The Well-Tempered Ear

Classical music: Winners of the UW-Madison concerto and new music competitions perform this Sunday night in the annual “Symphony Showcase” concert

February 9, 2016
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By Jacob Stockinger

The Ear has received the following news and invitation from the University of Wisconsin-Madison School of Music:

“SYMPHONY SHOWCASE” BRINGS OUT THE BEST, LITERALLY

They’ve prepared for months and now are ready to show off a bit on the stage of Mills Hall.

Our annual Symphony Showcase is a concert featuring the winners of our annual concerto competition in solo performances with the UW Symphony Orchestra, conducted by James Smith.

This year’s winners are all graduate students with impressive worldwide résumés; one is a composer whose new work will be premiered by the orchestra. (Below, in a photo by Michael R. Anderson, they are, left to right: Kangwoo Jin, piano; Luis Alberto Peña, piano; Garrett Mendelow, percussion; and Paran Amininazari, violin.)

UW concerto winners 2016 Michael R. Anderson

Please join us on Sunday, February 14, at 7:30 p.m. for our concert and reception in Mills Hall.

Please Note: Parking is FREE on Sundays in Grainger Hall.

Concert tickets are $10, but are free for students of all ages. You can Buy in advance (with a $4 handling fee) or in person in the lobby of Mills Hall.

Here are the winners:

Violinist Paran Amininazari is a doctoral student of Professor Soh-Hyun Park Altino. She will play a movement from the Violin Concerto No. 2 in G Minor by Sergei Prokofiev.

Pianist and Collins Fellow Kangwoo Jin is a doctoral student of Professors Christopher Taylor and Jessica Johnson. He will perform the third movement of the Piano Concerto No. 2 in C Minor, Op. 18, by Sergei Rachmaninoff. (you can hear it played by Yuja Wang at the bottom in a YouTube video.)

Garrett Mendelow is doctoral percussionist and Collins Fellow studying with Professor Anthony Di Sanza. He will play the Arena Concerto by Swedish composer Tobias Brostrom.

Luis Alberto Peña is a doctoral piano student of Professor Christopher Taylor. He will perform the Burleske in D Minor by Richard Strauss.

Yunkyung Hong (below, in a photo by Michael R. Anderson) is a doctoral composer studying with Professors Laura Schwendinger and Stephen Dembski. Her work is titled “Transluceny.”

Yunkyung Hong Michael R. Anderson

Read their full biographies here: http://www.music.wisc.edu/2015/12/17/showcase-concerto-winners-announced/

We also encourage you to read our full newsletter, complete with photos and additional links, at this site:

https://uwmadisonschoolofmusic.wordpress.com/2016/01/26/symphony-showcase-outreach-engagement/


Classical music: The Madison Symphony Orchestra celebrates Valentine’s Day this weekend with a varied program about love and the superb Russian violinist Alina Ibragimova playing Beethoven

February 8, 2016
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By Jacob Stockinger

ALERT: TUESDAY is the last day for the Madison Symphony Orchestra’s special sale — two tickets for the price of one — for its Valentine’s Day concerts coming up this weekend. Read more about the players and program below.

By Jacob Stockinger

The Ear has received the following press release from the Madison Symphony Orchestra (below). To be honest, he cares less about the Valentine’s Day tie-ins – some of which seem tenuous – than about hearing the Russian violinist Alina Ibragimova in the Violin Concerto by Ludwig van Beethoven.

The Ear had heard all the of the Beethoven sonatas for violin and piano played by Ibragimova, with Belgian pianist Cedric Tiberghien, and thinks they rank right at the top of recorded versions. Plus, they are live!

She is clearly something very special, so The Ear says: Don’t miss her. (You can hear Alina Ibragimova and her forceful but subtle style — perfectly suited to Beethoven — in the first movement of Beethoven’s famous “Kreutzer” Sonata in a YouTube video at the bottom.)

John DeMain and MSO from the stage Greg Anderson

Now on to the overview, written under the headline:

“Music, the food of love” permeates Madison Symphony Orchestra’s Valentine’s Weekend Concerts on Feb. 12, 13 and 14

Cupid

Love’s attractions and dilemmas infuse the Madison Symphony Orchestra’s Valentine’s weekend concerts Feb. 12, 13 and 14. They feature the Madison debut of Russian violinist Alina Ibragimova in Overture Hall.

Guest conductor Daniel Hege will lead the Madison Symphony Orchestra (MSO) and substitute for music director John DeMain. (NOTE: John DeMain is in Washington, D.C., conducting a production of Kurt Weill‘s “Lost in the Stars” for the Washington National Opera at the Kennedy Center for the Performing Arts. It opens next week.)

Shakespeare’s tale of star-crossed lovers takes musical form in Peter Ilyich Tchaikovsky’s instantly recognizable Romeo and Juliet Fantasy Overture.

Next, Maurice Ravel’s lush Daphnis and Chloe Suite No. 2 depicts lovers Daphnis and Chloe reuniting at daybreak. That is followed by a Bacchanalian dance.

Ludwig van Beethoven’s hugely influential Romantic-era Violin Concerto brings the concert to a thrilling close with technical fireworks.

The concerts are in Overture Hall of the Overture Center, 201 State St., on this Friday at 7:30 p.m.; Saturday at 8 p.m.; and Sunday at 2:30 p.m.

