ALERT: This week’s FREE Friday Noon Musicale at the First Unitarian Society of Madison, 900 University Bay Drive, features Eric Miller (below) playing early music for viola da gamba by Le Sieur de Machy, Johann Schenk and Carl Abel. The concert runs from 12:15 to 1 p.m.
By Jacob Stockinger
This week brings four major public events at the University of Wisconsin-Madison School of Music: one on Friday; two on Saturday; and one on Sunday.
On Friday at 5:30 p.m. in Morphy Hall, the students in the studio of soprano and UW-Madison voice professor Mimmi Fulmer (below) will present a FREE concert. Sorry, no word on the program.
For more information, go to: http://www.music.wisc.edu/event/mimmi-fulmer-studio-recital/
On Saturday at 4 p.m. in Morphy Hall the four winners of the annual Irving Shain Wood-Piano Duo Competition will give a FREE recital.
The pairs of winners are: bassoonist Chia-Yu Hsu with pianist Kangwoo Jin; and bassoonist Eleni Katz with pianist Rayna Slavova.
The program features music by Noël-Gallon (1891-1966); Henri Dutilleux (1916-2013); Gabriel Grovlez (1979-1944); Eugène Bourdeau (1850-1926); Robert Schumann (1810-1856); Gabriel Pierne (1863-1937); Eugène Bourdeau (1850-1926); and Charles Koechlin (1867-1950)
On Saturday at 5 p.m. in Mills Hall, there is a FREE concert by University Bands. Conductors are Darin Olson (below), Nathan Froebe and Justin Lindgre. Sorry, no word on the program.
Sunday at 8 p.m. in Mills Hall, the UW Symphony Orchestra will perform with soloist and UW-Madison alumnus, bassoonist Anthony Georgeson who is Principal Bassoon of the Florida Orchestra. Retiring UW-Madison professor James Smith (below top) will conduct, but the former clarinetist will NOT be a featured performer.
The program is:
Concerto for Bassoon Concerto in B-Flat Major, K. 191, by Wolfgang Amadeus Mozart with alumnus Anthony Georgeson (below bottom) as bassoon soloist. (You can hear Anthony Georgeson talk about music and the cadenzas in Mozart’s Bassoon Concerto in the YouTube video at the bottom.)
“Un Sourire pour Orchestra” (A Smile for Orchestra) by Olivier Messiaen
“Scheherazade” by Nikolai Rimsky-Korsakov
For more information, go to:
By Jacob Stockinger
Conductor Carl St. Clair (below) returns for a third visit as guest conductor with the MSO to lead a pair of early 19th-century works with 112 musicians performing the largest of Richard Strauss’s symphonic tone poems. (MSO music director and conductor John DeMain is conducting a production of Puccini’s opera “Turandot” in Virginia.)
The program begins with the Egmont Overture by Ludwig van Beethoven, followed by the MSO’s premiere performance of the Trumpet Concerto by Johann Nepomuk Hummel, featuring Helseth. The concert ends with a nod to the awesome splendor of the Bavarian Alps, “An Alpine Symphony,” by Richard Strauss.
The concerts are this weekend on Friday at 7:30 p.m., Saturday at 8 p.m., and Sunday at 2:30 p.m. in Overture Hall, 201 State Street. See below for ticket information.
Beethoven (below top) composed his Egmont Overture in 1810. Both Beethoven himself, and playwright Johann Wolfgang von Goethe (below bottom) upheld the ideals of human dignity and freedom in their works.
Their personal relationship stemmed from Beethoven’s incidental music for a new production of Goethe’s play Egmont in 1810. This play about a nobleman’s betrayal by the Spanish monarchy, is beautifully paired with Beethoven’s music. As Goethe called it, Egmont Overture is a “Symphony of Victory.” (You can hear the dramatic “Egmont” Overture, performed by the Vienna Philharmonic under Leonard Bernstein, in the YouTube video at the bottom.)
