The Well-Tempered Ear
UW-Madison alumna Kathryn Lounsbery gives a FREE virtual online talk this Tuesday night about how musicians can develop and market new skills during COVID
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By Jacob Stockinger
It is no secret that the coronavirus and COVID-19 pandemic have been especially hard on gig workers and artists worldwide – hurting musicians financially and professionally as well as psychologically and artistically.
But this Tuesday night, Nov. 10, from 7 to 8:30 p.m. UW-Madison alumna Kathryn Lounsbery (below) will give a FREE virtual and interactive talk about developing marketable skills that can help carry musicians through the pandemic and beyond.
There is no in-person attendance. But here is a link to the live-streaming session of YouTube video: https://youtu.be/me1tC0LfEVU
Here is more information from the Mead Witter School of Music:
“Pure talent does not always equal a paycheck. Now, more than ever, musicians need to be savvy and employ out-of-the-box thinking with regards to their careers.
“Kathryn Lounsbery — a graduate of the UW-Madison School of Music — has taken her two classical piano degrees and crafted a life in music that includes teaching, performing, comedy, workshops, music-directing, cabaret and more.
“In this interactive session, she will pass on ways in which musicians can craft creative and rewarding careers for themselves, all while making a living.
“Lounsbery is a Los Angeles-based pianist, vocal coach, educator, comedian, music director, composer, arranger and educator. She holds a Master’s degree from the University of Southern California (2004) and a Bachelor of Music degree from the University of Wisconsin-Madison (2000).
“She has served on the faculty of The American Musical and Dramatic Academy (AMDA) for a decade. Many of her former students are currently on Broadway and have been in feature films and television shows. Prior to her tenure at AMDA, she was on the faculty at Sonoma State University.
“Lounsbery is endorsed by Roland Pianos and frequently gives concerts and clinics on their behalf across the U.S. and abroad.
“For seven years, she served as a Keyboard Editor at Alfred Music Publishing, the world’s largest educational music publisher.
“Lounsbery has worked alongside entertainment industry greats including David Foster, Jim Brickman, Evan Rachel Wood, Travis Barker, Kathy Najimy, Charlotte Rae, Laura Benanti and Aubrey Plaza to name a few. She has been a music coach for HBO, Showtime and ABC series.
“As a comedian, Kathryn was featured on NBC’s “Last Comic Standing” and has appeared at The Laugh Factory and The Improv, and has headlined at The World Famous Comedy Store. Her musical improv skills lead her to hold the position of music director at the famed Second City in Chicago for several years.
“Lounsbery is the creator and director of “Authenticity and Bad-Assery,” a popular performance-based workshop in Los Angeles. There is currently a waitlist to participate.
“She has toured the country with her solo show “Kathryn Lounsbery Presents Kathryn Lounsbery.” Her comedy videos have garnered millions of views and have been shown at film festivals around the world. (You can see a comedy beefcake video based on Beethoven’s “Pathetique” piano sonata in the YouTube video at the bottom.)
“She is also the music arranger on “The Potters” an animated feature to be released through Lionsgate in 2021.”
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Classical music: Meet Conor Nelson, the new flute professor at the UW-Madison
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By Jacob Stockinger
The UW-Madison’s Mead Witter School of Music has a new flute professor who follows Timothy Hagen in taking the place of retired longtime predecessor Stephanie Jutt, who continues to perform locally with the Madison Symphony Orchestra and the Bach Dancing and Dynamite Society..
He is Conor Nelson (below) and he starts later this month at the UW-Madison’s Mead Witter School of Music.
Here is the biography — impressive for both his performing and his teaching –that the university released:
“Praised for his “long-breathed phrases and luscious tone” by the Minneapolis Star Tribune, Canadian flutist Conor Nelson is established as a leading flutist and pedagogue of his generation.
“Since his New York recital debut at Carnegie Hall’s Weill Recital Hall, he has frequently appeared as soloist and recitalist throughout the United States and abroad.
“Solo engagements include concertos with the Minnesota Orchestra, the Toronto Symphony Orchestra, the Flint Symphony, and numerous other orchestras.
