnes play it in the YouTube video at the bottom.)

The host is UW faculty member soprano Mimmi Fulmer (below), a champion of Scandinavian music who sits on the board of directors of the Grieg Society. She talked about Grieg and the event in an interview this past week with Norman Gilliland on Wisconsin Public Radio’s program “The Midday.” You can hear that interview, with music, here: https://www.wpr.org/shows/mimmi-fulmer-1

Here is a link to more information about the performances and the complete program, which unfortunately doesn’t translate many of the song titles from Norwegian into English.

https://www.music.wisc.edu/event/concert-with-the-edvard-grieg-society-of-the-great-lakes/

And if you wish to know more about or get involved in or support the Grieg Society, here is a link to its home web page:

http://greatlakesgrieg.weebly.com


Classical music: This Friday night, horn player Dafydd Bevil performs a FREE recital of music by concert-hall composers who also wrote film scores

September 19, 2018
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By Jacob Stockinger

Attention, brass fans!

This coming night Friday, Sept. 21, at 7:30 p.m., horn player Dafydd Bevil (below) will perform a FREE recital at the First Unitarian Society of Madison, 900 University Bay Drive, in Madison.

The program features the music of composers equally adept at creating music for the concert hall or the big screen.

The program includes Fantasy for Solo Horn by Malcom Arnold; Castel del Monte by Nino Rota; Romance by Camille Saint-Saens; Elegy for Mippy I by Leonard Bernstein (heard in the YouTube video at the bottom); and the Horn Concerto by John Williams. UW-Madison graduate piano student Satoko Hayami (below) will collaborate with Bevil.

Bevil is in the process of recording an album of original works for horn written by film composers, which will be released in the spring of 2019.

While pursuing his doctoral degree at the University of Wisconsin-Madison’s Mead Witter School of Music, Bevil is currently an Associate Lecturer of Horn at UW-Whitewater; the brass section coach of the Wisconsin Youth Symphony Orchestras; and a freelance performer throughout the upper Midwest.

For further information about the performer, go to his website at: www.dafyddbevil.com.


Classical music: The UW-Madison’s Pro Arte Quartet – music’s oldest string quartet — will play a FREE concert of late quartets by Haydn, Beethoven and Shostakovich this Friday night

September 18, 2018
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By Jacob Stockinger

Clocking in at over 100 years old, the University of Wisconsin-Madison’s Pro Arte Quartet (below in a photo by Rick Langer) is the longest-lived string quartet in the history of music.

Current members are (from left) David Perry and Suzanne Beia, violins; Sally Chisholm, viola; and Parry Karp, cello.

Ever since it was founded in Brussels, Belgium in 1912 and then in 1938 found refuge from World War II as the first musical artists-in-residence at the UW-Madison (or anywhere), the Pro Arte has had the reputation of commissioning and championing living composers and new works. Such composers, whose works they also premiered, include Samuel Barber, Bela Bartok, Darius Milhaud, Arthur Honegger, Frank Martin and many others.

Here is a link with some of its background:

https://www.music.wisc.edu/event/pro-arte-quartet-4/

And here is a link to a more expanded history of the Pro Arte, along with a schedule of concerts this season:

https://www.music.wisc.edu/pro-arte-quartet/

But the Pro Arte Quartet (below, performing at Carnegie Hall in a photo by Rick Langer) is also unparalleled in performing the classics of the quartet repertoire. 

You can hear that for yourself this coming Friday night at 8 p.m. in Mills Hall, when they will play a FREE concert of three quartets that came late in the composers’ careers.

The quartet will perform the famous and aptly nicknamed “Sunrise” String Quartet in B-flat Major, Op. 76, No. 4, by Franz Joseph Haydn; the late Beethoven String Quartet No. 15 in A minor, Op. 132, with its “Heiliger Dankgesang” – or “Sacred Hymn of Thanksgiving” (which you can hear and see graphically depicted in the YouTube video at the bottom); and the String Quartet No. 7, Op. 108, by Dmitri Shostakovich.

The Ear thinks the program is hard to beat for either experienced string quartets listeners or for newcomers to the genre.

He bets you will too.


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