The Well-Tempered Ear

Classical music: The Madison Summer Choir performs a program of music that expresses suffering, oppression and resistance this Wednesday night at UW-Madison

June 25, 2017
Leave a Comment

By Jacob Stockinger

The Madison Summer Choir (below) will present its ninth annual concert, “Art: The Timeless Resistance – The Voice of the Oppressed,” on this coming Wednesday night, June 28, 2017 at 7:30 p.m. in Mills Hall of the UW-Madison’s Mosse Humanities Building, 455 N. Park St.

The suggested ticket donation is $15.

The concert brings together a variety of works that have served as an outlet for suffering peoples, works that gave them a voice where they otherwise had none.

The concert will begin with Sometimes I Feel Like a Motherless Child, a traditional Spiritual arranged by Jay Althouse.

This is followed by Miriam’s Song of Triumph, composed by Franz Schubert (1797-1828) very near the end of his short life to a German text (Mirjams Siegesgesang) by Austrian poet Franz Grillparzer. The text and music describe the Exodus and the celebration of Miriam and the Israelites after fleeing Egypt. (You can hear the work in the YouTube video at the bottom.)

The first half ends with two shorter works again in English, There Will be Rest, a setting of a poem by Sara Teasdale by Frank Ticheli (below top), of the University of Southern California,  and How Can I Keep from Singing? by Baptist minister and American literature professor Robert Lowry (1826-1899, below bottom), as arranged in 2010 by Taylor Davis.

The choir will be accompanied by oboist Malia Huntsman and concertmaster Elspeth Stalter-Clouse.

The second half of the program is devoted to the Mass in C (1807) by Ludwig van Beethoven (1770-1827), and will be performed with full orchestra.

The choir was founded by UW-Madison graduate and artistic director Ben Luedcke (below) – who now teaches at Monmouth College — after the UW Summer Choir was eliminated due to budget constraints.

The Madison Summer Choir is an auditioned choir of 60 to 70 voices that performs a cappella works, piano-accompanied works and choral-orchestral works in a short season at the beginning of summer.

This student and community singing opportunity and tradition continue thanks to the extraordinary efforts of our singers and our audience to fund our complete existence in six weeks.

Go to madisonsummerchoir.org to learn more.


Classical music: John W. Barker’s book on the history of UW-Madison’s Pro Arte Quartet to be published this fall

June 8, 2017
1 Comment

By Jacob Stockinger

Local chamber music fans may recall that five or six years ago, the gala centennial of the Pro Arte Quartet, the string quartet-in-residence at the University of Wisconsin-Madison, was celebrated in many ways.

After all, the Pro Arte Quartet (below in a photo by Rick Langer) had by then become the longest-lived string quartet in the history of music.

Furthermore, the quartet and the UW-Madison established the model for chamber music group affiliations with universities, which has since become standard.

There were six commissions, later recorded in two volumes and three CDs (below) by Albany Records.

There were many free live concerts with the world premieres of the commissions.

There was a tour to Belgium (below is a concert at the Royal Conservatory), the home country of the quartet that was exiled in Madison while on tour in 1941, when Hitler invaded Belgium during World War II.

There was a terrific and impressive Pro Arte Quartet display at Dane County Regional Airport, put together with Tandem Press art publishers at the UW-Madison.

And there was a book, a complete history of the Pro Arte Quartet, commissioned from John W. Barker (below), a professor emeritus of Medieval history at the UW-Madison who is also the premier music critic in Madison. He writes for Isthmus and this blog.

Now his project, full of original research, has come to fruition and will be published in October.

Here is a link to information, including how to pre-order a copy, about the book and the author from the University of Rochester Press (Boydell and Brewer):

https://boydellandbrewer.com/the-pro-arte-quartet-hb.html

 


Classical music: The first-ever Mineral Point Chamber Music Festival takes place this coming weekend – and looks both very appealing and very affordable

June 5, 2017
1 Comment

By Jacob Stockinger

In retrospect, it seems inevitable.

But it took foresight and hard work.