Another friend of Beethoven’s, was Johann Nepomuk Hummel (below). Even though they were rivals, their respect for each other’s talent kept the relationship afloat.
Hummel’s Trumpet Concerto is a frisky fanfare with “playful dancelike” episodes laced throughout. This is the first time Hummel’s Trumpet Concerto will be performed by the Madison Symphony Orchestra.
Richard Strauss (below top) composed his Eine Alpensinfonie (“An Alpine Symphony”) from 1911-15. The final score used materials from some of his unfinished works, including an Artist’s Tragedy and The Alps.
Though there are many influences for this piece, the main is Strauss’s love for the Bavarian Alps. In his diary he wrote: “I shall call my alpine symphony: Der Antichrist, since it represents: moral purification through one’s own strength, liberation through work, worship of eternal, magnificent nature.” Antichrist is a reference to an essay by philosopher Friedrich Nietzsche (below bottom), and though the title was dropped for its publication, the work still carries many of Nietzsche’s ideals.
One hour before each performance, Michael Allsen (below, in a photo by Katrin Talbot), the author of MSO program notes and an MSO trombonist as well as a UW-Whitewater Professor of Music, will lead a 30-minute Prelude Discussion in Overture Hall to enhance concertgoers’ understanding and listening experience.
For more background on the music, please visit the Program Notes at: http://www.allsenmusic.com/NOTES/1617/6.Mar17.html.
Single Tickets are $16 to $87 each, available at madisonsymphony.org/helseth 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 madisonsymphony.org/groups.
Club 201, MSO’s organization for young professionals, has continued to fulfill its mission for the past 11 years as the premiere organization promoting classical music and networking opportunities to the young professionals’ community in Madison. Tickets are $35 each and include world-class seating in Overture Hall, an exclusive after-party to be held in the Promenade Lounge, one drink ticket and a cash bar.
The conductor as well as musicians from the symphony may also be in attendance to mingle with Madison’s young professionals during the after-party.
The deadline to purchase tickets is Thursday, March 9, pending availability. Tickets can be purchased for this event, as well as the other events throughout the 2016-17 season by visiting the Club 201 page on the MSO’s website at http://www.madisonsymphony.org/club201.
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 $15 tickets. More information is at: 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 March concerts is provided by: The Madison Concourse Hotel & Governor’s Club, An Anonymous Friend, and Madison Gas & Electric Foundation, Inc. Additional funding is provided by: Audrey Dybdahl, Family and Friends, in loving memory of Philip G. Dybdahl, John A. Johnson Foundation, a component fund of the Madison Community Foundation, Madison Veterinary Specialists, Gary and Lynn Mecklenburg, and the Wisconsin Arts Board with funds from the State of Wisconsin and the National Endowment for the Arts.
By Jacob Stockinger
The Ear has received the following information to post about two performances, put on by the Madison Symphony Orchestra, in Overture Hall this week. The first is the season’s final organ recital and the second is the season’s final hymn sing:
The Madison Symphony Orchestra welcomes acclaimed organist Erik Wm. Suter in recital, TONIGHT, March 7, at 7:30 p.m. in Overture Hall, 201 State Street.
Suter will perform works by Johann Sebastian Bach, Wolfgang Amadeus Mozart, Maurice Duruflé and William Bolcom, among others. For the specific works on the program, go to: http://madisonsymphony.org/suter
Additionally, he has won five first place awards in numerous organ competitions around the world.
His performances of the complete organ works of Maurice Duruflé have garnered high praise: “Suter’s impeccable organ playing and musicianship were certainly the highlight of the evening.” (You can sample Suter’s Duruflé project, performed at the National Cathedral, in the YouTube video at the bottom.)
On Saturday, March 11, at 11 a.m., the MSO invites the entire community to sing together with the Overture Concert Organ at a free Hymn Sing in Overture Hall, 201 State Street.
All ages are welcome and no registration or tickets are required.
