The Well-Tempered Ear

Classical music: Ken-David Masur, son of famed conductor Kurt Masur, is the new music director of the Milwaukee Symphony Orchestra

November 13, 2018
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IF YOU LIKE A CERTAIN BLOG POST, PLEASE FORWARD A LINK TO IT OR SHARE IT (not just “Like” it) ON FACEBOOK. Performers can use the extra exposure to draw potential audience members to an event.

By Jacob Stockinger

Ken-David Masur (below), a critically acclaimed associate conductor of the Boston Symphony Orchestra and son of the late German conductor Kurt Masur, has been named the new music director of the Milwaukee Symphony Orchestra.

Masur, who was chosen after a 36-month international search to find the successor to Edo de Waart, will start his duties next season and expand the number of concerts he conducts the following season. His contract runs through the 2022-23 season.

Masur, who also performs new music, sounds appealing and accomplished. It makes The Ear hope that the Masur brings the Milwaukee Symphony Orchestra to perform at the Wisconsin Union Theater, as has been done in the past. 

Here are some links to stories and web sites with more information about appointment of the Grammy Award-nominated Masur (below, in a photo by Beth Ross Buckley), which was announced Monday.  (You can hear him conducting the dramatic opening of the “Romeo and Juliet” ballet suite by Sergei Prokofiev in the YouTube video at the bottom. His work is well represented on YouTube.)

Here is a long and very informative story, with a lot of detail and background, from the Associated Press: https://www.apnews.com/61dace4d8fe346cba3c36c9c25cd62ca

Here is a link to the online story in the Milwaukee Journal-Sentinel, along with spoken introductions he gave to performances in Milwaukee of the Symphony No. 2 by Johannes Brahms and the Piano Concerto No. 2 by Sergei Rachmaninoff: https://www.jsonline.com/story/entertainment/arts/2018/11/12/milwaukee-symphony-names-ken-david-masur-its-new-music-director/1963446002/

And here is a link to his own web site: http://ken-davidmasur.com

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Classical music: This weekend, the Madison Symphony Orchestra celebrates the legacy and works of Leonard Bernstein

November 5, 2018
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IF YOU LIKE A CERTAIN BLOG POST, PLEASE FORWARD A LINK TO IT OR SHARE IT (not just “Like” it) ON FACEBOOK. Performers can use the extra exposure to draw potential audience members to an event.

By Jacob Stockinger

This coming weekend, Leonard Bernstein (below, in a photo by Jack Mitchell) will be remembered, honored and celebrated by his friend and Madison Symphony Orchestra music director John DeMain in a “Remembering Lenny” concert that explores Bernstein’s musical contributions as an American composer and conductor.

Original works by Bernstein will be performed by the MSO on the first half of the concert. The MSO starts with the Overture to Candide, then moves on to On The Town, and, finally, performs his Symphony No. 2 “The Age of Anxiety,” featuring Van Cliburn Competition bronze medal winner and UW-Madison pianist Christopher Taylor.

The second half of the program features Ludwig van Beethoven’s Symphony No. 7, the last work that Bernstein (1918-1990) ever conducted during a concert at the summer Tanglewood Festival of the Boston Symphony Orchestra.

Performances will be held in Overture Hall, 201 State Street, on this Friday night, Nov. 9, at 7:30 p.m.; this Saturday night, Nov. 10, at 8 p.m.; and this Sunday afternoon, Nov. 11, at 2:30 p.m. Ticket information is below.

Says DeMain (below, in a photo by Greg Anderson): “To have my 25th anniversary with the MSO coincide with the 100th anniversary of Leonard Bernstein’s birth is special for me personally because of the unique opportunities I had to work with this great American musician.” 

DeMain, who premiered Bernstein’s opera “A Quiet Place” in Houston, adds: “The first half of the concert celebrates Lenny the composer, culminating in the first performance by the MSO of his second symphony, The Age of Anxiety, which has a dazzling and at times jazzy part for the piano, and carries with it, still, a timely social statement. Christopher Taylor (below), a Madison favorite with whom I have often enjoyed collaborating, will perform the challenging and exciting piano part.”