For many years, the historic town of Mineral Point (below) – once a major lead and zinc mining town that is the third oldest city in Wisconsin – has been cultivating and rejuvenating itself through restoration and innovation as an enjoyable tourism stop, with fine restaurants, historic landmarks, terrific art galleries and gracious hosts.

Small wonder that the Smithsonian Magazine named Mineral Point one of the Top 20 Small Towns to Visit in the U.S.

But this coming weekend the appeal and attractions will move up a big notch.

That is because the inaugural Mineral Point Chamber Music Festival will take place this coming weekend, June 9-11, 2017.

To The Ear, the performers look excellent, the program look engaging and the prices sure look affordable.

Concerts by three young professional classical chamber music ensembles will be presented in the recently restored historic Mineral Point Opera House (below top and bottom, with the top photo by Michael J. Smith), an ideal chamber music venue with excellent acoustics.

The weekend will begin on Friday at 7 p.m. with a panel discussion by several ensemble performers and Festival Director Peter Schmalz about various aspects of classical music. A reception in the Mineral Point Public Library will follow the discussion.

Scheduled concerts include: at 1 p.m. on Saturday, the Ami String Quartet (below top) from Northwestern University in the String Quartet No. 1 by Bela Bartok and the “Harp” String Quartet, Op. 74, by Ludwig van Beethoven; at 7:30 p.m. on Saturday, the University of Wisconsin-Madison Trombone Quartet (below bottom) will perform music by Johann Sebastian Bach, Anton Bruckner, Anton Webern, Dmitri Shostakovich and others; and at 1 p.m. on Sunday, the Ami String Quartet will perform the String Quartet No. 1 of Johannes Brahms and the String Quartet No. 12 (“American”) by Antonin Dvorak. (You can hear the first movement of the famous “American” String Quartet by Dvorak in the YouTube video at the bottom.)

Ticket prices are: $10 for the panel discussion and reception; $15 for each concert; and $38 for the panel discussion and all three concerts.

Adds festival director Peter Schmalz:

“The Mineral Point Chamber Music Festival is designed to meet three goals: to create classical chamber music listening opportunities for local and nearby residents; to establish a cultural tourism experience for visitors to Mineral Point; and to provide serious off-campus performances for advanced university chamber music ensembles.

“Summer classical music festivals were established in the 20th century to provide employment for orchestral and other professional musicians during the off-season. The fortunate result for the music-lover is an abundance of listening opportunities in every genre of classical music, often in locations away from the congestion and heat of large cities.

“The Mineral Point Chamber Music Festival modifies this design by presenting accomplished undergraduate and graduate ensembles in a compelling small-town setting at a reasonable cost. (Below is the Arts Mineral Point logo.)

“In addition to the Festival concerts, we encourage listeners to enjoy the food, galleries, architecture, landscape and people of Mineral Point. In the words of Sergei Rachmaninoff, “Classical music is enough for a lifetime, but a lifetime is not enough for classical music.”

The Mineral Point Opera House is, in size and acoustics, an ideal venue for classical chamber music. Performers were selected by competitive audition, and will be housed by local residents for the weekend.

In addition to three concerts, festival attendees can be involved in a panel discussion about issues in classical chamber music, by asking their own questions of the panel.

The UW-Madison Trombone Quartet and students from Mineral Point High School and Dodgeville High School will also present a short concert in Library Park prior to the 1 p.m. concert on Sunday in the Opera House.

For complete information about events and tickets with complete programs for each concert, go to:

http://www.artsmp.org/chamber-music-fest/


Classical music: The UW Concert Choir, Choral Union and Symphony Orchestra will perform world premieres, local premieres and new music in three concerts this weekend

April 26, 2017
1 Comment

By Jacob Stockinger

The Ear has received the following messages from UW composer Laura Schwendinger and from Beverly Taylor, the director of choral activities at the University of Wisconsin-Madison School of Music who is also the assistant conductor and chorus director of the Madison Symphony Orchestra:

Writes conductor Beverly Taylor: This is a busy and musically fascinating weekend for me coming up.