The Hymn Sing will feature classic hymns and spirituals such as Rock of Ages, Were You There, and I Know That My Redeemer Lives as well as solo organ works by Johann Sebastian Bach, Douglas Bristol and Louis Vierne.
Gary Lewis (below), organist at Bethel Lutheran Church in Madison, will lead the hymn singing, which will last approximately one hour.
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 $10 tickets.
The Erik Wm. Suter performance is sponsored by Mike and Beth Hamerlik.
Support for all Overture Concert Organ programs is provided by the Diane Endres Ballweg Fund. With a gift from Pleasant T. Rowland, the Madison Symphony Orchestra (MSO) commissioned the Overture Concert Organ, which is the backdrop of all MSO concerts.
By Jacob Stockinger
The Opera Guy filed this review, with photos by Michael R. Anderson, for The Ear:
By Larry Wells
It was a completely satisfying theatrical experience of a complexly organized musical work.
The libretto is based on Henry James’ serial novella of the same name. Whereas the James work is an ambiguous, psychological tale, Britten’s opera is an eerie ghost story laden with suggestions of psychosexual mischief.
Musically the opera is based on a 12-tone theme with each of its scenes preceded by a variation of the theme. There are further structural complexities in this highly organized work, but the music is very accessible and was admirably performed by 13 musicians ably led by conductor Kyle Knox. Particular praise goes to the percussionist Garrett Mendlow.
The beautiful, minimalistic set and stunning lighting enhanced the creepiness of the tale.
As for the singing, the cast tackled the complex vocal lines with aplomb, and there were several exceptional performances.
Particular praise goes to Anna Polum for her outstanding portrayal of the ghostly Miss Jessell. She sang beautifully and acted convincingly. (Below, from left, are Katie Anderson as the Governess and Anna Polum as Miss Jessell.)
Likewise Emily Vandenberg as Flora was realistic in the role of a young girl. I have seen performances of this opera that were brought down by unconvincing portrayals of this difficult child role, but Vandenberg acted naturally and sang beautifully.
The other child role, Miles, was capably performed by Simon Johnson, a middle school student. Cayla Rosché adeptly performed Mrs. Grose, the enigmatic housekeeper. (Below are Amitabha Shatdal as Miles, Cayla Rosché as Mrs. Grose and Elisheva Pront as Flora.)
The two major roles are The Governess and the spectral Peter Quint. Erin Bryan was convincing as the increasingly confused and hysteric governess, and she played off Rosché’s Mrs. Grose to great effect. At one point I was thinking that these were two extremely flighty women. (Below, from left, are Cayla Rosché as Mrs. Grose; Elisheva Pront as Flora; Katie Anderson as the Governess; and Amitabha Shatdal as Miles.)
Alec Brown (below) as Quint had the unenviable task of following in the footsteps of singers like Peter Pears who made Quint an evil, threatening, nasty fellow. Brown’s Quint came off as slightly laid back, and his perfectly fine tenor voice was just not a Britten voice in the style of Pears, Philip Langridge or Ian Bostridge.
I had a couple of minor problems with the evening. First, I did not understand why the doors to Music Hall didn’t open until 7:20 for a 7:30 performance, which then actually started at 7:45. And, I was disappointed that the piano, which is a major contributor to the music’s sonority, was swapped for an electronic keyboard.
Yet I left feeling once again that Britten was a true musical genius of the 20th century and that I was eager to go to the 3 p.m. performance this afternoon to experience it all over again.
“The Turn of the Screw” will also be performed one last time on Tuesday at 7:30 p.m.
For more information about the opera, including how to buy tickets — admission is $25 with $20 for seniors and $10 for students, go to:
ALERT: Just a reminder that UW-Madison professor and Pro Arte Quartet cellist Parry Karp will repeat his recent program with pianist Eli Kalman this Sunday afternoon during “Sunday Afternoon Live From the Chazen.” The FREE concert starts at 12:30 p.m. in the Brittingham Gallery 3. The program includes sonatas by Ludwig van Beethoven and Cesar Franck plus preludes by Sulkan Tsintsadze. The recital can also be streamed LIVE.