Born in Russia, the young violinist Alina Ibragimova (below) rapidly established herself as a first-rate soloist and chamber musician with the world’s foremost ensembles. Britain’s The Guardian newspaper called her “one of the most technically gifted and charismatic instrumentalists of the age.” A highly flexible and adaptable musician, Ibragimova is equally at home on modern and baroque period instruments, and frequently tours as both soloist and director. She was awarded the Royal Philharmonic Society Young Artist Award in 2010.

alina ibragimova

The concerts cover three different periods of music.

The program begins with the late Romantic period with the Romeo and Juliet Fantasy Overture by Peter Ilyich Tchaikovsky (below). The work taps into the great Shakespearean play, contrasting the rivalry between the Capulet and Montague families, with the passionate music of the second theme clearly expressing the feelings of the two young lovers.

Tchaikovsky 1

The Impressionistic period is represented the sensuous Daphnis and Chloe Suite No. 2 by Maurice Ravel (below). It recounts the stirring fifth-century BCE Greek story of Daphnis and Chloe, who were abandoned as children and brought up by shepherds. The two fall in love, but Chloe is abducted by pirates. After Daphnis rescues Chloe, the couple pantomimes the tale of Pan wooing the nymph Syrinx as the sun rises. Ravel’s score originally accompanied a ballet premiered by the Ballets Russes in Paris in 1912.

ravel

Finally, the early Romantic period is featured with the technically challenging Violin Concerto by Ludwig van Beethoven (below top) which premiered in 1806. A work of beauty, the concerto did not become popular until several decades later, thanks to the advocacy of the legendary violinist Joseph Joachim (below bottom). Beethoven’s only violin concerto, this work paved the way for the great 19th-century German violin concertos by Felix Mendelssohn, Max Bruch and Johannes Brahms.

Beethoven big

Joseph Joachim

Known for his novel interpretations of standard repertoire, Colorado native Daniel Hege (below) is Music Director and Conductor of the Wichita Symphony Orchestra and a frequent guest conductor of orchestras throughout the United States including the Houston, Detroit, Seattle and Indianapolis symphonies.

Syracuse Symphony Orchestra

One hour before each performance, Randal Swiggum (below), artistic director of the Elgin Youth Symphony Orchestra, will lead a FREE 30-minute Prelude Discussion in Overture Hall to enhance concertgoers’ understanding and listening experience.

Randal Swiggum conducting BW

More background on the music can also be found in the Program Notes by MSO trombonist Michael Allsen at: http://www.madisonsymphony.org/ibragimova

Single Tickets are $16 to $85 each, available at http://www.madisonsymphony.org/ibragimova and through the Overture Center Box Office at 201 State Street or call 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 visit, www.madisonsymphony.org/groups

Student rush tickets can be purchased in person on the day of the concert at the Overture Box Office at 201 State Street. Students must show a valid student ID and can receive up to two $12 or $15 tickets. More information is at: www.madisonsymphony.org/studentrush. Students can receive 20% savings on seats in select areas of the hall on advance ticket purchases.

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 February concerts is provided by Irving and Dorothy Levy Family Foundation, Inc., Johnson Bank, and Cyrena and Lee Pondrom. Additional funding is provided by John A. Johnson Foundation, a component fund of the Madison Community Foundation, Gary and Lynn Mecklenburg, and the Wisconsin Arts Board with funds from the State of Wisconsin and the National Endowment for the Arts (NEA).


Classical music: Today is Super Bowl Sunday, so The Ear asks: Who are the winners and champions in the concert hall? Here are the most popular pieces, composers and soloists. Plus, on Tuesday night, violist Elias Goldstein returns to perform Paganini’s fiendish Caprices in a FREE recital

February 7, 2016
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ALERT: The Ear has received the following note from University of Wisconsin-Madison School of Music viola professor Sally Chisholm, who also plays with the Pro Arte Quartet: “Elias Goldstein, who has a doctorate from UW-Madison (2011) and was a Collins Fellow, is playing a concert of all 24 Caprices, originally composed for solo violin by Niccolo Paganini, on VIOLA this Tuesday night at 7:30 p.m. in Morphy Hall. Admission is FREE and OPEN TO THE PUBLIC.

“On March 9, he will perform this program at Carnegie Hall in New York City, as the first violist ever to perform all 24 Caprices in one concert. This is such a feat that it is difficult to believe one of our own is accomplishing it. I was with him in Krakow, Poland when he performed 6 of them. He got standing ovations. He is professor of viola at Louisiana State University, won top prizes at the Primrose International Viola Competition and the Yuri Bashmet Viola Competition in Moscow in 2011.”

Elias Goldstein big

By Jacob Stockinger

Today is the 50th Super Bowl of the NFL, and will be played by the Carolina Panthers and the Denver Broncos in the Levi’s Stadium in Santa Clara, California, near San Francisco.

It starts at 5:30 p.m. CST.

Lady Gaga will sing the national anthem. Coldplay, Beyoncé and Bruno Mars will perform in the half-time show. The Super Bowl will be broadcast live on CBS-TV.

super bowl 50 logo

So, one might ask in a society that loves competition, what constitutes The Super Bowl of classical music?

It is a source of endless discussion and often disagreement.

What classical music is the most mainstream, if not best?

Who are the big winners and champions in the concert hall?

A survey, compiled by a student at the UW-Milwaukee, of the most popular or frequently performed composers, works and soloists was recently conducted by the League of American Orchestras. The rest are for the 2010-11 season.