On Friday night at 8 p.m. in Mills Hall, there is a special concert by the Concert Choir (below) on the subject of Art Born of Tragedy, with the acclaimed guest cellist Matt Haimovitz.

Tickets are $15, $5 for students. For more information about tickets as well as the performers and the program, go to:

http://www.music.wisc.edu/event/uw-concert-choir-4-matt-haimovitz/

Then in Mills Hall at 8 p.m. on Saturday night and at 7:30 p.m. on Sunday night, there are two performances of When Lilacs Last in the Dooryard Bloomed by the 20th-century composer Paul Hindemith by the UW Choral Union and the UW Symphony Orchestra (below). It is a work that to my knowledge has never been performed in Madison.

Tickets are $15, $8 for students. For more information about obtaining tickets and about the concert, visit:

http://www.music.wisc.edu/event/uw-choral-union-uw-symphony-orchestra/

Here is more information about the events:

CONCERT CHOIR

The Concert Choir performance explores in music of several centuries the theme of “Art Born of Tragedy” — how outside events can be the spark that causes the creation of works of substance that range from the gentle and comforting to rage and despair.

We will sing music from the Renaissance: part of the Thomas Tallis’ “Lamentations of Jeremiah (on the ancient destruction of Jerusalem),” and a John Wilbye madrigal “Draw on Sweet Night for a Broken Heart.”

We will present three works from modern composers: one is a world premiere by the prize-winning composer Laura Schwendinger (below top), my colleague at the UW-Madison, for viola — played by Sally Chisholm (below bottom) of the UW Pro Arte Quartet — and wordless chorus. It is called “For Paris” in memory of those killed in the Paris terrorist bombings of 2015.

(Adds composer Laura Schwendinger: “The viola starts this short work by referencing only for a moment the merest idea of a ‘musette song,’ one that might be heard on an evening in a Paris cafe. The choir enters with a simple refrain that repeats again and again, each time with a little more material, as an unanswered question of sorts. Each time the viola reenters the texture, the music becomes more pressing in a poignant manner, until it arrives in its highest register, only to resolve with the choir as it quietly acquiesces in the knowledge that the answer may not be known.”)

We will present a short “O vos omnes” (O you who pass by) written by Pennsylvania composer Joseph Gregorio (below), composed in memory of a Chinese girl hit by a car and left to die.

The third piece is a reprise of “Après moi, le deluge” by Luna Pearl Woolf (below top), which we premiered and recorded 11 years ago. We are lucky to have back the wonderful internationally known cellist Matt Haimovitz (below bottom), who premiered this work with it. The text, written by poet Eleanor Wilner, mixes the Noah story with the Hurricane Katrina disaster.

The term “Après moi, le deluge” is a term attributed to Louis XV or his mistress Madame Pompadour, and means “after me the flood” — referring either to the chaos after his reign, or that what happens afterword bears no importance for him.

The work has four different moods like a symphony — with strong themes at the start and cries for help, followed by the slow movement despair, a scherzo-like depiction of havoc, and a final movement that is like a New Orleans funeral, upbeat and Dixieland.

Throughout the program we also present spirituals that depict loneliness or salvation from trouble.

UW CHORAL UNION

In certain ways, When Lilacs Last in the Dooryard Bloomed resembles the Concert Choir concert in that it contains a number of moods and styles as well, under a dark title. The subtitle of the work is “a Requiem for Those We Love.”

It was commissioned by the great choral and orchestral conductor Robert Shaw as a tribute to President Franklin Delano Roosevelt on his death and the train ride that carried him from Warm Springs, Georgia, to Washington, D.C.

The text that Paul Hindemith (below top) chose is by Walt Whitman (below bottom), who wrote his poem on the death of Abraham Lincoln, and the funeral train from Washington, D.C., to Springfield, Illinois.

Whitman’s grief is combined with pride and joy in the countryside that the train traverses, and his feelings find an outlet in the thrush that sings out its song. His sense of a sustaining universe is a contrast to his depiction of the despair and ravages of the Civil War.