Here is a link to more information about the performances and program:
And here is a link to the Chazen streaming site:
By Jacob Stockinger
The Ear has been sent the following information to post:
Madison Bach Musicians is excited to offer a Summer Chamber Music Workshop from July 25 to July 28, 2017, focusing on historically informed performances of baroque and classical music.
This workshop is open to intermediate and advanced players who are high school age and older. Participants will be assigned to an ensemble group, and music will be sent in advance to allow musicians to learn their parts beforehand. (Below is a group photo from last summer’s workshop that was taken by Mary Gordon.)
The workshop will include personalized ensemble coaching, master classes, a faculty concert, community lunches and a final closing concert for a supportive and appreciative audience.
Keyboard player Trevor Stephenson (below top), who founded and directs the Madison Bach Musicians, and violinist Kangwon Kim (below bottom) are the co-directors of the summer session.
Other faculty members include flutist Linda Pereksta (below top) and cellist Martha Vallon (below bottom).
All of this will take place in the beautiful and acoustically rich spaces of the First Unitarian Society of Madison.
Applications will be accepted on a first-come, first-served basis beginning Jan. 15, 2017. (Early application discount will be given until March 20.)
Instruments covered include the violin, viola, cello, harpsichord, fortepiano, piano, flute, recorder, oboe and bassoon.
For more information and full details as well as a schedule of classes, faculty and performances – which will include the Brandenburg Concerto No. 3 by Johann Sebastian Bach (see the YouTube video at bottom) as well as music by Antonio Vivaldi and Arcangelo Corelli — go to:
For information about being an auditor and a schedule of concerts, go to:
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.
ALERT: This week’s FREE Friday Noon Musicale, at the First Unitarian Society of Madison, 900 University Bay Drive, will feature flutist Iva Ugrčić, flute and pianist Kyle Johnson performing an all-French program of music by Francis Poulenc, Olivier Messiaen, Claude Debussy and Jules Bouquet. The concert runs from 12:15 to 1 p.m.
By Jacob Stockinger
The Ear has received the following information to post:
The 14th annual Wisconsin Flute Festival will take place this coming Saturday, March 4.
The Wisconsin Flute Festival brings together flutists and music lovers of all ages from Wisconsin and the greater Midwest.
The day’s events include workshops, performances, youth and collegiate competitions, a master class, and a 2,300-plus square foot exhibition hall with purveyors of fine flutes, music and accessories.
The 14th annual Wisconsin Flute Festival will begin at 8 a.m. in the Pyle Center at UW-Madison and will culminate in a FREE public concert beginning at 5 p.m. in Mills Concert Hall, in the Mosse Humanities Building, at UW-Madison.
This concert, “Landscapes and Love Songs,” will be performed by featured guest artist Lorna McGhee. (Sorry, The Ear has no details on the program.)
This year, an expanded variety of workshops and performances will be offered. Workshop topics will include circular breathing, articulation and vibrato, in addition to sessions on maximizing practice time, musicians’ health and interpreting musical pieces.
Participants will also have the opportunity to experience an interactive session with low flutes including; alto flutes, bass flutes and a contrabass flute (below).
Performances during the day will feature: electro-acoustic music; Telemann (below top) on historical flutes; lesser-known modern masters; Romanian composers; Latin music; Bach (below bottom) transcriptions; contemporary interpretation; and works for flute, clarinet and voice. Student soloists and chamber ensembles from UW-Whitewater and UW-Madison will present concerts.
For flutists shopping for an instrument, music or accessories, over a dozen companies and organizations from across the US will be on-site in the Festival’s exhibit hall. Technicians will be also available to evaluate instruments and conduct minor repairs.