“In addition to being the only wind player to win the Grand Prize at the WAMSO (Minnesota Orchestra) Young Artist Competition, he won first prize at the William C. Byrd Young Artist Competition. He also received top prizes at the New York Flute Club Young Artist Competition, the Haynes International Flute Competition as well as the Fischoff, Coleman and Yellow Springs chamber music competitions. (Editor’s note: In the YouTube video at the bottom, you can hear Conor Nelson perform the second and third movements of the Flute Sonata by French composer Francis Poulenc.)
“With percussionist Ayano Kataoka (below left, with Nelson), he performed at Merkin Concert Hall, Tokyo Bunka Kaikan Hall and Izumi Hall. A recital at the Tokyo Opera City Hall received numerous broadcasts on NHK Television. Their CD entitled, “Breaking Training” was released on New Focus Recordings (NYC). His second CD, “Nataraja,” with pianist Thomas Rosenkranz, is also available on New Focus.
“He has collaborated with pianist Claude Frank on the Schneider concert series in New York City and appeared at numerous chamber music festivals across the country including the OK Mozart, Bennington, Skaneateles, Yellow Barn, Cooperstown, Salt Bay, Look and Listen (NYC), Norfolk (Yale), Green Mountain, Chesapeake, and the Chamber Music Quad Cities series.
“He is the Principal Flutist of the New Orchestra of Washington in Washington, D.C., and has performed with the Detroit, Toledo and Tulsa Symphony Orchestras. He also performed as guest principal with A Far Cry, Orquesta Filarmónica de Jalisco, and the Conceirtos de la Villa de Santo Domingo.
“A respected pedagogue, Dr. Nelson has given master classes at over 100 colleges, universities and conservatories.
“Prior to his appointment at UW-Madison, he served as the flute professor at Bowling Green State University for nine years and as the Assistant Professor of Flute at Oklahoma State University from 2007-2011.
“His recent residencies include Yonsei University in Seoul, Korea; the Sichuan Conservatory in Chengdu, China; the Conservatorio de Musica de Puerto Rico; and the Associacao Brasileira de Flautistas in Sao Paulo.
“He is also a regular guest of the Texas Summer Flute Symposium and has been the featured guest artist for 11 flute associations across the country. His former students can be found performing in orchestras, as well as teaching at colleges, universities and public schools nationwide. They have also amassed over 60 prizes in young artist competitions, concerto competitions and flute association competitions.
“Nelson received degrees from the Manhattan School of Music, Yale University and Stony Brook University where he was the winner of the school-wide concerto competitions at all three institutions. He is also a recipient of the Thomas Nyfenger Prize, the Samuel Baron Prize and the Presser Award.
“His principal teachers include Carol Wincenc, Ransom Wilson, Linda Chesis, Susan Hoeppner and Amy Hamilton. Nelson is a Powell Flutes artist and is the Assistant Professor of Flute at UW-Madison where he performs with the Wingra Wind Quintet.”
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Classical music: The Token Creek Chamber Music Festival starts this Friday and marks 30 years with jazz plus music by Bach, Mozart, Liszt, Brahms, Ravel, Schoenberg and John Harbison
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By Jacob Stockinger
Starting this coming Friday, Aug. 16, and running through Sept. 1, the Token Creek Chamber Music Festival will mark its 30th anniversary with the theme of “Sanctuary.” (The festival takes place in a refurbished barn, below, at 4037 Highway 19 in DeForest.)
Add the festival directors: “The term ‘sanctuary’ attempts to capture in a single word something essential about what the festival has meant to players and listeners over all these years. From the start it aspired to offer something of retreat, an oasis, a place of refreshment and nourishment in art, both for musician participants who find a welcoming environment to “re-charge” their work, and for audience attendees who engage in and become a part of it.”
“In our small country barn,” writes prize-winning composer John Harbison (below top, in a photo by Tom Artin) who co-directs the festival with his violinist wife Rose Mary Harbison (below bottom, in a photo by Tom Artin), “we have always remained devoted to the scale and address of much chamber music, which speaks as often in a whisper as in a shout.
“Where larger musical institutions have been habitually frustrated by trying to live in the business model of growth, we have remained devoted to the intensity of the experience, which explains why the music never goes away, rather than to claims of numbers, which begs the music itself to change its very nature.
“Our conviction is that today’s composers, just like Schubert and Mozart, are still striving to embody daily experience, to connect to the natural world, and to ask philosophically and spiritually unanswerable questions, surrounded and interrupting silence, asking only for our most precious commodity — time. We continue to look for valuable ways to offer this transaction to our listeners, and are grateful for their interest over so many years.”