Hindemith’s calling the work a “Requiem for Those We Love,” puts it, like the Brahms’ “German” Requiem, into a class of non-liturgical requiems — that is, the texts are not those that are part of the Catholic Mass for the Dead, but are other selected texts of joy or remembrance.

Hindemith’s style can loosely be described as tonal that veers away into dissonance and returns again to the home key. The Prelude and opening movement are dark; the solo songs of baritone (James Held, below top) and mezzo-soprano (Jennifer D’Agostino, below bottom) are marvelous; the fugue on the glories of America is glorious and other sections are soft and tender. (NOTE: You can hear the orchestral prelude of the work, with composer Paul Hindemith conducting the New York Philharmonic, in the YouTube video at the bottom.)

The work is hard for both chorus and orchestra, but well worth the effort. The piece is about 80 minutes long and will be performed without interruption. It’s a work I’ve always wanted to do, having heard it performed at Tanglewood many years ago. I’m delighted to have the chance now.


Classical music: Madison Choral Project gives a concert of new music focusing on the social and political theme of “Privilege” this Friday night and Sunday afternoon

April 20, 2017
1 Comment

ALERT: This week’s FREE Friday Noon Musicale, held at the First Unitarian Society of Madison, 900 University Bay Drive, features David Miller, trumpet; Amy Harr, cello; and Jane Peckham, piano. They will play music by Bach, Schmidt, Piazzolla, Honegger and Cooman. The concert runs from 12:15 to 1 p.m.

By Jacob Stockinger

Call it activist beauty or beautiful activism.

It sure seems that political and social relevance is making a comeback in the arts during an era in which inequality in race, gender, ethnicity, wealth, education, health, employment, immigration status and other issues loom larger and larger.

For the Madison Choral Project (below), for example, singing is about more than making music. It can also be about social justice.

Writes the Project:

“The Madison Choral Project believes that too often the classical music concert is simply a museum of the beautiful. Yet the worlds of theater, art and literature can so brilliantly combine beauty with material that provokes contemplation and understanding.

“Our world is increasingly complicated, and we seek to provide voices exploring important emotional and social concerns of today.”

That means that, in its two concerts this weekend, the Madison Choral Project will explore the concept of privilege in two performances this weekend.

The repertoire is all new music or contemporary music by living composers.

The Madison Choral Project, under the direction of Albert Pinsonneault (below), who formerly taught at Edgewood College and is now at Northwestern University, presents their 10th Project – Privilege – on this Friday night, April 21, at  8:30 p.m. (NOT 7:30, as originally announced, because of noise from a nearby football game); and on Sunday afternoon, April 23, at 3 p.m.

Both performances are at the First Congregational United Church of Christ, 1609 University Avenue, near Camp Randall Stadium.

General admission is $24 in advance and online; $28 at the door; and $10 for students either in advance or at the door. A limited number of preferred seats are offered for $40.

The Privilege concerts feature the work Privilege by Ted Hearne (b. 1982), which Hearne (below) writes “are settings of little texts questioning a contemporary privileged life (mine).”

With texts that range from the inequality of educational experiences, to the unfair playing field brought through race, the work sets thought-provoking texts in a beautiful and musically accessible way. (NOTE: You can hear it in the YouTube video at the bottom.)

The program also includes the world premiere of a new piece of music from Wisconsin composer and UW-Madison graduate D. Jasper Sussman (b. 1989, below), whose piece Work: “What choice?” is a contemplation of society’s confusing and hypocritical demands on women, their bodies and their appearance.

Sussman writes “I have never identified as a feminist. It’d be impossible, however, for me to remain ignorant of the clumsily uneven climate of our world, and certainly of this country. Work: “What Choice?” is an attempt at telling a common story shared by many.”

Included on the concert are two works of Pulitzer Prize-winning composer David Lang (b. 1957, below), whose new minimalism includes sonorities influenced by rock and popular music, but with layered repetition that gives the pieces a meditative and contemplative quality.

Also featured is When David Heard by Eric Whitacre (b. 1970, below), a gorgeous and devastating monologue contemplating the death of one’s child.