Exhibitors include Altus Flutes, Atlantic Crossing Records, Brannen Brothers Flutemakers, Inc., Burkart Flutes & Piccolos, Di Zhao Flutes, Flute Center of New York, Flute Specialists, Flute World, Heid Music, The National Flute Association, Ward-Brodt, White House of Music and Wisconsin Youth Symphony Orchestras.
Tickets are $20 to $35 for Festival participants. Tickets for non-flutist family members of participants (parents, siblings) are available for at a special rate of $5. Registration information is available online at wisconsinflutefestival.org. Tickets can be purchased at the Festival.
The evening concert beginning at 5 p.m. in Mills Hall, is FREE and OPEN TO THE PUBLIC.
The Wisconsin Flute Festival is a program of the Madison Flute Club.
About the Madison Flute Club
The Madison Flute Club was founded in 2002 and currently presents over 20 concerts each year to an audience of more than 1,500 community members. The club involves, on average, 35 active adult members and over 30 youth from the surrounding area.
To advance and achieve its mission, the Madison Flute Club has undertaken several large projects and partnered with numerous organizations and events in Dane County.
These projects include the commissioning and world premiere of a work for flute choir for Design MMoCA, successfully fundraising for a contrabass flute (the first such instrument in Wisconsin) and performing at the National Flute Association Convention.
Madison Flute Club ensembles and members have been featured on Wisconsin Public Radio’s The Midday with Norman Gilliland, WORT 89.9FM Madison and in the publication The Flutist Quarterly.
The 2017 Wisconsin Flute Festival is co-hosted by Madison Flute Club and UW-Madison Flute Studio.
Major funding is provided by: Heid Music, American Printing Company, Eric and Tobi Breisach, Distillery Marketing and Design, Karl Sandelin in honor of Joyce Sandelin and Wisconsin Youth Symphony Orchestras.
Additional funding is provided by Altus Handmade Flutes, Breisach Cordell PLLC, and Dane Arts with additional funds from the Endres Mfg. Company Foundation, The Evjue Foundation, Inc., charitable arm of The Capital Times, the W. Jerome Frautschi Foundation and the Pleasant T. Rowland Foundation.
By Jacob Stockinger
Attention all pianists– amateurs, professionals and students — as well as other keyboard players.
This Saturday brings the first University of Wisconsin-Madison “Keyboard Day.” The focus is comprehensive, having the title “From the Practice Room to the Stage: The Pathway to Artistry.”(The official logo is below.)
The underlying reason may be to attract and recruit talented undergraduate students to the University of Wisconsin-Madison School of Music. But the net effect is that a lot of wisdom about keyboard playing – from practicing to performing — will be on display to be shared with those who attend.
All events are FREE and OPEN TO THE PUBLIC.
The event takes place in Morphy Recital Hall from 9:30 a.m. to 5 p.m.
Here is a schedule:
9:30-10 a.m. Coffee and Pastries (Mills Lobby)
10 a.m.-noon UW-Madison Keyboard Faculty Workshops
Strategies for Learning a New Piece with Professor Martha Fischer (below top) and Professor Jess Johnson (below bottom)
Getting Inside a Composer’s Head with Professor John Stowe
Beyond Repetitive Drilling: Custom Exercises for Every Difficult Passage with Professor Christopher Taylor
Mindfulness and Self-Compassion in the Practice Room with Professor Martha Fischer and Professor Jess Johnson
1:30-3:30 p.m. Master class for high school students with UW-Madison keyboard faculty
Etude in E major, Op. 10, No. 3 by Frederic Chopin; Yunyao Zhu, a student of Kangwoo Jin
Sonata in G major, Op. 49, No. 2 by Ludwig van Beethoven. George Logan, a student of Liz Agard
Sposalizio, by Franz Liszt. Owen Ladd, a student of William Lutes
Scherzo No. 2 in B-flat minor, Op. 31, by Frederic Chopin. Jacob Beranek, a student of Margarita Kontorovsky
3:30-4 p.m. Reception in Mills Lobby
4-5 p.m. Recital featuring UW-Madison Keyboard Faculty
Sonata, Wq. 49 No. 5 by Carl Philipp Emanuel Bach (1714-1788). From Sei Sonate, Op. 2 (1744). John Chappell Stowe, harpsichord (below top)
Quasi Variazioni. Andantino de Clara Wieck by Robert Schumann (1810-1856) from Piano Sonata in F minor, Op. 14. Jess Johnson, piano. *Performed on a Steinbuhler DS 5.0 TM (“7/8”) alternatively-sized piano keyboard.