DeMain describes the final work in the program: “The second half of the concert pays tribute to Lenny the conductor, and his life-long love of Beethoven. Since the Symphony No. 7 in A Major, Op. 92, was the last piece Lenny conducted, I thought it would be the perfect way to celebrate Lenny and his great contribution to American musical life.” (NOTE: You can hear Bernstein conduct the famous second movement of Beethoven’s Symphony No. 7 during his last public performance, just two months before he died, in the YouTube video at the bottom.)

Here is some more background:

Bernstein’s operetta Candide is based on the 1759 novella by French philosopher Voltaire. The well-known Overture is quick-paced, with a feverish excitement that begins from the first breath of sound. Many of the meters are in seven beats, or of other non-traditional types, and quickly change. Each player of the ensemble is required to perform with simultaneously the utmost virtuosity and togetherness.

On the Town is a dance-centric musical scored by Leonard Bernstein based on Jerome Robbins’ idea for the 1944 ballet “Fancy Free.” The story depicts three American sailors on a 24-hour shore leave in New York City during wartime, where each man meets and quickly connects with the woman of their dreams. The musical is the source of the ubiquitously popular show tune New York, New York.

The Age of Anxiety was composed between 1948 and 1949, and is inspired by a poem of the same name by W.H. Auden (below). The 80-page poem follows four lonely strangers who meet in a wartime New York bar and spend the evening ruminating on their lives and the human condition. Subtitled “a baroque eclogue” (a pastoral poem in dialogue form), the characters speak mostly in long soliloquies of alliterative tetrameter, with little distinction among the individual voices.

Composed from 1811–1812, Beethoven’s Symphony No. 7 premiered with Beethoven (below) himself conducting in Vienna on December 8, 1813 at a charity concert for soldiers wounded in the Battle of Hanau.

The symphony’s dance elements, vitality and sense of celebration are conveyed principally through rhythm. It is not the melodies that are so striking and memorable as the general sense of forward movement.

The Overture lobby opens 90 minutes prior to each concert. One hour before each performance, Randal Swiggum (below) will lead a 30-minute Prelude Discussion in Overture Hall to enhance concertgoers’ understanding and listening experience. It is free to ticket holders.

The MSO recommends that concert attendees arrive EARLY for each performance to make sure they have time to pass through Overture Center’s security stations, and so they can experience the Prelude Discussion.

Program notes for the concerts are available online. Go to: http://bit.ly/nov2018programnotes

Tickets can be purchased in the following ways:

  • Single Tickets are $18-$93 each and are on sale now at: https://madisonsymphony.org/bernstein\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.
  • Subscribers to 5 or more symphony subscription concerts can save up to 50% off single ticket prices. More information is available about the season at: https://madisonsymphony.org/18-19
  • Flex-Ticket booklets of 10 vouchers for 2018-19 symphony subscription concerts are available. Learn more at: https://madisonsymphony.org/flex

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

Find more information at madisonsymphony.org

The Presenting Sponsor for the November concerts is Steinhauer Charitable Trust. Underwriting for Christopher Taylor is provided by Sharon Stark, “to Peter Livingston with love.” Major funding is provided by: Stephen D. Morton, The Gialamas Company, Inc., Myrna Larson, Madison Symphony Orchestra League, and Nancy Mohs. Additional funding is provided by Robert Benjamin and John Fields, Godfrey & Kahn, S.C., and Wisconsin Arts Board, with funds from the State of Wisconsin and the National Endowment for the Arts.


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Classical music: The Oakwood Chamber Players open their new “Vignettes” season with concerts on Saturday night and Sunday afternoon

September 14, 2018
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A CORRECTION: The Ear wants to apologize for and correct an error he made in yesterday’s blog post. The correct time and address for the all-Schubert concert by the Mosaic Chamber Players is on Saturday night at 7:30 p.m. in the chapel of the First Congregational United Church of Christ, 1609 University Avenue, near Camp Randall Stadium.

By Jacob Stockinger

The Oakwood Chamber Players (below) will begin their 2018-2019 season series “Vignettes” with concerts on Saturday, Sept. 15, at 7 p.m. and Sunday, Sept. 16, at 2 p.m.