For more information and tickets, go to www.themcp.org

You can also go to a fine story in The Capital Times:

http://host.madison.com/ct/entertainment/arts-and-theatre/with-privilege-madison-choral-project-sings-on-social-justice/article_1d4ecf46-3347-5950-a655-eb270449fb96.html

The Madison Choral Project is Wisconsin’s only fully professional choir. All the singers on stage are paid, professional musicians.


Classical music: New music and old music meet in a benefit concert this Saturday night for the Art+Literature Lab of Madison

March 23, 2017
1 Comment

By Jacob Stockinger

The Ear received the following information from Eric Miller to pass along:

Thanks for sharing my recital at the First Unitarian Society of Madison last week. I really appreciate what you do.

I’m repeating the program of unaccompanied music for viola da gamba at the Arts+Literature Lab (below) on this Saturday, March 25, at 8 p.m.

Doors open at 7:30 p.m.

Tickets are $10 in advance, $15 at the door.

I’ll be playing the first suite by Le Sieur de Machy and the Sonata VI by Johannes Schenk from his collection “L’echo du Danube,” (Echo of the Danube), as well as a few other smaller pieces. (Below is Eric Miller, who also performs a Prelude to a suite by Le Seiur de Machy in the YouTube video at bottom.)

In addition to my set, my idea was to juxtapose this music I love with music that is equally intricate and beautiful, but from different sound worlds and traditions.

Milwaukee cellist Patrick Reinholz (below top) will be playing modern pieces by Italian composer Luciano Berio (below middle) and Finnish composer Kaija Saariaho (below bottom) as well as one of his own compositions from a solo recording he is releasing.

Finally, cellist/composer/multi-instrumentalist Brian Grimm (below) will be presenting some of his own compositions and improvisations.

The Facebook event page is here: https://www.facebook.com/events/1384611978280528/

Advanced tickets are available here: http://ericmiller.bpt.me/

The Arts+Literature Lab (A+LL) is at 2021 Winnebago Street, on the east side of Madison. It is really doing exciting things for the community.


Classical music education: This Sunday the Madison Youth Choirs will present their Winter Concert Series celebrating “Shakespeare 400 “

December 6, 2016
Leave a Comment

By Jacob Stockinger

This winter, the Madison Youth Choirs are joining cultural institutions around the world by celebrating the 400th anniversary of the death of William Shakespeare (below) and his ongoing legacy.

shakespeare BW

Singers of various ages will perform musical settings from the plays Twelfth Night, A Midsummer Night’s Dream, Love’s Labour’s Lost and The Tempest by composers including William Byrd, Thomas Morley, Henry Purcell, Franz Schubert, Felix Mendelssohn, Benjamin Britten, Giuseppe Verdi, Cesar Franck, Ralph Vaughan Williams, Gerald Finzi, John Rutter and others.

Examining the role that motif, tension, structure and rhythm play in the repertoire and Shakespeare’s vast body of work, the choirs will explore the elements that combine to create compelling art that stands the test of time.

madison-youth-choirs-shakepeare-400-logo

The MYC Winter Concerts, “Shakespeare 400,” will take place this Sunday, Dec. 11, at the First Congregational United Church of Christ (below), 1609 University Ave., near Camp Randall stadium.

Here is the schedule: 1:30 p.m. Girl choirs; 4 p.m. Boy choirs; 7 p.m. High School Ensembles

Tickets will be available at the door. Admission to each of the three concerts is $10 for the general public, $5 for students 7-18, and free for children under 7

Madison Youth Choirs Winter Concert 2014

PROGRAMS

Here is the repertoire for the MYC 2016 Winter Concert Series “Shakespeare 400”:

1:30 p.m. Concert (Featuring MYC Girlchoirs)