The No. 1 work is a YouTube video at the bottom. It is the Symphony No. 1 in C Minor by Johannes Brahms and is performed by the Chicago Symphony Orchestra under its late music director and conductor Sir George Solti.

And on March 11, 12 and 13 the Madison Symphony Orchestra hosts TWO of the Top 10 winners: Pianist Emanuel Ax performing the Piano Concerto No. 4 by Ludwig van Beethoven. (The Symphony No. 4 by Gustav Mahler completes the program.)

Emanuel Ax Philharmonia

Here is a link to the complete results along with the method used to gather data:

http://www.classicalmpr.org/story/2014/04/08/league-american-orchestras-performance-data

See what you think and leave a COMMENT.

Do they match up with your preferences and your choices of favorites?

In your opinion, what makes them so popular?

The Ear wants to hear.


Classical music: What kinds of classical music and classical composers do the presidential candidates like?

February 6, 2016
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ALERT: This Sunday night’s concert of new music for woodwinds and piano composed by UW-Madison professor of saxophone Les Thimmig, with UW-Madison pianist Jessica Johnson, has been CANCELLED.

By Jacob Stockinger

Tonight is the last debate for the Republicans before the New Hampshire primary on Tuesday. It takes place at 7 p.m. CST in Manchester, and will be broadcast on ABC-TV.

This past week also saw both a town hall meeting and a debate between the Democrats – their last before the primary election (below, in a photo by Getty Images).

Hillary Clinton and Bernie Sanders CR GettyImages

Here’s a question no one has asked them during the debates: What kind of classical music do you like?

I know, I know. The question has little relevance and little popularity.

But still.

The Ear is happy that the famed New York City radio station WQXR listed such preferences in its blog.

The Ear notes a couple of trends.

No specific pieces were named.

No sonatas or concertos, no symphonies or operas.

All the names of composers were extremely mainstream except for Arcangelo Corelli by Dr. Ben Carson (below), who also named Johann Sebastian Bach and Antonio Vivaldi. Others mentioned Wolfgang Amadeus Mozart and Ludwig van Beethoven.

Dr. Benjamin Carson, director of Pediatric Neurosurgery at Johns Hopkins School of Medicine, speaks to the Conservative Political Action Conference (CPAC) in National Harbor, Maryland, March 16, 2013. REUTERS/Jonathan Ernst (UNITED STATES - Tags: POLITICS HEALTH) - RTR3F2WE

Dr. Benjamin Carson, director of Pediatric Neurosurgery at Johns Hopkins School of Medicine, speaks to the Conservative Political Action Conference (CPAC) in National Harbor, Maryland, March 16, 2013. REUTERS/Jonathan Ernst (UNITED STATES – Tags: POLITICS HEALTH)

Bernie Sanders’ preferred composer echoes his own populist and defiantly anti-establishment, even rabble-rousing, sentiments. Can you guess which composer he favors?

Why is The Ear not surprised that Hillary Clinton remains vague about composers and pieces, but says YES of course she likes classical music and even has it on her iPod.

And former businesswoman Carly Fiorina (below, in a  photo by Politifact) surprises one with her youthful plan to be a professional musician, a concert pianist. Does she still play? The Ear wants to ask.

Carly Fiorina CR Politifact

The Ear also wonders:

Does Evangelical Ted Cruz consider classical music frivolous or even sinful?

Does the Cuban background of Marco Rubio feel ethnically distant from European classical music?

And what about Jeb Bush, Chris Christie, John Kasich and especially Donald Trump?

The Ear bets that country music, rock and pop music draw many more voters and gets many more votes.

But doesn’t anyone else think that the irresistible opening thee of Beethoven’s Fifth Symphony would be a great dramatic call to arms for a candidate?

But who knows for sure?

Anyway, here is a link tot he WQXR story:

http://www.wqxr.org/#!/story/classical-music-presidential-campaign-trail/

Now, The Ear doesn’t expect that this survey will change anyone’s vote.

Still, it is interesting as a sidelight to the much bigger and much more important issues confronting the candidates and the electorate.

And perhaps more specifics about their taste in music will emerge during the rest of the primary campaign and the then the general election.

Their individual culture quotients must matter for something.

What are your reactions?

What do you think?

Let us know.

The Ear wants to hear.


Classical music: Here is the schedule of the Chazen Museum of Art’s chamber music concerts — live and streamed — for 2016. They start this Sunday afternoon with the Wisconsin Brass Quintet. Plus, Mark Adamo will talk about his opera at the performance TONIGHT of “Little Women” by the Madison Opera

February 5, 2016
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ALERT: Kathryn Smith, the general director of the Madison Opera, which is presenting Mark Adamo‘s opera “Little Women” tonight at 8 p.m. and Sunday afternoon at 2:30 p.m. in the Capitol Theater of the Overture Center, writes: “One thing you might let your readers know is that Mark Adamo is doing the pre-show talk TONIGHT in tandem with me  — meaning I’m going to ask him questions, so he can talk about his opera instead of me doing so as usual. That is at 7 p.m. in the Wisconsin Studio of the Overture Center, and is free to ticket holders.”

By Jacob Stockinger

The Ear has received the following message that you may want to print out or write into your datebook:

The Chazen Museum of Art is pleased to announce the continuation of Sunday Afternoon Live From the Chazen for 2016.

On the FIRST SUNDAY OF EVERY MONTH, the Chazen presents chamber music performances in Brittingham Gallery III of the old Conrad A. Elvehjem Building.