The first two concerts, at 5 p.m., on Friday and Saturday nights, feature the return of a jazz cabaret featuring standard works in the Great American Songbook. For more information about the program and performers, as well as tickets, go to: www.tokencreekfestival.org or call (608) 241-2525.
Tickets for the two jazz concerts are $40 for the balcony and $45 for cafe seating. Tickets for the other concerts are $32 with a limited number of student tickets available for $12.
HERE IS THE LINEUP FOR THE REST OF THE FESTIVAL
Program 2: Music of Brahms at 4 p.m. on Saturday, Aug. 24, and Sunday, Aug. 25
Johannes Brahms is the only composer whose complete catalogue of chamber music is still in constant use. This is due to his fastidious high standards, and to his ideal temperament for music played by smaller groups of players. His music is universally admired for the astounding combination of sheer craft and deep emotional impact.
The program includes the Regenlied (Rain Song), Op. 57 no. 3; Sonata for Violin and Piano in G major, Op. 78; the Sonata for Cello and Piano in E minor, Op. 38; and the Piano Quartet in C minor, Op. 60. (The “Rain Song” is used as the theme of the last movement of the violin sonata. You can hear it performed by violinist Leonidas Kavakos and pianist Yuja Wang in the YouTube video at the bottom, which also features the score so that you can follow along.)
Performers are Edgewood College mezzo-soprano Kathleen Otterson (below top); violinist Rose Mary Harbison; violist Lila Brown (below second); cellist Rhonda Rider (below third, in a photo by Liz Linder); and pianist Janice Weber (below bottom).
Program 3: Then and Now, Words and Music – An 80th Birthday Tribute to John Harbison. Wednesday, Aug. 28, at 7:30 p.m.
Last February, when Madison launched a citywide celebration of co-artistic director John Harbison’s 80th birthday, bitter cold and deep snow made it impossible for the festival to open up The Barn and join in the festivities.
The Wednesday program – an intimate concert of words and music curated by the Harbisons — is the festival’s belated birthday tribute. Harbison will read from his new book about Johann Sebastian Bach, and Boston poet Lloyd Schwartz (below top) will offer a reading of his poems that are the basis of a song cycle to presented by baritone Simon Barrad (below bottom). The evening will include a discussion on setting text, “Poem to Song,” and the world premiere of new Harbison songs, still in progress, on poems of Gary Snyder.
The program includes: Selections from the Violin Sonata in B minor, with violinist Rose Mary Harbison, and “The Art of Fugue” by Johann Sebastian Bach; “Four Songs of Solitude” and “Nocturne” by John Harbison; the Violin Sonata in G Major by Wolfgang Amadeus Mozart; the “Phantasy” for violin and piano by Arnold Schoenberg; the “SchwartzSongs” and “Four Poems for Robin” by John Harbison.
Program 4: The Piano , at 4 p.m. on Sunday, Aug. 31, and Sunday, Sept. 1.
The closing program welcomes back husband-and-wife pianists Robert Levin and Ya-Fei Chuang, playing together and as soloists.
Chuang (below top) is acclaimed by critics in the U.S. and abroad for performances of stunning virtuosity, refinement and communicative power. Levin (below bottom, in a photo by Clive Barda), who teaches at Harvard University, is revered for his Mozart completions and classical period improvisations.
Their program explores the question of the composer-performer — that is, composers who were also formidable pianists: Mozart, Ravel and Liszt.
Beethoven’s fourth piano concerto, arranged by the composer for chamber ensemble, and excerpts of Harbison’s Piano Sonata No. 2, written for Levin, will be performed. Also on the program are Mozart’s Allegro in G Major, K. 357 (completion by Robert Levin); Maurice Ravel’s “Gaspard de la Nuit”; and Franz Liszt’s “Reminiscences of Don Juan.”
Other performers are: violinists Rose Mary Harbison and Laura Burns, of the Madison Symphony Orchestra and Rhapsodie String Quartet; violists Jen Paulson and Kaleigh Acord; cellist Karl Lavine, who is principal cello of both the Madison Symphony Orchestra and the Wisconsin Chamber Orchestra as well as the Chamber Music Director of the Wisconsin Youth Symphony Orchestras (WYSO); and double bassist Ross Gilliland.