Don Quixote a Dulcinea (1933) by Maurice Ravel (1875-1937) Poetry by Paul Morand. Paul Rowe, baritone, and Martha Fischer, piano
The Banjo by Louis Moreau Gottschalk (1829-1869). Christopher Taylor, piano (below middle). You can hear the piece in the YouTube video at the bottom. Taylor will also play “Ojos criollos” (Creole Eyes) and “Pasquinade” by the American composer Gottschalk.
Nature Boy by George Alexander “eden ahbez” Aberle (1908-1895) Johannes Wallmann, jazz piano (below bottom)
ALERT: Today at noon on Wisconsin Public Radio’s “The Midday,” host Norman Gilliland will interview artistic director David Ronis about the University Opera’s production of Benjamin Britten’s “The Turn of the Screw,” which will be performed this Friday night, Sunday afternoon and next Tuesday night.
By Jacob Stockinger
The mostly amateur Middleton Community Orchestra (below, in a photo by William Balhorn), under the baton of Steve Kurr, will perform the winter concert of its seventh season on this Wednesday night, March 1, at the Middleton Performing Arts Center at 7:30 p.m.
The Middleton PAC is attached to Middleton High School and is attached to Middleton High School.
General admission is $15. Students are admitted free of charge. The box office opens at 6:30 p.m. and the auditorium doors open at 7 p.m.
The program includes the “Turk in Italy” Overture by Gioachino Rossini; “Silent Woods” and Rondo in G minor, two rarely performed cello pieces by Antonin Dvorak; and the Symphony No. 5 (“Reformation”) by Felix Mendelssohn. (You can hear Dvorak’s “Silent Woods,” with cellist Yo-Yo Ma and Seiji Ozawa conducting the Boston Symphony, in the YouTube video at the bottom.)
Cello soloist Andrew Briggs (below), is returning to perform with the MCO for a second time.
Briggs (below) is completing his doctorate at the University of Wisconsin-Madison this spring, so this may be your last chance to hear him in Madison.
This concert will open with a special guest, Middleton Tribune writer, Matt Geiger who will read two short stories from his new book (below).
Here is a sample from the cover of this book collection: “His little sister joins the circus. His parents buy a nerdy horse. He’s surrounded by hundreds of men dressed up as Ernest Hemingway. He tries to order a monkey through the mail. And now his baby is eating dog food.”
Matt Geiger’s award-winning stories reveal the sublime in the mundane and the comical in the banal. There is existential dread. There is festivity amid detritus. There are moments of genuine introspection on what it means to be human. And it’s all laugh-out-loud funny when told by a humorist who is determined to live an examined life, even if he’s not always entirely sure what he’s looking at.
Matt Geiger (below) was born in Brunswick, Maine, in 1979. He studied philosophy and religion at Flagler College and went on to write for newspapers and magazines in Florida, Wisconsin and the United Kingdom. He is the winner of numerous journalism awards. He currently lives in Wisconsin with his wife, his daughter, two dogs, a cat and a flock of chickens.
As always, there will be a FREE reception for the musicians and the audience after the concert.
For more information about the Middleton Community Orchestra, including its upcoming concerts and review as well as how to join it and support it, go to: http://middletoncommunityorchestra.org