SALProArteMay2010

In addition to the gallery performance, the monthly concerts are streamed live on the Internet, making them readily accessible anywhere in the world.

This year marks the 38th season for Sunday Afternoon Live From the Chazen. Until 2015, the series took place weekly and was broadcast live by Wisconsin Public Radio.

When WPR stepped away, the Chazen took over the series.

Lori Skelton, the producer of Sunday Afternoon Live at WPR for many years, has again volunteered to program the concert series and act as its host. Without her musical expertise, as well as her generosity of spirit, the Chazen would not be able to continue this popular program.

During the intermissions, live stream listeners will hear an interview or conversation featuring the museum’s director, Russell Panczenko. Topics include current exhibitions and the permanent collection.

Concerts begin at 12:30 p.m.

All concerts are free and open to the public. However, seating is limited. Chazen Museum of Art members may call 608-263-2246 to reserve seating the week before the concert.

To listen to the concert live on the Internet, simply go to www.Chazen.wisc.edu on the day of the concert and click on Sunday Afternoon Live at the Chazen.

2016 Schedule

This Sunday, February 7:  Wisconsin Brass Quintet 

Wisconsin Brass Quintet

Wisconsin Brass Quintet

March 6:  Pro Arte String Quartet

April 3:  Clocks in Motion percussion ensemble

Clocks in Motion group collage 

May 1:  Pro Arte Quartet

June 5:  Madison Bach Musicians

Kangwon KIm with Madison Bach Musicians

July 3 TBD

August 7 TBD

September 4:  Black Marigold Wind Quintet

Black Marigold new 2016

October 2:  Pro Arte String Quartet

November 6:  Parry Karp, cello

Parry Karp

December 4:  Pro Arte String Quartet (below in a photo by Rick Langer)

Pro Arte 3 Rick Langer copy


Classical music: The third annual Schubertiade at the University of Wisconsin-Madison School of Music was so popular and so successful, it should serve as a model for other collaborative concerts featuring other composers. Plus, a FREE concert at noon on Friday offers music of Philip Glass, Zoltan Kodaly and others

February 4, 2016
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ALERT: This week’s FREE Friday Noon Musicale, held from 12:15 to 1 p.m. at the First Unitarian Society of Madison, 900 University Bay Drive, features Danielle Breisach, flute; Jeff Breisach, horn; Peter Miliczky and Clare Bresnahan, violins; Josh Dieringer, viola; Andrew Briggs, cello; and Jana Avedyahn, piano in music by Philip Glass, Jonathan Russ, Robert Ward and Zoltan Kodaly.

By Jacob Stockinger

Last Saturday night, The Ear attended the third annual Schubertiade in Mills Hall at the University of Wisconsin-Madison School of Music.

In case you aren’t acquainted with what a Schubertiade is, you should know that it is patterned after the kind of informal soirees, held in private homes and salons, where the early Romantic composer Franz Schubert (below, 1797-1828) often premiered to friends his latest songs, piano works and chamber music. The UW-Madison Schubertiades celebrate the composer’s Jan. 31 birthday and usually kick off the second semester of concerts.

Franz Schubert big

Below is a link to a previous posting — with the complete program and list of performers — about this year’s Schubertiade.

It featured an informative interview with pianist and singer Bill Lutes (below right). Lutes, along his wife Martha Fischer (below left) – a professor of collaborative piano at the UW-Madison who also sings – co-founded and co-directs the event. Both of them also performed throughout the event:

https://welltempered.wordpress.com/2016/01/27/classical-music-why-schubert-just-ask-pianist-singer-bill-lutes-and-go-to-the-uw-madisons-third-annual-schubertiade-this-saturday-night-at-8-p-m/

martha fischer and bill lutes

And you can use the search engine on this blog to check out the Schubertiades in 2014 and 2015.

Kudos and bravos are in order. There were so many things to like about the Schubertiade.

Here are a few:

  1. It remained an informal and very listener-friendly event with great pacing. The idea of sitting people on the stage (below top) to recreate a salon gathering is inspired. What’s more, it works and puts the audience in exactly the right mood. Plus, there was exactly the right amount of commentary — not too little or too much.
  2. The program, organized this year around the theme of nature, cohered. It also proved convincing as a vehicle for so many different kinds of Schubert’s music, mostly shorter works – solo songs, larger choral works, piano duets and chamber music.
  3. The quality of the performances was amazingly even and amazingly engaging. The audience was so quiet, you could tell that it was wholly absorbed and not distracted.
  4. The musical works were extremely well matched to the performers, and played to their strengths and temperaments.
  5. The imported guest artist – soprano Jamie-Rose Guarrine (below bottom, in a photo by Peter Konerko), a graduate of the UW-Madison who sings opera and is now a professor at the University of Massachusetts in Amherst – proved a complete success in both her charming presentation and her first-class performances.

Schubertiade 2016 stage

Jamie-Rose Guarrine Peter Konerko

  1. Despite the overall evenness and consistency, there were some standout moments. Judging from the applause, the audience clearly loved the song ”The Trout” followed by the theme-and-variations movement, based on the song, from the famous “Trout” Piano Quintet (below):

Scubertiade 2016 Trout Quintet

Another show-stopper was the superb rendition, both highly dramatic and subtly lyrical, of “Lebensstürme” (Life’s Storms) for piano, four hands, played by Lutes and Fisher.