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Classical music: This weekend, the Madison Symphony Orchestra spotlights three of its principal players in music by Prokofiev, Debussy and Vaughan Williams along with works by Schubert and Gershwin
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By Jacob Stockinger
This coming weekend, the Madison Symphony Orchestra (MSO, below in a photo by Peter Rodgers) will once again perform a program that highlights its principal artists as soloists.
The program for “Orchestral Brilliance: Three Virtuosi” begins with Franz Schubert’s Symphony No. 8, “Unfinished.”
Then the featured artists appear: concertmaster Naha Greenholtz performs Sergei Prokofiev’s Concerto No. 2 for Violin; principal clarinetist JJ Koh follows with Claude Debussy’s Rhapsody for Clarinet and Orchestra; and principal tubist Joshua Biere concludes with Ralph Vaughan Williams’ Concerto for Tuba and Orchestra. For more biographical information about the soloists, see below.
The program finishes with George Gershwin’s “An American in Paris.”
Performances will be held in Overture Hall, 201 State Street, on Friday, March 8, at 7:30 p.m.; Saturday, March 9, at 8 p.m.; and Sunday, March 10, at 2:30 p.m.
Details about tickets ($18-$93) are below.
“Our March concerts shine the spotlight on our own brilliant musicians that make up the Madison Symphony Orchestra,” says music director and conductor John DeMain (below, in a photo by Greg Anderson). “It is important to me on the occasion of my 25th anniversary with the symphony to share this celebration in a special way with these artists, who make my musical life such a pleasure.”
Franz Schubert (below) began composing his “Unfinished Symphony” in 1822, but left the piece with only two movements despite living for six more years. For reasons that remain unclear, the score was shelved until 1860 when the owner finally realized he possessed a gem. He approached conductor Johann von Herbeck with assurances of a “treasure” on par “with any of Beethoven’s,” and Schubert’s “Unfinished” Symphony had its premiere in 1865.
The Violin Concerto No. 2 in G Minor, Op. 63, by Sergei Prokofiev (below) is more conventional than the composer’s early bold compositions. It starts off with a simple violin melody and recalls traditional Russian folk music. The graceful violin melody flows throughout the entire second movement, and the third movement’s theme has a taste of Spain, complete with the clacking of castanets. (You can hear David Oistrakh play the gorgeous and entrancing slow second movement in the YouTube video at the bottom.)
Composed between December 1909 and January 1910, the Rhapsody for Clarinet and Orchestra by Claude Debussy (below) was written as one of two test pieces for the clarinet examinations at the Paris Conservatory. The piece is described as dreamily slow at the start, followed by a duple meter section that moves the music along until the joyous final section.
The Concerto for Tuba and Orchestra by Ralph Vaughan Williams (below)
was written in 1953-54 to mark the 50th anniversary of the London Symphony Orchestra.
“An American in Paris” by George Gershwin (below) is one of the popular composer’s most well-known and most beloved compositions. Written in 1928, it evokes the sights and energy of the French capital in the 1920s. As Gershwin explains, the work’s purpose is to “portray the impressions of an American visitor in Paris as he strolls about the city, listens to the various street noises, and absorbs the French atmosphere.”
ABOUT THE SOLOISTS
Naha Greenholtz (below, in a photo by Chris Hynes) is concertmaster of both the Madison Symphony Orchestra and the Quad City Symphony Orchestra. Additional performance highlights include guest concertmaster appearances with the Oregon Symphony, Calgary Philharmonic, National Ballet of Canada, Omaha Symphony and Memphis Symphony, among many others. Additionally, she performs frequently with the Cleveland Orchestra both domestically and abroad. Greenholtz has also held positions with the Milwaukee Symphony Orchestra and the Louisiana Philharmonic Orchestra, joining the latter as Associate Concertmaster at age 21.
JJ Koh (below) joined the Madison Symphony Orchestra as principal clarinetist in 2016. In addition, he holds a position with the Milwaukee Symphony Orchestra, and Wisconsin Chamber Orchestra. Prior to joining the MSO, Koh was a member of the Civic Orchestra of Chicago. He is a founding member of the Arundo Donax Reed Quintet, and a winner of the Fischoff National Chamber Music Competition. As principal clarinetist of KammerMahler, Koh participated in a world premiere recording project, which featured chamber versions of Gustav Mahler’s Fourth and Ninth Symphonies.