Choraliers

“Hey Ho! To the Greenwood” by William Byrd

“Spirits” by Douglas Beam

“Orpheus With His Lute” by Ralph Vaughan Williams

“Double, Double Toil and Trouble” by Leeann Starkey

photo

Con Gioia

“When Icicles Hang by the Wall” by David Lantz III

“You Spotted Snakes” by Toby Young

“Ban Ban Caliban” by Dan Forrest

Capriccio

“Hark! The Echoing Air” by Henry Purcell

“Blow, Blow Thou Winter Wind” by Sarah Quartel

“Philomel with Melody” and “I Will Wind Thee in My Arms” by Cary Ratliff

“It Was a Lover and His Lass” by John Rutter

Cantabile

When Icicles Hang” by Stephen Hatfield

“Che faceste” from Macbeth (sung in Italian) by Giuseppi Verdi

Madison Youth Choirs 2

4 p.m. Concert (Featuring MYC Boychoirs)

Combined Boychoirs

“One December, Bright and Clear” Traditional Catalonian carol, arr. By Wilberg

“Panis Angelicus” by Cesar Franck

Purcell

“Chairs to Mend” by William Hayes

“Blow, Blow Thou Winter Wind” by John Rutter (heard in the YouTube video at the bottom)

“The Coasts of High Barbary” Traditional English sea song, arr. By Julseth-Heinrich

Britten

“Blow, Blow, Thou Winter Wind” by Roger Quilter

“Full Fathom Five” by John Ireland

“Who is Silvia” by Franz Schubert

Holst

“Full Fathom Five” by Robert Johnson

“Sing We and Chant It” by Thomas Morley

Ragazzi

“Come Away, Death” by Gerald Finzi

“The Witching Hour” by Brandon Ayres

Madison Youth Choirs Con Gioia Karen Holland

7 p.m. Concert (Featuring High School Ensembles)

Cantilena

“The Willow Song” by Arthur Sullivan

“Willow, Willow, Willow” by Charles H.H. Parry

“Fair Oriana Seeming to Wink at Folly” by Robert Jones

“You Spotted Snakes” (from A Midsummer Night’s Dream) by Felix Mendelssohn

“Give Them Thy Fingers” by Stefan Kalmer

Ragazzi

“Four Arms, Two Necks, One Wreathing” by Thomas Weelkes

“Come Away, Death” by Gerald Finzi

“And Draw Her Home with Music” by Nancy Hill Cobb

“The Witching Hour” by Brandon Ayres

Cantabile

“Che faceste” from Macbeth (sung in Italian) by Giuseppi Verdi

“Come Away, Death” by Roger Quilter

Selections from A Midsummer Night’s Dream by Benjamin Britten

“When Icicles Hang” by Stephen Hatfield

Cantabile and Ragazzi

“Ave Verum Corpus” by William Byrd

“Jingle, Bells!” by James Pierpont, arr. by David Wilcocks

madison-youth-choirs-older-boys-2016

These concerts are generously endowed by the Diane Ballweg Performance Fund with additional support from the American Girl’s Fund for Children, BMO Harris Bank and the Wisconsin Arts Board.

About the Madison Youth Choirs (MYC): Recognized as an innovator in youth choral music education, Madison Youth Choirs (MYC) welcomes singers of all ability levels, annually serving more than 1,000 young people, ages 7-18, through a wide variety of choral programs in our community.

Cultivating a comprehensive music education philosophy that inspires self-confidence, personal responsibility, and a spirit of inquiry leading students to become “expert noticers,” MYC creates accessible, meaningful opportunities for youth to thrive in the arts and beyond.

For further information, contact: Nicole Sparacino, Madison Youth Choirs, Nicole@madisonyouthchoirs.org or call (608) 238-7464


Classical music: Here is a true tale of a famous Mozart opera, sexual assault and Trump Tower

December 3, 2016
Leave a Comment

By Jacob Stockinger

World-famous avant-garde stage director Peter Sellars (below, in a photo by Christian Carisius for the European Press Photo Agency) is known for his unorthodox recasting of operas and Bach cantatas.

peter-sellars-2016-cr-christian-charisiuseuropean-pressphoto-agency

But one of his productions, done almost 30 years ago, has proven especially prescient.

It involved the opera “The Marriage of Figaro” by Wolfgang Amadeus Mozart, which years ago he set in Trump Tower.