And the closing number, the famous “Shepherd on the Rock” for soprano, clarinet and piano, brought the house to a standing ovation. (The Ear hopes that this and other moments were recorded and get posted for streaming from the UW School of Music’s website or SoundCloud.) In the YouTube video at the bottom, you can hear this sublime late work in a performance by soprano Barbara Bonney, clarinetist David Shifrin and pianist Andre Watts for the Chamber Music Society of Lincoln Center.

Schubertiade 2016 Shepherd on the Rock

In short, the third annual Schubertiade proved a completely enjoyable and thoroughly persuasive evening of performances that attested to the quality, empathy and variety of the music that Franz Schubert created in his short life of 31 years.

But perhaps the best, most memorable part of the event was to see the collaboration and cooperation that was so evident.

The Schubertiade featured an impressive lineup of faculty members, students and alumni. The many performers came from various departments: piano, voice, strings, brass, winds and opera.

Scubertiade 2016 performers

We see and hear far too little of that cooperation, it seems to The Ear.

And when he talked to another loyal fan of UW music and of the Schubertiade, that fan agreed that such single-composer events are popular with the public and should take place more often. They serve as samplers with both familiar and unfamiliar works.

So maybe the Schubertiade could serve as a model for similar events with other composers whose body of work is, like Schubert’s, both first-rate and very varied.

Some composers who come immediately to mind are Johann Sebastian Bach, Wolfgang Amadeus Mozart, Ludwig van Beethoven, Robert Schumann and Johannes Brahms. And there are no doubt others who could be featured.

Such collaborative events would also prove popular with the public, The Ear surmises. After all, this third Schubertiade seemed to draw the biggest audience yet – a two-thirds house of about 500 – even on the night when a UW-Madison hockey game was competing for attention.

If you didn’t go, it was your loss. But there will be another Schubertiade next January, one presumes. Don’t miss it!

And if you did go to this year’s Schubertiade, leave whatever you care to say in the COMMENTS section.

The Ear wants to hear.


Classical music: “It always starts from the singing line.” Composer and librettist Mark Adamo talks about creating his popular opera “Little Women,” which will be performed twice this weekend by the Madison Opera.

February 3, 2016
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By Jacob Stockinger

The Madison Opera will present its modernist production of the popular contemporary opera “Little Women” (below, in a traditional production by the Calgary Opera) by Mark Adamo this weekend.

Christina Ryan,Calgary Herald CALGARY, AB.:JANUARY 21, 2010 -- Calgary Opera's Canadian premiere production 'Little Women' stars Krisztina Szabo as Meg, Allyson McHardy as Joe, Mariateresa Magisaro as Beth, and Catherine May as Amy in Calgary on January 21, 2010.(Photo by Christina Ryan/Calgary Herald) (for Entertainment story by Bob Clark)00025573A

Christina Ryan,Calgary Herald CALGARY, AB.:JANUARY 21, 2010 — Calgary Opera’s Canadian premiere production ‘Little Women’ stars Krisztina Szabo as Meg, Allyson McHardy as Joe, Mariateresa Magisaro as Beth, and Catherine May as Amy in Calgary on January 21, 2010.(Photo by Christina Ryan/Calgary Herald)

Performances are in the Capitol Theater of the Overture Center on Friday at 8 p.m. and on Sunday at 2:30 p.m.

Tickets to the opera, based on Louisa May Alcott’s famous 19th-century American novel of the same name, run $21-$101. You can call the Overture Center box office at 608 258-4141.

The production features guest conductor Kyle Knox (below), a busy and experienced musician who is a graduate student at the University of Wisconsin-Madison School of Music. His dramatic story was featured on this blog yesterday:

https://welltempered.wordpress.com/2016/02/02/classical-music-here-are-two-dramas-behind-the-scenes-in-this-weekends-production-of-mark-adamos-little-women-by-the-madison-opera/

Kyle Knox 2

Candace Evans (below) returns as the stage director:

Candace Evans

Heather Johnson (below) returns to sing the lead role of Jo March:

Heather Johnson

“Little Women” will be sung in English with projected surtitles.

The running time is 2-1/2 hours with one intermission.

Also, Mark Adamo is doing the pre-show talk on Friday night in tandem with the Madison Opera’s general director Kathryn Smith. Says Smith: “That means I’m going to ask him questions, so he can talk about his opera instead of me doing so as usual. That is at 7 p.m. in the Wisconsin Studio of the Overture Center, and is free to ticket holders.”

For more information about the opera, tickets, the cast and the production as well as the pre-performance lecture and post-performance Q&A, visit:

http://www.madisonopera.org/performances-2015-2016/little_women/

Here is a link to Mark Adamo’s informative website, where you can also see what other music Adamo, who teaches composition at New York University, composes:

http://www.markadamo.com

And here is link to his entry on Wikipedia:

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

Adamo – who will attend the Friday night performance — generously agreed to a recent email interview with The Ear:

mark adamo BW

Is there anything beyond what is on your website that you think readers should know about you, your background and your career, including your latest and upcoming projects?

The website has only a little detail about “Becoming Santa Claus,” which is my fourth opera and which was given a lovely premiere (below) in Dallas in December. I’m editing the soundtrack for an upcoming DVD of the piece even as we speak.

Adamo Becoming Santa Claus

What attracted you to “Little Women” as a subject for an opera?

I actually resisted it up front. I thought it was charming, but too antique and undramatic even to speak, let alone sing.

I was drawn to it only when I realized the show was neither “Three Weddings and a Funeral” (that is, not a story of all the March girls, save Beth, growing up to marry) nor a story of a girl struggling to be an artist (her whole family supports her) but a startling, and startlingly proto-modern, story of a girl/woman who learns too late that the destinies of even those she loves are out of her control.

Once it occurred to me that it was the story of everyone who’s ever heard, or uttered, the words, “I love you, but I have to leave” — and didn’t know why it had to be so — I knew the piece could sing.

How difficult a challenge is it for you to do both the score and the libretto? Do you prefer doing one to the other or find one easier?

For me, it’s natural. I was trained not only as a musician but as a playwright and lyricist (and, less comprehensively, as an actor and director) and, temperamentally, I’m the sort of artist who likes to take the most various, and longest possible, view of the project first before I start it.

An opera is a structure of words and music designed to be acted So the more questions I ask myself up front, the clearer both the script and the score can become even before they’re created, because the piece has been conceived in toto first and then the words and music designed to express it.

So I ask myself: What is the story? How can the journey of this character tell it? What is the sound of this story as verbal diction? Vocal contour? Harmonic mass? Melodic line? (Below are the handwritten manuscript and published score to a work by Mark Adamo.)

Adamo score for Tim Thumb

How would you describe the style of your music to the general public?

It always starts from the singing line. But I let the emotion of the character and the flow of the story determine everything else.

If the character feels like she’s making beautiful discoveries as she falls in love, the harmonies open up, moving from key to key before it settles when she does. If the conversation is turbulent, unsettled, inconclusive, the music is similarly fugitive.

Technically, that means the music is tonal, except when it’s chromatic; harmonic, unless just a sound or an orchestral color can carry the meaning; rhythmically steady, unless rhythms careen every which way to follow the turns of argument. In sum, it is eclectic — but not arbitrarily so. (NOTE: In a YouTube video at the bottom, you can hear an example in Beth’s aria from the production of “Little Women” by the Fayetteville Opera.)

“Little Women” has been performed in more than 65 international productions. What do you think has made it so popular? What is the usual public reaction to the work?

It’s actually over 100 at this point. Obviously, the path of the opera begins with the novel, one of the most beloved in English since its publication. Obviously, you try, as an artist, to make a piece as true and clear and deep as you can. But you can’t control whether artists subsequently believe in that piece (or not), or whether audiences embrace it (or not.)

Eighteen years after its premiere, my only possible response is gratitude that this opera is still speaking so often and to so many.

 


Classical music: Here are two dramas behind the scenes in this weekend’s production of Mark Adamo’s “Little Women” by the Madison Opera

February 2, 2016
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By Jacob Stockinger

The Madison Opera will present its production of Mark Adamo’s popular contemporary chamber opera “Little Women” this weekend.

Performances are in the Capitol Theater of the Overture Center on this Friday at 8 p.m. and on this Sunday at 2:30 p.m.

Tickets to the opera, based on Louisa May Alcott’s famous novel of the same name, run $21-$101. You can call the Overture Center box office at 608 258-4141.

For more information about the opera, tickets, the cast and the production, and the pre-performance lecture and post-performance Q&A, visit:

http://www.madisonopera.org/performances-2015-2016/little_women/

But not all the drama involved with this production is visible on the stage.

One drama is the creative process of writing both the libretto and the music for the opera, which was Adamo’s first opera and which has seen some 65 productions around the world.

Longtime music critic and freelance writer Mike Muckian covers that quiet drama quite insightfully in the Wisconsin Gazette, where he published an interview with Mark Adamo (below). And Muckian even broke some news about Adamo co-writing a new opera with his spouse, acclaimed composer John Corigliano.

Here is a link:

http://www.wisconsingazette.com/on-stage/adamos-landmark-little-women-comes-to-madison-opera.html

Mark Adamo

The other drama concerns the conductor of the opera, Kyle Knox. Knox (below), who is a very experienced graduate student at the University of Wisconsin-Madison School of Music, has gone into conducting after physical problems forced him to give up his career as a clarinetist with the Milwaukee Symphony Orchestra.

That story is covered exceptionally well in the UW-Madison music blog A Tempo by veteran journalist Katherine Esposito, who is also the concert manager and director of public relations for the UW-Madison School of Music.

Here is a link to that story:

https://uwmadisonschoolofmusic.wordpress.com/2016/01/29/kyle-knox-the-accidental-conductor/

Kyle Knox

Kyle Knox 2

The Ear will also post a Q&A with Mark Adamo. In the meantime, perhaps these behind-the-scenes dramas will whet your appetite for both the Q&A and the actual production.

Here is a YouTube video with an excerpt from “Little Women,” with acclaimed mezzo-soprano Joyce DiDonato singing the aria “Things Change, Jo”:


Classical music: The St. Lawrence String Quartet will perform works by Haydn and the Midwest premiere of the String Quartet No. 2 by John Adams this Friday night at the Wisconsin Union Theater. Plus, this Tuesday night UW-Madison alumnus and violist Elias Goldstein will perform a FREE concert of the famous Caprices by Paganini

February 1, 2016
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ALERT: University of Wisconsin-Madison School of Music 2011 alumnus and violist Elias Goldstein is on his way to Carnegie Hall in New York City to perform all the virtuosic 24 Caprices originally for solo violin by Niccolo Paganini. But first he will perform them here in a FREE concert that also includes other works with pianist Thomas Kasdorf, another UW-Madison alumnus, on Tuesday night at 7 p.m. in Morphy Recital Hall. (Sorry, no word on the rest of the program.) Goldstein will also give a FREE and PUBLIC master class on Wednesday at 2:25 p.m. in Morphy Hall.

For more information, go to:

http://www.music.wisc.edu/event/goldstein_paganini/

By Jacob Stockinger

How does a contemporary American composer channel classic composers from more than 200 years ago?

You can find out by going to hear the St. Lawrence String Quartet (SLSQ, below). The critically acclaimed string quartet will perform this Friday night at 8 pm, in Shannon Hall at the Wisconsin Union Theater.

St.Lawrence String Quartet 2016 2 BIG USE

Tickets are $27.50 to $42.50.

For more information, including reviews and video samplings, visit:

http://uniontheater.wisc.edu/Season15-16/st-lawrence-string-quartet.html

The program features two quartets by Franz Joseph Haydn, including the popular and famed “Emperor” Quartet and the earlier “Joke” Quartet as well as the Midwest premiere of John Adams; String Quartet No. 2.

NPR, or National Public Radio, recently featured an interview with Adams discussing Beethoven:

http://www.npr.org/sections/deceptivecadence/2015/11/10/450560466/john-adams-mines-beethovens-mind

But Christopher Costanza, the cellist of the St. Lawrence String Quartet, recently gave an enlightening Q&A from the quartet’s point of view to The Ear:

christopher costanza playing cello

Can you briefly bring the public up to date since your last appearance in Madison, when you performed “The Dreams and Prayers of Isaac the Blind” by Osvaldo Golijov? Major residencies and tours? Major commissions? Major performing and recording projects?

The St. Lawrence String Quartet has been busy with a wide range of projects in the years since our last appearance in Madison.

We’ve had a personnel change – our newest quartet member is Owen Dalby, our second violinist, who joined us in the spring of last year.

We happily continue as Artists-in Residence at Stanford University, where we are involved in a great number of activities, including teaching, performing, and collaborations with a wide range of schools and departments on campus.

And our international touring schedule remains very active, with concerts throughout North America and Europe; our most recent European tour, in late summer of 2015, included concerts in Scotland, Germany, Romania, Hungary and Switzerland, and we will tour Europe twice in 2016.

We’ve performed several pieces commissioned for us, including works by such composers as Osvaldo Golijov, Ellen Taaffe Zwilich, Samuel Adams, Jonathan Berger, James Matheson and George Tsontakis.

Of particular significance, John Adams has composed three works for us, two string quartets and a quartet concerto, “Absolute Jest,” which was written for the SLSQ, the San Francisco Symphony and the SF Symphony’s music director Michael Tilson Thomas.

We’ve performed “Absolute Jest” on several national and international tours with the San Francisco Symphony, as well as with the London Symphony, the Toronto Symphony, and the New World Symphony. Our recording of the work with the San Francisco Symphony and Michael Tilson Thomas was released this past summer.

We’ve recently embarked on a recording project of the Opus 20 quartets of Haydn, and other recording projects are in development.

john adams absolute jest

Why did you choose to perform two Haydn string quartets to open and close the program, instead of a work by Beethoven, given the Beethoven influences in the String Quartet No. 2 by John Adams?

We often perform programs that begin and end with a Haydn quartet, with a contemporary work (or works) in between. This showcases the great variety and brilliance of Haydn’s gigantic contribution to the quartet repertoire.

It also provides an interesting contrast between the earliest works for quartet and current compositional offerings, stressing the fact that Haydn (below) essentially invented the string quartet and paving the way for other composers to explore creativity in their compositions for quartet.

In truth, we do often program Beethoven (below) with the Second String Quartet by Adams. For this program, I think the Adams/Haydn juxtaposition will be a meaningful comment on the evolution of quartet writing, from the early years to works of the present.

Beethoven big

As an exercise in compare and contrast programming, what would you like the public to know about the “Joke” and “Emperor” Quartets by Haydn? About Haydn’s music in general?

Haydn’s “Joke” Quartet, from his Op. 33 set, is, as you might guess, filled with humor and wit. The quartet is actually quite straightforward structurally, filled with robust and positive energy and simple, appealing melodies. It’s a compact work, inviting and charming.

The “Emperor” Quartet, from the Op. 76 set, comes from a later period of Haydn’s compositions, and it is a work of considerable length and weight. This quartet shows a natural link to Beethoven in its duration, dynamic contrast, emotional range, and overall musical substance. (You can hear Haydn’s “Emperor” Quartet performed, analyzed and discussed by the St. Lawrence Quartet in a YouTube video at the bottom.)

Of significant note, the “Emperor” is named thusly for the second movement, a theme and variations based on the tune Haydn (below) originally wrote for the Emperor Francis of Austria as a sort of national anthem.

Haydn

What should readers know about the String Quartet No. 2 by John Adams (below)? How is it similar to or different from his other works that the public knows such as “Nixon in China,” “The Death of Klinghoffer,” “Doctor Atomic” “Harmonielehre” and “On the Transmigration of Souls”? Will this performance be the Midwest premiere? Will you record the quartet?

John Adams’s Second String Quartet is very strongly based on two motivic ideas from Beethoven’s Op. 110 piano sonata, as well as a variation from Beethoven’s “Diabelli” Variations.

The Beethoven elements are clearly presented in clever and skilled ways, and I think many of them will be evident to the astute listener. Most importantly, John is brilliant in his transformation of the Beethoven quotes, and the piece is very clearly an Adams piece, characterized by driving rhythms, great energy, and a true sense of musical intent and balance.

To get a sense of the piece prior to hearing it, I suggest listening to “Absolute Jest” (our recent recording) – another of John’s pieces inspired by Beethoven and filled with late Beethoven quotes – and the Op. 110 Piano Sonata by Beethoven.

We’ve performed the Second Quartet on several occasions since we premiered it at Stanford University about a year ago, but I do think our Madison performance will be a Midwest premiere. We are currently considering the possibility of recording the work, but specific plans have not yet been made.

john adams with pencil

What else would you like to say?

We’re thrilled to be returning to Madison after a gap of several years. It’s very exciting to be bringing a program of music by two of our favorite composers, Joseph Haydn and John Adams, and we think contrasting the two will be interesting and enlightening to all.


Classical music: Why couldn’t the New York Philharmonic find an American conductor? Meet Dutchman Jaap van Sweden, its next music director. Plus, Sunday Afternoon Live From the Chazen, is NEXT SUNDAY — NOT TODAY — and tonight’s concert of new music by UW-Madison professor Les Thimmig has been CANCELLED

January 31, 2016
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ALERT 1: The Sunday Afternoon Live performance by the Wisconsin Brass Quintet at the Chazen Museum of Art is NEXT SUNDAY, NOT TODAY. The Ear apologizes for the mistake.

 ALERT 2: Tonight’s concert of new music for woodwinds and piano by UW-Madison professor Les Thimmig and pianist Jessica Johnson has been CANCELLED.

By Jacob Stockinger

This week the New York Philharmonic announced its next music director and conductor who will succeed Alan Gilbert, starting in 2018.

He is Jaap van Sweden (below, in a photo by Todd Heiser for The New York Times , a 55-year-old Dutchman, acclaimed for his technical prowess, who now is the music director of the Dallas Symphony Orchestra and the Hong Kong Philharmonic.

Jaap van Sweden CR Todd Heisler NYT

There are a lot of stories The Ear could link to.

Here is a short summary from NPR (National Public Radio) with audio clips of his conducting:

http://www.npr.org/sections/deceptivecadence/2016/01/27/464563264/jaap-van-zweden-named-new-music-director-of-the-new-york-philharmonic

But he found the coverage by the New York Times quite comprehensive and, on balance, fair.

It featured a main news story with some important feature elements, including the critical acclaim van Sweden received for conducting music by Gustav Mahler and Ludwig van Beethoven. (Below, you can see van Sweden conducting the New York Philharmonic in 2014 in a photo by Hiroyuki Ito for The New York Times).

Jaap van Sweden conducting the NY PHIL cr Horiyuki Ito NYT

And it also featured a column or commentary by senior classical music critic Anthony Tommasini, who spoke in Madison on the occasion of the centennial of the Pro Arte Quartet that was held at the University of Wisconsin-Madison School of Music.

Overall, Tommasini’s notebook entry is a fine and insightful piece, even if it gets tiring to hear Tommasini climb up on his high horse and whine yet again about the neglect of new music and contemporary composers – which does not seem fully justified based on the record of this particular conductor.

Tommasini – who himself was trained as a composer — clearly would have preferred former Los Angeles Philharmonic conductor and composer Esa-Pekka Salonen (below) as the new music director and conductor. Hmmm – could they be friends?

Esa Pekka Salonen

For his part, it may sound provincial but The Ear is more concerned that the very same symphony orchestra that made history in American culture for hiring the first American-born and American-trained maestro – Leonard Bernstein (below), who also just happened to put Jaap van Sweden on the path to a conducting career – is once again turning to Europe rather to the many fine conducting talents in this country.

Leonard Bernstein CR Jack Mitchell

Why was no American conductor chosen. One who comes to mind is Marin Alsop of the Baltimore Symphony Orchestra (below top) and the Sao Paulo State Symphony Orchestra in Brazil who is also a Bernstein protege. And then there is David Robertson of the St. Louis Symphony Orchestra and chief conductor of the Sydney Symphony Orchestra in Australia(below bottom).

Seems odd that Marin Alsop is good enough for Brazil and David Robertson is good enough for Australia — but not for New York?

The Ear wants to ask the Philharmonic’s board of directors: Do you really find all American conductors to be that inferior to Jaap van Sweden?

Maybe there were practical considerations — salary, contracts, availability, refusals — that made hiring an American conductor impossible. But the stories suggest that the choice of van Sweden was made early on and the fix seemed in. Too bad. It still seems like a great opportunity that was lost.

Marin Alsop big

David Robertson

You can decide for yourself.

Here is the news story by Michael Cooper:

http://www.nytimes.com/2016/01/28/arts/music/new-york-philharmonic-taps-jaap-van-zweden-as-its-next-maestro.html?_r=0

And here is Tommasini’s column:

http://www.nytimes.com/2016/01/28/arts/jaap-van-zweden-and-the-future-of-the-new-york-philharmonic.html

Do you know the work of Jaap van Sweden?

Have you heard him in live or recorded performances?

What do you think?

Here is a sample of Jaap van Sweden conducting Beethoven’s Symphony No. 7 in a YouTube video at the bottom.

Leave your opinion in the COMMENT section.

The Ear wants to hear.


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