Joshua Biere (below, in a photo by Peter Rodgers) joined the Madison Symphony Orchestra as principal tubist in 2013. He also holds the principal tuba chair with the Kenosha Symphony and regularly performs with the new Chicago Composers Orchestra. Biere has also performed at the Grant Park Music Festival (Chicago), and with the St. Paul Chamber Orchestra. An established chamber musician, Biere is also a highly sought-after clinician and teacher, maintaining a studio of well over 35 tuba and euphonium students.
CONCERT AND TICKET DETAILS
The lobby opens 90 minutes prior to each concert. One hour before each performance, maestro John DeMain will lead a 30-minute Prelude Discussion in Overture Hall to enhance concertgoers’ understanding and listening experience. It is free to ticketholders.
The MSO recommends 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.
Program notes for the concerts are available online: http://bit.ly/mar2019programnotes
- Single Tickets are $18-$93 each and are on sale now at: http://madisonsymphony.org/orchestral through the Overture Center Box Office at 201 State Street, or by calling the Box Office at (608) 258-4141. Fees apply to online/phone sales.
- 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.
- Flex-ticket booklets of 10 vouchers for 18-19 symphony subscription concerts are available. Learn more at: https://madisonsymphony.org/flex
Discounted seats are subject to availability, and discounts may not be combined.
Presenting sponsorship provided by the Kelly Family Foundation. Major funding provided by Madison Magazine, Louise and Ernest Borden, Scott and Janet Cabot, and Elaine and Nicholas Mischler. Additional funding provided by von Briesen & Roper, S.C., and the Wisconsin Arts Board with funds from the State of Wisconsin and the National Endowment for the Arts (NEA).
Tags: #AnAmericaninParis, #BlogPost, #BlogPosting, #CalgaryPhilharmonic, #ChamberMusic, #ChamberMusician, #ChicagoComposersOrchestra, #ChicagoIllinois, #CivicOrchestraofChicago, #ClarinetConcerto, #ClaudeDebussy, #ClevelandOrchestra, #DavidOistrakh, #EuphoniumMusic, #FacebookPost, #FacebookPosting, #FischoffNationalChamberMusicCompetition, #FolkMelody, #FolkMusic, #FranzSchubert, #GrantParkChicago, #GrantParkMusicFestival, #GustavMahler, #JJKoh, #JohnDeMain, #JoshuaBiere, #KammerMahler, #KenoshaSymphony, #KenoshaWiscosnin, #LawFirm, #londonSymphonyOrchestra, #LouisianaPhilharmonicOrchestra, #LudwigVanBeethoven, #MadisonMagazine, #MadisonSymphonyOrchestra, #MeadWitterSchoolofMusic, #MemphisSymphony, #MilwaukeeSymphonyOrchestra, #MilwaukeeWisconsin, #MusicDirector, #NahaGreenholtz, #NationalBalletofCanada, #NationalEndowmentfortheArts, #OmahaSymphony, #OvertureCenter, #OvertureHall, #ParisConservatory, #ParisFrance, #PeterRodgers, #PrinicpalPlayer, #ProgramNotes, #QuadCities, #QuadCitySymphonyOrchestra, #RalphVaughanWilliams, #Russianfolkmusic, #SeniorCitizen, #SergeiProkofiev, #SlowMovement, #St.PaulChamberOrchestra, #St.PaulMinnesota, #StateOfWisconsin, #TubaConcerto, #TubaMusic, #UnfinishedSymphony, #UniversityofWisconsin-Madison, #ViolinConcerto, #ViolinistVirtuoso, #WisconsinArtsBoard, #WisconsinChamberOrchestra, #WorldPremiere, #YouTubevideo, 1920s, abroad, American, An American in Paris, anniversary, artist, Arts, atmosphere, audience, ballet, Beethoven, beloved, biographical, biography, blog, bold, Calgary, Canada, capital, castanets, Chamber music, chamber musician, Chicago, Chicago Composers Orchestra, city, Civic Orchestra of Chicago, clarinet, clarinet concerto, Classical music, Claude Debussy, Cleveland Orchestra, clinician, Composition, concertmaster, concerto, conductor, conservatory, conventional, David Oistrakh, Debussy, discount, discussion, domestic, dream, early, ebergy, Euphonium, examination, Facebook, final, Fischoff National Chamber Music Competition, Folk music, France, Franz Schubert, funding, gem, George Gershwin, georgegershwin, graceful, Grant Park, Grant Park Music Festival, Gustav Mahler, highlight, impression, information, Iowa, Jacob Stockinger, JJ Koh, John DeMain, Joshua Biere, Joy, joyous, Kammer Mahler, Kenosha, Kenosha Symphony, law firm, life, London Symphony Orchestra, Louisiana, Louisiana Philharmonic Orchestra, Ludwig van Beethoven, Madison, Madison Magazine, Madison Symphony Orchestra, Maestro, Mahler, Mead Witter School of Music, melody, Memphis, Memphis Symphony, meter, Milwaukee, Milwaukee Symphony Orchestra, movement, Music, Music director, Naha Greenholtz, National Ballet of Canada, National Endowment for the Arts, NEA, noise, occasion, Omaha, Omaha Symphony, Orchestra, Oregon Symphony, originally, Overture Center, Overture Hall, Paris, performer, Peter Rodgers, pleasure, popular, portray, post, posting, Prelude, premiere, principal, program, program notes, purpose, Quad Cities, Quad City Symphony Orchestra, quintet, Ralph Vaughan Williams, recording, reed, rhapsody, Russian, score, section, security, senior, senior citizen, Sergei Prokofiev, sights, slow, soloist, Spain, sponsor, St. Paul, St. Paul Chamber Orchestra, start, State of Wisconsin, street, students, studio, symhony, symphony, Teacher, test, ticket, tourism, tourist, tuba concerto, Unfinished Symphony, United States, University of Wisconsin-Madison School of Music, University of Wisconsin–Madison, UW-Madison, Violin, Violin concerto, virtuosi, virtuosity, visitor, vituoso, winner, Wisconsin Arts Board, Wisconsin Chamber Orchestra, work, world premiere, YouTube
Classical music: Maestro Andrew Sewell has been named the new music director of the San Luis Obispo Symphony in California while retaining his longtime post as music director of the Wisconsin Chamber Orchestra
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By Jacob Stockinger
The Wisconsin Chamber Orchestra‘s longtime music director Andrew Sewell (below) has been named the new music director of the San Luis Obispo Symphony in California.
The news comes in between the end of a critically acclaimed and very successful Masterworks season in the Capitol Theater of the Overture Center and the start of the upcoming and always popular summer Concerts on the Square on Wednesday evenings from June 29 through Aug. 2.
Sewell, who was born and trained in New Zealand, has been an American citizen for the past 10 years. He led the Wichita Symphony Orchestra for 10 years and the Mansfield Symphony Orchestra in Ohio, and he also guest conducts in Hong Kong and many other cities in the U.S. and abroad.
Asked if the move means there will be guest conductors for the WCO, Sewell told The Ear:
“I will be conducting all concerts this year. The schedules for both orchestras work surprisingly well together.
“The situation is not unlike the first 10 years of my tenure in Madison when I was music director of the Wichita Symphony concurrently with the Wisconsin Chamber Orchestra. I’ll share my time between both communities.”
For more about Sewell’s impressive and extensive background, go to:
https://wisconsinchamberorchestra.org/about/andrew-sewell/
Here is a statement from the WCO:
“When Maestro Sewell raises his baton at Concerts on the Square this month, he will also be embarking on a new position as music director of the San Luis Obispo Symphony. (At bottom, he seen conducting the San Luis Obispo Symphony.)
“Fans of the Wisconsin Chamber Orchestra need not worry, though, as he will retain his position and residence here in Madison.
“We’re very proud of Andrew and what he has accomplished here in Madison, around the nation and abroad” said Mark Cantrell, CEO of the WCO. “This appointment reinforces what we already know about Andrew, that he is an exciting and impressive director and musician.
“We’re fortunate to retain him here as music director, and we look forward to many more years of him behind the baton with the Wisconsin Chamber Orchestra. We wish him the best of luck in San Luis Obispo.”
For more about this story, use the following links:
Here is a WCO posting about the news:
Global Search Yields Symphony’s Ninth Conductor
And here is a newspaper story with many details about Sewell and his plans for the new position, including where he will live, as well as his plans for sharing repertoire and guest soloists:
SLO Symphony has a new director
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