The plot centers on the medieval “droit du seigneur” that allowed a nobleman to be entitled by law to have sex with a servant on her wedding night before the husband did. (In the YouTube video at bottom is the famous and so breathtakingly beautiful Forgiveness scene, featured in the Oscar-winning film “Amadeus,” with the faithful Countess and the philandering Count that ends the masterpiece opera.)

In 1988 Sellars set the opera on the 52nd floor of the luxurious Trump Tower (below), as the equivalent of an aristocratic estate, of net-feudalistic excess and wealth.

trump-tower-up-to-sky

With great insight and articulateness, Sellars recently discussed with The New York Times the inspired settings in light of the past history, campaign and recent election of President-elect Donald Trump.

The Ear found the interview both enlightening and entertaining, and he hopes you do too.

Here is a link:

http://www.nytimes.com/2016/11/25/arts/music/remember-when-figaro-was-set-in-trump-tower.html?_r=0

It makes you wonder: How will other forms of art deal with the new administration?

Could it be that we are in for more activist protest art, something of a return to the 1960s and such efforts as Barbara Garson’s 1967 “MacBird,” which recast Shakespeare’s tragedy “Macbeth” as a theatrical satire of President Lyndon Baines Johnson, or LBJ, and First Lady Lady Bird Johnson as the Macbeths following the assassination of President John F. Kennedy or JFK?

What do you think?

Can you think of other works that lend themselves to such an approach to contemporary affairs?

The Ear wants to hear.


Classical music: This afternoon is your last chance to hear twin-sister pianists Christina and Michelle Naughton play Mozart with the Madison Symphony Orchestra. Here are three reviews. There will also be poetry inspired by the Symphony No. 5 by Shostakovich, which is also on the program. Plus, a FREE concert of choral music takes place tonight at the UW-Madison

November 13, 2016
Leave a Comment

ALERT: Tonight at 8 p.m. in Mills Hall is a FREE concert of choral music by the UW-Madison group Chorale under its director Bruce Gladstone. Sorry, no word on the program.

By Jacob Stockinger

This afternoon at 2:30 p.m. in Overture Hall is your last chance to hear twin-sister, Madison-born pianists Christina and Michelle Naughton (below top) perform a Mozart concerto with the Madison Symphony Orchestra (below bottom). Works by Claude Debussy and Dmitri Shostakovich are also on the program conducted by MSO music director John DeMain.

christina-and-michelle-naughton-2016

The program has received fine reviews from the critics:

Here is a review written by John W. Barker for Isthmus:

http://isthmus.com/music/familial-spirit/

Here is the review by Greg Hettmansberger for his blog “What Greg Says”:

https://whatgregsays.wordpress.com/2016/11/12/a-perfectly-timed-homecoming/

And here is a review written by Jessica Courtier for The Capital Times:

http://host.madison.com/ct/entertainment/music/concert-review-mso-delivers-heart-wrenching-performance-of-shostakovich-s/article_e3fc410e-3e15-543b-b323-fee9ac6ec552.html

For more information about the concert and program, go to:

https://welltempered.wordpress.com/2016/11/08/classical-music-twin-sister-pianists-the-naughtons-return-to-their-hometown-this-weekend-to-perform-a-mozart-concerto-with-the-madison-symphony-orchestra-the-famous-symphony-no-5-by-shostakovich-i/

John DeMain and MSO from the stage Greg Anderson

NEW MSO POETRY PROGRAM “COUNTERRPOINTS” DEBUTS TODAY

In addition, as a part of its 2016-17 season offerings, the Madison Symphony Orchestra (MSO) will today launch The Counterpoint Readings, a special event series where poets will respond to a selected symphonic piece, culminating in a reading in Overture Center’s Promenade Lounge the weekend the piece is performed. It is scheduled to start after the performance, at around 4:30 p.m. today.

NOTE: There is a $10 admission charge to the poetry reading, which includes a wine and cheese reception. But because notice was given late, the original deadline of Nov. 10 for reservations will be overlooked.