The concerts will both be held at the Oakwood Center for Arts and Education, 6209 Mineral Point Road, on Madison’s far west side near West Towne Mall.

Tickets can be purchased with cash or personal checks at the door: $25 for general admission, $20 for seniors 62 and over; and $5 students. Visit www.oakwoodchamberplayers.com or call (608) 230-4316 for more information for individual and season tickets.

Once again, the group will explore largely new or unknown composers and neglected music.

Each program of the 2018-19 series will focus on how composers create specific themes to tell stories, and represent emotions, places or characteristics to enhance the listening experience.

Central to the program is poetry and narration paired with music that will feature Boston-based guest soprano Mary Mackenzie (below). She has been described by The New York Times as “a soprano of extraordinary agility and concentration,” and the Boston Globe as “sensational.”

Mackenzie is a passionate performer of contemporary vocal music, and has appeared with the Chameleon Arts Ensemble of Boston, Collage New Music, the Da Capo Chamber Players, Fulcrum Point New Music Project, and The Knights.

American composer Byron Adams (below) was commissioned by renowned American clarinetist Yehuda Weiner to set Nightingales, a poem by British Victorian poet Robert Bridges, as a memorial to his brother. The composer chose a quartet of soprano, clarinet, cello and piano to evoke the breathtaking beauty of the natural world that is overlaid with a sense of loss and longing.

By contrast, the Pulitzer Prize-winning American composer Jennifer Higdon (below, in a photo by Candace DiCarlo) set four poems that have titles that reference roses by James Whitcomb Riley for the combination of flute, soprano and piano.

Bentley Roses was written as a surprise tribute for the retirement of her former music teacher, Judith Bentley. The settings are sunny and accessible, the music weaves around the words with swirling energy, coy interactions, and graceful interplay.

The yearning Vocalise by conductor, composer and pianist Andre Previn conveys emotion using the voice without words as a chamber instrument. The combination of soprano, cello and piano carries the shifting harmonies and sinuous melodic line through a series of subtle yet powerful transformations. (You can hear Previn’s beautiful “Vocalise,” with soprano Barbara Bonney and the the composer at the piano, in the YouTube video at the bottom.)

A second piece by Previn (below) piece puts the cello and soprano in conversation with his setting of Pulitzer Prize-winning writer Toni Morrison’s poem Stones.

American film composer and bassoonist Charles Fernandez (below) wrote Quatuor Parisienne (Parisian Quartet) for flute, oboe, clarinet and bassoon. It consists of three movements: a tongue-in-cheek march; a gracefully flowing reflection: and a farcical musical conversation with a dash of merriment.

Budapest-based clarinetist and composer Endre Szervanszky (below) wrote his Quintet No. 1 in 1953. Audiences will hear some characteristics similar to the writing of Kodaly and Bartok. It is a pleasing four-movement work that shows his strong understanding of each of the instruments, demanding both melodic expressiveness and technical panache.

The program concludes with poetry by British writer Roald Dahl, known for his darkly humorous children’s stories. Composer Martin Butler (below, in a photo by Katie Vandyck) incorporated The Pig, The Tummy Beast, and The Crocodile into his piece Dirty Beasts for narrator, piano and woodwind quintet. Butler mirrors the acerbic wit of the text with clever effects, closing out the program with some unexpected twists and turns.

Guest performers are soprano Mary Mackenzie, pianist Joseph Ross (below top) and oboist Laura Medisky (below bottom).

They join Oakwood Chamber Players members Marilyn Chohaney, flute; Nancy Mackenzie, clarinet; Amanda Szczys, bassoon; Anne Aley, horn; and Maggie Darby Townsend, cello.

This is the first of five concerts in the Oakwood Chamber Players’ 2018-19 season series entitled Vignettes. Remaining concerts will take place on Nov. 24 and 25; Jan. 12 and 13; March 2 and 3; and May 18 and 19. For more information about the Oakwood Chamber Players and their new season, go to: https://www.oakwoodchamberplayers.com

The Oakwood Chamber Players are a group of Madison-area professional musicians who play with the Madison Symphony Orchestra and the Wisconsin Chamber Orchestra and have rehearsed and performed at Oakwood Village for over 30 years.

The Oakwood Chamber Players are a professional music ensemble proudly supported by Oakwood Lutheran Senior Ministries and the Oakwood Foundation.


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Classical music: The 29th Token Creek Festival closes with the world premiere of a song cycle by John Harbison and dramatic, affecting Schumann

September 6, 2018
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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. 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.

By John W. Barker

The third and final program of this summer’s 29th Token Creek Chamber Music Festival, held in a refurbished barn (below) was given on last Saturday afternoon, when I caught it, and then was repeated the following day.

There were adjustments down to the wire, as co-director John Harbison noted in his opening comments. The originally planned opening piece, Mozart’s Sonata in G Major, K. 301, for Violin and Piano, was cancelled, and the program actually began with Haydn’s Piano Sonata in E Major (H. XVI:22).

Harbison (below) played this himself, having observed that, if not noteworthy, it was representative of its kind. In fact, it is a worthy work, its third and final movement is a little set of delightful variations on a minuet tune. Harbison obviously loves this whole Haydn literature, and he played the piece with affection.

Then it was vocal music, sung by tenor Frank Kelley — who has worked with Harbison in the Emmanuel Music activities in Boston — with pianist Janice Weber.

Their first offering was the world premiere of a cycle-in-progress by Harbison, titled In Early Evening, to texts by poet Louise Glück (below): specifically, of its first three songs. The texts are dreamy and nostalgic, and the composer has attempted to capture their multi-layered implications.

The two performers (below) then completed the concert’s first half with a presentation of the complete 16 songs of the cycle Dichterliebe (A Poet’s Love) by Robert Schumann. This sets the reflections on failed love, written by the great German poet Heinrich Heine.

Kelley is not an ingratiating singer. His voice sounds raw and worn. Nevertheless, he has splendid diction, in both English and German. He sounded much more confident and secure in the magnificent Schumann cycle, which he sang without a score. In this music he conveyed the varying moods and emotions with genuine engagement and expression.

But pianist Janice Weber (below) proved a real discovery. In his program notes, Harbison rightly pointed out that Schumann’s piano writing was not so much accompaniment as individualized piano writing with its own character and even independence. Indeed, the final song of the Heine cycle ends, after the voice is finished, with a substantial little epilogue of reflection for the piano alone.

Weber projected that very strong piano dimension wonderfully, and she repeated the feat when, for the program’s second half, she was joined in Schumann’s Piano Trio No. 1 in D minor, Op. 63, by violinist and Festival co-founder Rose Mary Harbison and cellist Karl Lavine.

This is a lively and quintessentially Schumanesque work that the audience loved. (You can hear the energetic first movement, played by the Beaux Arts Trio, in the YouTube video at the bottom.)

But I found the ensemble not well balanced. Lavine was surprisingly mild, deferential and understated in his playing. But Weber provided the sturdy backbone of the performance. We should hear more of this splendid artist.


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Classical music: The FREE 39th Karp Family Labor Day concert is moved to TUESDAY night and features a world premiere

September 2, 2018
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By Jacob Stockinger

The Ear has received the following announcement from UW-Madison cellist Parry Karp (below) about the 39th Karp Family Labor Day Concert – which this year has been moved from Monday night to Tuesday night and aptly renamed as the first concert of the new season, the same purpose it has served since it began.

“On Tuesday — NOT Monday — we will perform our 39th Karp Family Opening Concert.

“Through the years we have always done our opening program the day before classes begin. For the past many years that has meant the program was on Labor Day. However this year classes start on Wednesday, so our program will be at 7:30 p.m. on this coming TUESDAY, Sept. 4, in Mills Concert Hall.

“Admission is FREE.

“Performers are: Suzanne Beia, violin; Alicia Lee, clarinet; Katrin Talbot, viola; Parry Karp, cello; Frances Karp and Christopher Karp, piano.

“The program is listed below.

“Continuing in our tradition of never repeating a piece, these are all new pieces for this series of concerts. The program includes the world premiere of Eric Nathan’s piece for Cello and Piano entitled “Missing Words III.” Some biographical information and an excerpt from a program note about the piece are below. We are very excited to play this program.”

For more information, go to: https://www.music.wisc.edu/event/39th-karp-family-opening-concert/

The program is:

Bohuslav Martinu (below): Quartet for Piano and Strings, H. 287 (1942)

Robert Kahn (below): Trio in G Minor for Piano, Clarinet and Violoncello (1906). Here is a link to Kahn’s Wikipedia biography: https://en.wikipedia.org/wiki/Robert_Kahn_(composer)

Eric Nathan (below): “Missing Words III” for Cello and Piano (2017) in its world premiere. Here is a link to Nathan’s home website: http://www.ericnathanmusic.com

Ludwig van Beethoven: Sonata in F Major for Piano and Violin, Op. 24 “Spring” (1801-2), transcribed for Piano and Cello by Parry Karp                                      

The music by Eric Nathan (b. 1983) has been called “as diverse as it is arresting” with a “constant vein of ingenuity and expressive depth” (San Francisco Chronicle), “thoughtful and inventive” (The New Yorker), and as moving “with bracing intensity and impeccable logic” (Boston Classical Review).

Nathan, a 2013 Rome Prize Fellow and 2014 Guggenheim Fellow, has garnered international acclaim.

EXCERPT FROM A PROGRAM NOTE BY ERIC NATHAN

“Missing Words III” (2017) is the third in an ongoing series of compositions composed in homage to Ben Schott’s book, Schottenfreude (Blue Rider Press/Penguin Group), a collection of newly created German words for the contemporary world.

The German language has the capability to create new words through the combination of shorter ones and can express complex concepts in a single word for which there is no direct translation in other languages. Such words include Schadenfreude, Doppelgänger and Wanderlust, and these have been adopted into use in English. With his new book, Ben Schott proposes new words missing from the English language that we can choose to adopt into our own vocabulary.”

“Missing Words III” was commissioned by, and is dedicated to, Parry and Christopher Karp (below). It follows two previous works in the “Missing Words” series, which were composed for the Berlin Philharmonic’s Scharoun Ensemble and the American Brass Quintet, respectively. (You can hear the composer and his “Missing Words” music in the YouTube video below.)


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Classical music: The Green Lake Festival’s popular “Barn Concert” is this Saturday night and features a “Circle of Sound” with faculty and students in the string program as well as additional free seating

July 6, 2018
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By Jacob Stockinger

The annual Green Lake Festival of Music has sent the following announcement to post:

The ever-popular barn concert this Saturday night, July 7, at 7:30 p.m., at the centennial “Boston Farm” will feature Green Lake Festival Chamber Music string faculty and students, and will include their signature “Circle of Sound” performance that surrounds the audience.

The faculty includes international chamber musicians of the Boston and Seattle Chamber Music Societies who perform regularly with concert pianist Andrew Armstrong, the director of the Chamber Music Camp. Students also come from all over the country, and this year a violinist from South Korea is a participant.

Registration for FREE tickets had been closed at the barn’s capacity, but so many have asked to attend this concert that the Festival is providing overflow seating at tables at the base of the barn where the music can be heard through the large opening above.

Hors d’oeuvres and a cash bar begin at 6:30 p.m. with the concert at 7:30 p.m. Admission is FREE, and donations will support the Green Lake Festival Chamber Music program.

The event is located at W3320 State Road 23 in Green Lake, Wisconsin.

To read about the Chamber Music faculty or see more information about the Festival, go to: www.GreenLakeFestival.org, or write to info@GreenLakeFestival.org, or call (920) 748-9398.


Classical music: This Sunday, Beverly Taylor retires as associate conductor of the Madison Symphony Orchestra. Kyle Knox will succeed Taylor starting this fall.

June 29, 2018
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By Jacob Stockinger

The Madison Symphony Orchestra (MSO) has announced that Associate Conductor Beverly Taylor (below) will retire from her current position after 22 years, effective this Sunday, July 1.

Taylor will continue to serve as Director of the Madison Symphony Chorus (below, in a  photo by Greg Anderson).

She will also continue as the Director of Choral Activities at the University of Wisconsin-Madison’s Mead Witter School of Music, where she conducts many groups including the Choral Union (below) and the Concert Choir.

Kyle Knox (below) will become the MSO’s new Associate Conductor, effective in the 2018–2019 season.

“I am delighted that Beverly will continue to work with the Madison Symphony Chorus. The chorus has improved steadily under her direction and will sing some very difficult music in the coming seasons,” said MSO music director John DeMain (below, in a photo by Prasad). “I also want to thank Beverly for the outstanding help she has given me in the preparation of our concerts over the years.”

“I’ve loved my time as associate conductor of the symphony, and will continue as chorus director,” says Taylor. “But I’m looking forward to more time for guest conducting, visiting friends and family and finishing the two books I’m at work on. I also have a grant to write a basic conducting textbook, and I’m finishing a handbook on how to develop a musical interpretation.”

John DeMain says he looks forward to Knox joining the MSO. “I think Kyle Knox is a natural to step into the associate conductor position. He has distinguished himself in the past few years with his work at the University of Wisconsin, Madison Opera and the Middleton Community Orchestra (below, in a photo by John W. Barker). He also successfully led the MSO in last year’s Concert on the Green.

“His recent appointment as Music Director of the Wisconsin Youth Symphony Orchestras (WYSO) is a testament to his brilliant talent and will dovetail easily with his duties with the MSO. I so look forward to our working together and welcome him to our Madison Symphony Orchestra family.”

Knox is also very pleased with his appointment.

“My history with the MSO goes back a few years and I have long admired the work of Maestro DeMain and this wonderful group of musicians,” he says. “It is an honor to have been selected for this opportunity and I look forward to happy years of service and collaboration.”

BACKGROUND BIOGRAPHIES

Beverly Taylor has been the Associate Conductor of the Madison Symphony Orchestra and Director of the Madison Symphony Chorus since 1996 and Director of Choral Activities at UW-Madison since 1995.

Prior roles include conductor of the Boston Bar Association Orchestra, Music Director of the Back Bay Chorale, and Associate Director of Choral Activities at Harvard University.

Taylor has been a guest conductor at the Arthur Rubinstein Philharmonic Orchestra in Poland, the St. Louis Symphony Chorus, the Vermont Symphony, the Harvard Chamber Orchestra, the Madison Opera, the U.S. Air Force Band and Orchestra, the Harvard Radcliffe Collegium Musicum, and the Wellesley Chamber Singers.

She graduated from the University of Delaware and Boston University School for the Arts and received a fellowship with Chorus America and an orchestral fellowship at Aspen.

Kyle Knox will take over the dual positions of Music Director of WYSO and Associate Conductor of the Madison Symphony Orchestra beginning in the 2018–2019 season.

Past and upcoming conducting credits include Mark Adamo’s Little Women with the Madison Opera; Benjamin Britten’s Albert Herring and The Turn of the Screw, and Transformations; with UW-Madison’s University Opera; the Madison Symphony Orchestra’s 2017 Concert on the Green; Johann Strauss Jr.’s Die Fledermaus and Gilbert and Sullivan’s The Gondoliers and H.M.S. Pinafore with the Madison Savoyards; as well as UW Music Clinic’s High School Honors Orchestra.

Other concerts include Carousel, Sunday in the Park with George, and Sweeney Todd (2018) with Middleton Players Theatre, Jon Deak’s The Passion of Scrooge with Oakwood Chamber Players, as well as regular appearances with the Middleton Community Orchestra.

He was formerly a clarinetist with Milwaukee Symphony Orchestra, the Santa Fe Opera and Philadelphia Orchestras, and was on the faculty at UW-Milwaukee. Festivals credits include Tanglewood, Spoleto (Italy), Santa Fe Chamber Music, and Bowdoin College, among others. His debut album, the first commercial recording of Conrad Susa’s chamber opera Transformations, will be released in the summer of 2018 on iTunes. He holds degrees from Juilliard School and the UW-Madison. He  is married to MSO concertmaster Naha Greenholtz. 


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Classical music: Here are the performers, programs and schedule for Saturday’s concerts by the Wisconsin Youth Symphony Orchestras

March 8, 2018
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By Jacob Stockinger

The Ear has received the following announcement from the Wisconsin Youth Symphony Orchestras to post:

Join us for our second concert series of the season, the Diane Ballweg Winterfest Concerts on this Saturday, March 10, in Mills Concert Hall, 455 North Park Street, on the University of Wisconsin-Madison campus.

Programmed pieces include works from Brian Balmages, Ludwig van Beethoven, Ralph Matesky, Gustav Holst, Samuel Barber, and more.

For the full concert repertoire, go to: https://www.wysomusic.org/2018-winterfest-repertoire/

“Every one of these concerts is jam-packed with great music—the kind of classics that have endured,” said interim WYSO artistic director Randal Swiggum (below).

“These concerts will inspire audiences, guaranteed, not just with masterworks like Holst’s ‘Jupiter’ from The Planets, and Beethoven’s Symphony No. 5, but with the energy and freshness that young musicians bring to this music.” (You can hear the dramatic and well-known opening of Beethoven’s Fifth Symphony, with an engaging graphic display of its structure, in the YouTube video at the bottom.)

Additional highlights from the concerts include an Opus One collaboration with the WYSO Music Makers Honors Ensemble on the traditional piece Goin’ To Boston; a guest appearance from NBC-15 TV News Anchor/Reporter John Stofflet (below top) who will narrate Sinfonietta’s performance of Lincoln at Gettysburg; and concerto performances from the 2017-2018 Youth Orchestra Concerto Competition winners, violist Maureen Sheehan (below middle) of Middleton and violinist Dexter Mott (below bottom) of Madison.

“Both Maureen with the Walton Viola Concerto, and Dexter with the Sibelius Violin Concerto, have tackled mature pieces that demand not just technical prowess, but thoughtful, nuanced interpretation,” Swiggum said. “I know audiences will be truly moved by their playing.”

Tickets are available at the door the day of the concerts, and are $10 for adults and $5 for youth 18 and under.

               Diane Ballweg Winterfest Concerts Schedule

11:30 a.m. – Opus One with WYSO Music Makers (below, playing at the Wisconsin Union Theater) and Sinfonietta with NBC-15 News Anchor/Reporter John Stofflet narrating Lincoln at Gettysburg.

1:30 p.m. – Harp Ensemble (below) and Concert Orchestra.

4:00 p.m. – Philharmonia Orchestra (below), with a performance of Beethoven’s Symphony No. 5, and Holst’s “Jupiter” from The Planets.

7:00 p.m. – Youth Orchestra, with performances from the 2017-2018 Youth Orchestra Concerto Competition winners, Dexter Mott and Maureen Sheehan.


Classical music: A long-lost American opera about Tabasco makes a fiery return to New Orleans. Are you burning to hear it?

January 29, 2018
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By Jacob Stockinger

It seems it’s time to revise the history of American opera.

That is due to the recent rediscovery of a lost 1894 opera about Tabasco (below, in photo by Tim Grosscup for New Orleans Opera) – that famous Southern hot sauce – that sheds a new light on that history.

The musical score, which had been lost for more than a century, was rediscovered in 2009 and has now received a fiery revival in its natural home — New Orleans, which also happens to have the oldest opera company in the United States.

The music was written by the American composer George Whitefield Chadwick (below). You can hear the Overture to the “burlesque opera” in the YouTube video at the bottom.

The libretto’s plot focuses on an Irish traveler who gets lost at sea and ends up as a chef in Morocco where the famous hot sauce pleases the Pasha who has captured him and so saves the traveler’s fate.

The opera was premiered in Boston, then went for a run on Broadway and toured to dozens of cities.

Of course, one still wonders if the opera will receive performance elsewhere these days. But that is another question for another day.

In the meantime, here is a fine story, with a sound sample, from National Public Radio (NPR) about the opera and its historical and artistic significance.

https://www.npr.org/sections/thetwo-way/2018/01/25/580713942/tabasco-opera-makes-fiery-return-in-new-orleans


Classical music: Bach Around the Clock 2018 will be March 10. Here is a year-end update with impressive news and important changes

December 28, 2017
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By Jacob Stockinger

Violist Marika Fischer Hoyt, who last March successfully revived Bach Around the Clock after Wisconsin Public Radio dropped it five years ago, has sent the following year-end update that is full of impressive news, including this year’s date and a smart change of hours to 10 a.m. to 10 p.m. instead of noon to midnight:

“Bach Around The Clock,” the annual community celebration of the music of Johann Sebastian Bach (1685-1750), exceeded all expectations in 2017.

“Approximately 80 performers were seen by almost 600 audience members. The performers ranged from beginning students (below top is a photo of the Suzuki Strings of Madison) to adult amateurs (below bottom is amateur pianist Tim Adrianson) to seasoned professionals including the Wisconsin Chamber Choir and the Madison Bach Musicians.

“The audience ran from around 300 persons at the church to 267 live-stream viewers, some from as far away as London, England.

“BATC gratefully acknowledges the valuable support received from Early Music America (EMA). In registering as a Partner of Early Music Month (an EMA initiative), BATC joined nearly 270 individual and organization Partners across the country whose events during the month of March were showcased on EMA’s website and social media.

“The enthusiastic Madison community response to BATC 2017 furnished strong supporting materials for an application for EMA’s coveted Outreach Grant. BATC, one of five organizations to win the award, received $500 and national recognition.

“As artistic director, I flew to Boston in June to attend the award ceremony, presided over by EMA Executive Director Ann Felter (below).  The award will help cover the cost of the sound engineers who record and live-stream the 2018 event.

“While in Boston Marika was able to consult extensively with harpsichordist and internationally recognized Bach scholar Raymond Erickson (below), who kindly offered insights and perspective on how to build a successful Bach festival.


“BATC 2018 — to mark Bach’s 333rd birthday — is scheduled for Saturday, March 10, from 10 a.m. to 10 p.m., again at St. Andrew’s Episcopal Church (below), 1833 Regent Street. Local luminaries will again take shifts as onstage emcees.

“The program will open once again with individuals and ensembles from the St. Andrew’s congregation, and continue with musicians from the Madison community and far beyond.

“In 2017, BATC attracted performers (below) from Milwaukee, Dubuque, Oshkosh and Chicago. For 2018 we’ve already been contacted by a pianist from North Carolina who wants to come perform The Well-Tempered Clavier, Book II. It’s safe to say that the festival’s impact has expanded!

“New this year is the Ensemble-In-Residence, Sonata à Quattro, which will perform as a featured ensemble, and also play a supporting role for singers wanting to perform an aria, or solo instrumentalists wanting to play a concerto. (In the YouTube video at the bottom, you can hear the gorgeous slow movement of the Keyboard Concerto No. 5 in F minor.)

Led by violinist Kangwon Kim (below), the core ensemble includes strings and harpsichord, and will add obbligato instruments as necessary. Sonata à Quattro will also offer a Fringe Concert during the Madison Early Music Festival at the UW-Madison in July.

“Partner organizations this year will include EMA, as well as the UW Chazen Museum of Art, where BATC ensembles will perform a preview concert on March 4, on the “Sunday Afternoon Live” series.  Radio interviews on WORT-FM 89.9 and Wisconsin Public Radio are also in the works. Details will be announced in the coming weeks.

“St. Andrew’s will again make their beautifully remodeled Parish Hall available as a place for performers and audience members to enjoy refreshments, fellowship, restrooms, comfortable couches, and free wi-fi. Many thanks are due to the church staff and congregation, for providing BATC with a home.

“BATC is also in the process of establishing its status as a 501(c)(3) nonprofit organization, which should help secure donations and funding. Completion of this process is expected in the next week or so, and will be announced on the BATC website and Facebook page.

“In addition, a board of directors is also being assembled, which should help ensure the survival on BATC by sharing the workload and responsibilities.”

Here is a link to the website, which has other links and information:

https://bacharoundtheclock.wordpress.com


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