The first reading focuses on Dmitri Shostakovich’s Symphony No. 5 by Soviet composer Dmitri Shostakovich (below), performed by the MSO as part of its “Paired to Perfection” concerts this weekend. (You can hear the famous finale of the Shostakovich symphony performed by Leonard Bernstein and the New York Philharmonic Orchestra in the YouTube video at the bottom.)

dmitri shostakovich

The Counterpoint Readings debut will happen following today’s performance, beginning at approximately 4:30 p.m. Eight poets will perform original works— world premieres for each artist.

Coordinated by MSO violist and poet Katrin Talbot (below, writing poetry in a photo by Isabel Karp), the series seeks to expand the audience’s musical experience and bring Madison’s poetry into a new light. Another such music-based poetry reading, to take place in the Madison Museum of Contemporary Art, is scheduled for March, according to Talbot.

Katrin Talbot shares her vision of the how the power of words can respond to this significant historical composition, “Stalin is trumpeting out Soviet dominance. Yet somehow, he (Shostakovich) overcame it to generate art. Deception to get his voice heard.”

katrin-talbot-writing-poems-cr-isabel-karp

Among the poets slated to appear include MSO bassist August Jirovec, former Wisconsin Poet Laureate Marilyn Taylor, former Madison Poet Laureate Sarah Busse, Richard Merelman, Eve Robillard, Timothy Walsh, Marilyn Annucci and Rita Mae Reese.

Here is a preview: August Jirovec’s inspiration leading up to the reading:

“If there be meaning in this world askew,

let toils and rhyming gripes slide—disappear

your cross of blood drawn in the dirt austere

and lavish canvases of nascent hue

with brilliant visions! Let your whimsy brew

brash, crazen potions inspired by this tier

of music hefted from chests, as time’s spear

pierces the heart that must love art—through you.”

And here is a link to a long interview with Talbot by Lindsay Christians for The Capital Times:

http://host.madison.com/ct/entertainment/arts-and-theatre/people-turn-to-the-poets-writers-respond-to-a-symphony/article_d6010935-abc3-556c-96db-3a9eea4619d9.html

For more information go to:

The Counterpoint Readings, direct link: http://www.madisonsymphony.org/counterpointreadings

Paired to Perfection concerts: http://www.madisonsymphony.org/naughtons


Classical music: Fresco Opera Theatre will celebrate Halloween by performing the world premiere of “The Poe Requiem” this Friday and Saturday nights

October 26, 2016
Leave a Comment

By Jacob Stockinger

This weekend, the acclaimed and predictably creative Fresco Opera Theatre will celebrate the Halloween season with the literary masterworks of horror short story writer Edgar Allan Poe (below top) accompanied by the world premiere of a score composed by local composer Clarisse Tobia (below).

edgar-allan-poe

clarisse-tobia-color

The Poe Requiem is a unique theatrical experience that will be staged in the beautiful Masonic Center, located in downtown Madison at 301 Wisconsin Avenue, at 8 p.m. on this Friday and Saturday. (You can see a trailer for the Poe Requiem in the YouTube video at the bottom.)

This will be a complete environmental experience with singing, orchestra, artwork, dancers and other surprises along the way.

There will be a chorus with four vocal soloists. The chamber orchestra will include the Masonic Center organ, one of the oldest in the area. Kevin McMahon (below), music director and conductor of the Sheboygan Symphony Orchestra, is the conductor.

kevin-macmahon

During the production, Raw Inspirations Dance Company (below) will be performing and will have plenty of other surprises to get audience members in the mood for Halloween.

raw-inspirations-dance-company-poe-requiem

General seating is $25; Saturday student rush tickets are $15.

The Costume Contest is on Saturday.

There is a Post-Show Historic Ghost Tour of The Masonic Temple.

fresco-opera-theatre-poe-requiem-poster

TICKETS ARE ON SALE NOW at www.frescooperatheatre.com

Use the Password “Raven” to get $5 off each ticket


Next Page »

    Enter your email address to subscribe to this blog and receive notifications of new posts by email.

    Join 1,091 other followers

    Blog Stats

    • 1,698,258 hits
%d bloggers like this: