The Well-Tempered Ear

Classical music: The prize-winning critic Alex Ross grieves to Brahms. What composer and piece would you choose to mourn the tragedies of the past week?

May 30, 2020
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By Jacob Stockinger

This past week feels like a week that deserves mass grieving.

Of course, there was the life-changing, historic landmark of surpassing, in only a few months, more than 100,000 deaths from COVID-19 during the coronavirus pandemic in the United States.

There were the spikes in new COVID-19 cases and deaths following the opening up from lockdowns and the mass gatherings over the Memorial Day holiday weekend, such as the party at the Lake of the Ozarks (below) in Missouri.

Then there was the tragic, racist death — an alleged murder — of George Floyd by the police and the ensuing rioting, violence and additional death in Minneapolis as well as the seven shootings among protesters in Louisville.

And depending of your political point of view, there were the incidents of White House threats against social media, especially Twitter, for simply telling the truth or at least directing viewers to it.

So what can one say about these sad events and sad times with music?

Well, not too long ago Alex Ross (below), the prize-winning and internationally respected music critic for The New Yorker magazine, wrote an engaging and moving essay about why he finds Brahms to be the perfect composer for grieving and mourning.

He mentions other composers as possibilities, including Bach, Haydn, Mozart, Beethoven and Schubert.

But Ross still finds Brahms more suited for several reasons. He even cites a favorite performance of a Brahms short, late Intermezzo by the Romanian pianist Radu Lupu. (You can hear that performance in the YouTube video at the bottom.)

Here is a link: https://www.newyorker.com/culture/cultural-comment/grieving-with-brahms

What composers – and what pieces or performances – do you find best for grieving? For marking loss?

Read the essay, listen to the music.

Then let us know in the comment section what music – perhaps Samuel Barber’s Adagio for Strings? – that you would want to listen to during sad occasions.

The Ear wants to hear.


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Classical music: The Wisconsin Chamber Orchestra uses a new website and a new brochure to announce its new Masterworks season plus other innovations

May 23, 2020
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By Jacob Stockinger

In many ways, there is much that is familiar or tried-and-true about the Wisconsin Chamber Orchestra (below, in a photo by Mike Gorski) and its new Masterworks season for 2020-21.

But in other ways it seems as if the WCO is reinventing and rebranding itself – perhaps under the direction of its new CEO Joe Loehnis – as the ensemble starts a double anniversary: its 60th season of existence and its 20th year under the baton of music director Andrew Sewell (below in a photo by Alex Cruz).

As in past years, the WCO programs feature a mix of familiar composers and works with new and neglected ones. It also features both new and returning guest soloists.

Start with what’s new.

The new WCO home website – like the new brochure that has been mailed out — has been redesigned, with more visuals and more information about the 34-member orchestra. The Ear finds both the new brochure and the new home page to be more attractive, better organized and easier to use. Take a look for yourself: https://wcoconcerts.org

There also seems to be a heightened emphasis on donations and raising money, including a new organization called “Friends” that brings special benefits for $30 or even more perks at $8 a month.

And the website seems more customer-friendly. There is a section on the website about “What to Expect,” which includes how to choose seats, how to dress, when to applaud and so forth. There is also a portal for streaming events and concerts.

There is more, much more, including the pre-concert dinners for the Masterworks concerts and the culturally diverse programs for the postponed Concerts on the Square (below), to run this summer on Tuesday nights at 6 p.m. (NOT the usual Wednesdays at 7 p.m.) from July 28 to Sept. 1.

There seems to be more emphasis on Sewell, who this year provides extensive first-person notes about each program and the guest artists. (In the YouTube video at the bottom, you can hear Sewell discuss the new Masterworks season with Wisconsin Public Radio host and WCO announcer Norman Gilliland.)

This season will see two performances of Handel’s “Messiah”: one on Saturday, Dec. 19, at the Blackhawk Church in Middleton; and another downtown on Sunday, Dec. 20, at the UW-Madison’s Hamel Music Center.

The Masterworks series of concerts – held on Friday nights at 7:30 p.m. in the Capitol Theater of the Overture Center – will begin in late November rather than in late January. The six concerts include five new ones and the postponed appearance of harpist Yolanda Kondonassis, whose appearance this season was canceled because of the COVID-19 pandemic, on May 14.

Two of the concerts – on two Saturdays, Feb. 20 and April 10 – will also be performed in the Milwaukee suburb of Brookfield at the Sharon Lynn Wilson Center for the Arts (below).

You can read more about the community outreach and music education programs, especially the Youth and Education programs. They include the free Family Series and “Side by Side” concerts (below, in a photo by Mike DeVries for The Capital Times, WCO concertmaster Suzanne Beia, right, tutors a WYSO student); the Super Strings educational program; and the Young Artists Concerto Competition for grades 9-12.

Here are the Masterworks series:

NOV. 20Pianist John O’Conor (below) returns in a program of the Piano Concerto No. 5 “Emperor” by Beethoven; the Septet by Igor Stravinsky; and the Symphony No. 1 in D Major by Luigi Cherubini.

JAN. 15Cellist Amid Peled (below, in a photo by Lisa Mazzucco) returns in a program of Cello Concerto No. 1 by Dmitry Kabalevsky and the Andante by Jacques Offenbach; plus the Wind Serenade in D minor by Antonin Dvorak; and the Symphony No. 34 by Mozart.

FEB. 19Violinist Alexander Sitkovetsky (below) in returns in Antonio Vivaldi’s “Four Seasons” and Astor Piazzolla’s “Four Seasons in Buenos Aires”; plus the Suite for Strings by Leos Janacek.

MARCH 19Grammy-winning Spanish guitarist Mabel Millán (below) making her U.S, debut in an all-Spanish program that features the Concierto del Sur (Concerto of the South) by Manuel Ponce; the Sinfonietta in D major by Ernesto Halffter; and the overture “Los Esclavos Felices” (The Happy Slaves) by Juan Crisóstomo Arriaga.

APRIL 9Pianist Michael Mizrahi (below), who teaches at the Lawrence University Conservatory of Music in Appleton, Wis., on the Piano Concerto No. 1 by Beethoven plus the Serenade No. 1 by Johannes Brahms.

MAY 14Harpist Yolanda Kondonassis (below) in the Harp Concerto by Alberto Ginastera; plus the Sinfonietta by Sergei Prokofiev and the Symphony no. 88 by Franz Joseph Haydn.

Single tickets, which go on sale in July, are $15 to $80. Season subscriptions are available now with seat preference through July 1, bring a discounted price with an extra 10 percent off for first-time subscribers.

For more information, go to the website at https://wcoconcerts.org; call 608 257-0638; or mail a subscription form to the Wisconsin Chamber Orchestra, Attn: Subscriptions; PO Box171, Madison, WI 53701-0171.

 


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Classical music: Local groups stream videos to entertain home-bound listeners, and perhaps to promote their next seasons. Plus, the Madison Symphony Orchestra cancels and postpones its May concerts

April 4, 2020
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By Jacob Stockinger

Cancellations and postponements aren’t the only effects that the coronavirus and COVID-19 pandemic are having on the local classical music scene.

Many local ensembles – much like such national and international organizations as the Metropolitan Opera and the Berlin Philharmonic Orchestra — are also starting to offer free streamed performances, some of them archival and some of them are specially performed.

Bach Around the Clock even held a virtual festival this year that featured many different original recorded performances spread out over many days and continues.

Why are they doing so?

Certainly to help entertain the public while they weather the boredom and loneliness of social distancing and sheltering in place at home. Music can comfort.

Perhaps they are also doing so as a smart marketing move to stay in the public’s consciousness despite cancellations and to indirectly promote their upcoming seasons.

Here are some examples:

The Madison Symphony Orchestra (MSO) is offering a link to a YouTube performance — by the Prague Radio Symphony Orchestra below) — of the Dvorak Requiem, which the MSO orchestra and chorus were supposed to perform this weekend but had to cancel.

The video also has a message from music director John DeMain; texts and translations from the Czech; a special pre-concert talk and program notes for the Requiem by J. Michael Allsen; and a link to the MSO’s 2020-21 season.

Here is a link: https://madisonsymphony.org/experience-dvorak-requiem-virtually/

In other MSO news: The concerts with pianist Yefim Bronfman playing the Piano Concerto No. 1 by Brahms on May 1, 2 and 3 and the open rehearsal on April 30 are now canceled, and the May 5 organ performance has been postponed.

For those who hold tickets for May concerts, the MSO will be announcing options for donation, exchange and refunds sometime this weekend or next week.

The Wisconsin Chamber Orchestra (WCO), which recently streamed its December concert in the UW’s Hamel Center, has started a special “Coucherto” series – it’s a pun on concerto and couch – of special at-home concerts by individual musicians in the WCO for those listeners who are staying at home.

The project uses social media including Facebook, YouTube, Twitter, Vimeo and at the WCO’s home website. Also included is an invitation by music director Andrew Sewell.

The WCO’s next season hasn’t been announced yet, but should be soon.

Here is a link: https://wisconsinchamberorchestra.org/about/coucherto/

For its part, the Bach Dancing and Dynamite Society, which is facing uncertainty about its June concert series, which focuses on Beethoven’s piano trios – is offering selected chamber music performances from its past seasons that are on BDDS’ YouTube channel.

It too has comments and the program lineup for its season this summer.

Here is a link: https://bachdancing.org/watch-listen/video/

Have you seen any of these videos?

What do you think of them?

Dp you think they work as marketing strategies?

Have you discovered sites for streaming classical music that you recommend to others?

The Ear wants to hear.


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Classical music: The Middleton Community Orchestra announces an ambitious 2020-21 season with new guest soloists and conductors, but with no Middleton venue

March 30, 2020
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By Jacob Stockinger

Amid all the concert cancellations due to COVID-19 comes good news.

The mostly amateur and critically acclaimed Middleton Community Orchestra (MCO, below) — which has canceled and postponed concerts for the remainder of this season — has announced its five-concert line-up for the 2020-21 season.

It is undeniably ambitious on several counts.

But unfortunately it usual venue — the Middleton Performing Arts Center that is attached to Middleton High School — will be undergoing renovations.

That means that the MCO will be using other venues besides its home base (below) for its 11th season.

The new venues include the Mead Witter Foundation Concert Hall (below) in the new Hamel Music Center, 740 University Ave., at the UW-Madison, which will host three of the concerts.

Also included for the other two concerts are the brand new McFarland Performing Arts Center (below)  – where the MCO will give the center’s inaugural public concert on Oct. 7 — and Madison Memorial High School.

Concert dates and times are usually Wednesdays at 7:30 p.m. They are Oct. 7, Dec. 16, Feb. 17, April 2 (Friday) and May 26. Admission will remain $15 with free admission for students. And, as usual, post-concert meet-and-greet receptions will be held at all performances.

The ambitious new season includes some familiar faces but also some new names.

On Oct. 7, pianist Thomas Kasdorf (below) will open the season by performing the Piano Concerto No. 2 by Rachmaninoff; and then, on May 26, he will close the season with the Piano Concerto No. 1 by Beethoven as the first installment of a complete cycle of Beethoven piano concertos.

On Oct. 7, UW professor and Pro Arte Quartet first violinist David Perry (below top) will make his MCO debut in the Violin Concerto No. 4 by Mozart; and on Dec. 16, Madison Symphony Orchestra concertmaster Naha Greenholtz (below bottom) will return to play the Violin Concerto by Brahms.

On April 2, the Festival Choir of Madison (below), under its director Sergei Pavlov, will makes its MCO debut in the movie-score cantata “Alexander Nevsky” by Prokofiev.

And the teenage winners of the second Youth Concerto Competition, to be held next December, will perform with the orchestra on Feb. 17.

The conductor for three concerts will be Kyle Knox, the music director of the Wisconsin Youth Symphony Orchestras (WYSO) and associate conductor of the Madison Symphony Orchestra (MSO).

A frequent MCO guest conductor, Knox has also agreed to become the ensemble’s new principal conductor and artistic adviser. (In the YouTube video at the bottom, you can hear Kyle Knox conducting the MCO last December in Wagner’s Overture to the opera “Die Meistersinger von Nürnberg” (The Master Singers of Nuremberg) at the UW’s Hamel Music Center.)

Two guest conductors will be making their MCO debuts: UW-Whitewater professor Christopher Ramaekers (below top) on Oct. 7 and Edgewood College professor Sergei Pavlov (below bottom) on April 2.

Some repertoire still hasn’t been decided. For up-to-date information, as well as information about how to audition for the MCO, how to subscribe to its email newsletter and how to support it, go to the newly redesigned website at: https://middletoncommunityorchestra.org

“We will also try to schedule the concert with this year’s Youth Concerto Competition winners for this summer, even if it means going to an outdoor venue,” says MCO co-founder and co-artistic director Mindy Taranto. The winners are: violinists Ava Kenny and Dexter Mott, and cellist Andrew Siehr.

Adds Taranto: “We are really excited about the lineup of guest soloists and new conductors, and are especially grateful to Kyle Knox for his continued association with us. We’re going to have a fantastic year.”

 


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Classical music: Starting this Sunday, radio station WORT-FM 89.9 will air recordings that Rich Samuels made of many live performances in the Madison area

March 21, 2020
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ALERT: The Wisconsin Youth Symphony Orchestras (WYSO) will be suspending the remainder of its spring season until further notice. Music director Kyle Knox and executive director Bridget Fraser says they are hopeful that an adjusted end-of-year schedule might be possible. Many ideas are under consideration. But they say they have no idea at this point what might be possible given the restrictions currently in place at the UW-Madison. “All we can do is explore possible scenarios and be ready to react if the restrictions are lifted,” they add.

By Jacob Stockinger

The Ear has received the following note from Rich Samuels (below), a retired Chicago reporter and broadcaster who is often seen at concerts with microphones and a laptop computer. His public service is especially commendable and useful during the current coronavirus pandemic when almost all live concerts in music-rich Madison have been canceled or postponed for the foreseeable future.

Jake:

WORT (89.9 FM and at wortfm.org) will shortly start to air recordings of past public performances by Madison area classical musicians within its regularly scheduled classical music broadcasts.


This should help keep our local musician friends in the public ear even though their local venues have been shuttered and their gigs canceled.

I’ve had the good fortune to record hundreds of hours of local performances since 2012. I’m now editing them into segments that can be inserted into the shows of WORT’s classical music hosts.

The first segment to air, if all goes well, will be part of the “Musica Antiqua” early music program, hosted by Carol Moseson, this Sunday, March 22, from 8 to 11 a.m.

It will feature Eric Miller on viola da gamba and Daniel Sullivan on harpsichord performing a suite by French Baroque composer Louis Couperin. I recorded the concert (below) last Oct. 11 in the Landmark Auditorium of the First Unitarian Society of Madison (FUS).

Other such segments will follow on the weekday classical music shows that air from 5 to 8 a.m. We are still working on the details.

Additionally, I’ll be pre-recording three-hour broadcasts that can be run in place of the regularly scheduled classical music shows, assuming the host, for whatever reason, is unable to make it to the station.

These will hopefully include complete concert performances from the FUS Friday Noon Musicale, Grace Presents (in the YouTube video at the bottom) and Willy Street Chamber Players (below) series.

I gave up my own Thursday morning WORT show about a year ago after my wife developed some health issues. But I’ve continued to record local musicians whenever possible. (My wife, by the way, is presently in good shape).

Hopefully, this WORT effort will benefit both local musicians and their audiences. (Below is Samuels recording at Bach Around the Clock, which has been canceled this year.)

Please join The Ear in thanking Rich Samuels and WORT for their service to the community by leaving word in the Comment section.

What do you think of his project?

 


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Classical music: Members of the Chamber Music Society of Lincoln Center will give two concerts this week as part of the centennial season of the Concert Series at the Wisconsin Union Theater

March 4, 2020
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By Jacob Stockinger

Think of it as one anniversary celebrating another anniversary.

This week, four members of the Chamber Music Society of Lincoln Center in New York City will be giving two concerts as part of the Concert Series at the Wisconsin Union Theater (below).

The Chamber Music Society is marking its 50th anniversary and is in town this week to help the WUT’s Concert Series celebrate its 100th anniversary.

Here is a link with more background about the special programming for the anniversary season: https://welltempered.wordpress.com/2019/03/30/classical-music-personal-experience-artistic-excellence-and-historical-importance-drew-pianist-wu-han-and-cellist-david-finckel-into-planning-next-years-centennial-season-at-the-wisconsin-u/

The first concert is tomorrow — Thursday night, March 5 — at 7:30 p.m. in Shannon Hall at the Memorial Union. The program features two piano quartets and a violin sonatina.

The Ear has seen the Society players before in Madison and has never heard them give anything short of a first-rate performance. 

The piano quartets are the Piano Quartet in A Minor, Op. 1, by Czech composer Josef Suk; the Piano Quartet No. 1 in G Minor, Op. 25, by Johannes Brahms; and the Violin Sonatina in G Major, Op. 100, by Antonin Dvorak. (You can hear Chopin Competition winner and South Korean pianist Song-Jin Cho, play the Gypsy Rondo finale from the Brahms piano quartet in the YouTube video at the bottom.)

Personal ties link all three works. Brahms greatly admired Dvorak and helped launch his career. And Dvorak was both the teacher and father-in-law of Suk.

The performers (below, from left) are violinist Arnaud Sussmann, pianist Wu Han, violist Paul Neubauer; and cellist David Finckel.

The wife-and-husband team of Wu Han and David Finckel are the co-music directors of the Chamber Music Society and also the artistic advisors who helped the Wisconsin Union Theater put together its centennial season.

Says Han: Chamber music is a form of music that has the ability to provide comfort in difficult times, escape and inspiration for all. The Musical America’s Musician of the Year award winner adds that it’s those very things that drive her to continue to make music.

The performance is part of the new David and Kato Perlman Chamber Music Series. More information about the Chamber Music Society of Lincoln Center can be found on their website.

There will also be a pre-concert performance by students of the Suzuki method in Sonora Strings (below) beginning in Shannon Hall at 7 p.m.

For more background as well as how to purchase tickets ($10-$50), go to: https://union.wisc.edu/events-and-activities/event-calendar/event/chamber-music-society-of-lincoln-center/

SATURDAY NIGHT

On Saturday night, March 7, at 7:30 p.m. in the Mead Witter Foundation Concert Hall of the new Hamel Music Center, 740 University Ave., pianist Wu Han (below top) will perform with the UW Symphony Orchestra under the baton of its director and conductor Oriol Sans (below bottom).

The program is the Suite No. 1 from the chamber opera “Powder Her Face” by the contemporary British composer Thomas Adès; the Piano Concerto No. 3 in C Minor, Op. 37, by Beethoven; and the Symphony No. 2 in D Major, Op. 73, by Brahms.

Tickets are $30 for the public, $25 for Union members and UW faculty and staff; and $10 for UW students. For more information about Wu Han and to purchase tickets, go to: https://union.wisc.edu/events-and-activities/event-calendar/event/wu-han-with-uw-symphony/

“Wu Han brings to the Wisconsin Union Theater not only a passion for music, but also authentic excitement about inspiring a love of music in others,” said Amanda Venske, Concert Series coordinator of the Wisconsin Union Directorate (WUD) Performing Arts Committee.

The students of the UW-Madison Symphony Orchestra (below, with the UW Choral Union in the background) will have the opportunity to learn from Han as they prepare for the Saturday performance.

Patrons can purchase tickets online or at the Memorial Union Box Office. The Wisconsin Union Theater team offers discounted tickets for University of Wisconsin-Madison faculty, staff and students as well as Wisconsin Union members.

Other upcoming Concert Series performances are by violinist Gil Shaham with Akira Eguchi on March 28, and superstar soprano Renée Fleming on May 2. The Concert Series is the longest running classical music series in the Midwest.

 


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Classical music: This Sunday afternoon at Farley’s, pianist Shai Wosner performs sonatas by Beethoven, Schubert, Scarlatti and Rzewski. On Saturday afternoon, he gives a FREE public master class

February 18, 2020
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ALERT and CORRECTION: Earlier this week, The Ear mistakenly said the concert by UW Concert Band is Wednesday night. He apologizes for the error.

It is TONIGHT at 7:30 p.m. in the Mead Witter Foundation Concert Hall of the new Hamel Music Center, 740 University Ave. In addition, the School of Music website has updated information about the program to be played under director and conductor Corey Pompey. Go to: https://www.music.wisc.edu/event/uw-concert-band-3/

By Jacob Stockinger

This coming Sunday afternoon, one of the today’s most interesting and creative concert pianists will return to Madison to make his solo recital debut.

His name is Shai Wosner (below, in a  photo by Marco Borggreve) and he is an Israeli-American who is acclaimed for his technique, his tone and his subtle interpretations.

But what also makes Wosner especially noteworthy and one of the most interesting musical artists performing today is his eclectic, thoughtful and inventive approach to programming.

For more information about Wosner, go to his home website: http://www.shaiwosner.com

Wosner returns to Madison to perform his first solo recital here at 4 p.m. this coming Sunday afternoon, Feb. 23, on the Salon Piano Series at Farley’s House of Pianos, at 6522 Seybold Road, on Madison’s far west side near West Towne Mall.

Born in Israel and now teaching in Boston while touring, Wosner will play sonatas by Beethoven, Scarlatti, Rzewski and Schubert.

He has performed with orchestras throughout the U.S. and Europe, and records for Onyx Classics. “His feel for keyboard color and voicing is wonderful,” said The Washington Post.

The Madison program is: Beethoven’s Sonata No. 15 in D Major (“Pastoral”), Op. 28; Scarlatti’s Sonata in D minor, K. 141, Allegro, with Rzewskis’ Nanosonata No. 36 (“To A Young Man”); Scarlatti’s Sonata in D minor, K. 9, Allegro, with Rzewski’s Nanosonata No. 38 (“To A Great Guy”); Scarlatti’s Sonata in C minor, K. 23, with Rzewski’s Nanosonata No. 12; and Schubert’s last Sonata in B-flat Major, D. 960.

An artist’s reception will follow the concert.

Tickets are $45 in advance (students $10) or $50 at the door. Service fees may apply. Tickets are also for sale at Farley’s House of Pianos. Call (608) 271-2626.

Student tickets can only be purchased online and are not available the day of the event.

To purchase tickets, go to: https://www.brownpapertickets.com/producer/706809

For more information about Wosner’s FREE public master class at 4:30 p.m. on Saturday, Feb. 22, including the names of local students and their teachers plus the titles of works by Mozart, Debussy and Ravel to be played, go to: https://salonpianoseries.org/concerts.html

Wosner (below) recently did an email Q&A with The Ear:

In concerts and recordings, you like to mix and intersperse or alternate composers: Brahms and Schoenberg; Haydn and Ligeti; Schubert and Missy Mazzoli; and Beethoven, Schubert, Chopin, Liszt, Dvorak, Ives and Gershwin. Why do you pair sonatas by Domenico Scarlatti (1685-1757) and the American composer Frederic Rzewski (1938-) in this program?

I like to pair together composers from very different periods in ways that, hopefully, bring out certain things they have in common in spite of the differences.

Perhaps it is a way of looking for the underlying principles that make music work, for the ideas that go beyond styles and time periods and that stimulate composers across centuries.

In the case of Scarlatti (below top) and Rzewski (below bottom), it is the extreme conciseness of their sonatas and also their almost impulsive kind of writing with ideas and twists and turns kept unpredictably spontaneous, almost in the style of stream-of-consciousness.

Their sonatas are closer to the literal meaning of the word – “a piece that is played” as opposed to sung (which was more common in Scarlatti’s time perhaps). They are also very much about treatment of the keyboard and gestural writing rather than the more essay-type sonatas that were the dominant idiom for Beethoven and Schubert.

Why did you pick these particular sonatas by Beethoven and Schubert to bookend the program?

The sonata by Beethoven (below top) is quite unusual for him, without many contrasts and very lyrical, which perhaps is a certain parallel with the Schubert sonata. (You can hear Wosner playing an excerpt from another Beethoven sonata in the YouTube video at the bottom.)

But they are also very different. Beethoven’s sonata looks around it and is about idyllic nature — the title “Pastoral” isn’t by Beethoven but it is written in that kind of style — and the sonata by Schubert (below bottom) is more introspective, perhaps about human nature.

What would you like the public to know about specific works and composers on your Madison program?

I think it’s always stimulating to challenge preconceptions we have about composers.

Beethoven is often associated with a certain “heroic” style and bold, dramatic gestures while this piece is quite understated in many ways.

Schubert’s last sonata is often seen as a farewell to the world. But at the same time Schubert himself may not have been aware of his impending death as much as we think – he made some plans right near the end that may suggest otherwise.

I prefer to let everyone find in this music what they will, of course. But I think these works reveal other aspects of these composers that we don’t always think of. Is Schubert’s piece really about his own tragedy? It is probably much broader than that.

Now that your acclaimed Schubert project is completed, what are your current or upcoming projects?

I am currently working with five other composers on a project that is a collection of five short pieces written as “variations” for which the theme is a quote from a 1938 speech by FDR: “remember, remember always, that all of us… are descended from immigrants and revolutionists.”

Each composer chose a figure of an immigrant — some famous, some not — to write about. The composers are Vijay Iyer, Derek Bermel (below top), Anthony Cheung, Wang Lu and John Harbison (below bottom).

These “variations” will be paired with Beethoven’s “Diabelli” Variations.

What else would you like to say about your career and, after several concerto appearances with the Wisconsin Chamber Orchestra, about your solo recital debut in Madison?

Madison has a lovely audience that I was fortunate to meet in the past, and I certainly look forward to being back there!

 


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Classical music: A busy week brings FREE concerts of violin, orchestra, percussion, band, cello and bassoon music to the UW-Madison

February 16, 2020
2 Comments

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ALERT: This afternoon at 2:30 p.m. in Overture Hall is your last chance to hear John DeMain lead the Madison Symphony Orchestra with guest soloists violinist Pinchas Zukerman and cellist Amanda Forsyth in music by Brahms, Berlioz and Copland. Here is a positive review from Michael Muckian for Isthmus: https://isthmus.com/music/masterful-sounds-on-a-miserably-cold-night/ 

For more information about the program, soloists and tickets, go to: https://welltempered.wordpress.com/2020/02/10/classical-music-this-weekend-the-madison-symphony-orchestra-celebrates-valentines-day-with-violinist-pinchas-zukerman-and-cellist-amanda-forsyth-in-the-romantic-double-concerto/

By Jacob Stockinger

The coming week at the UW-Madison will be busy with FREE concerts of violin, orchestral, percussion, band, cello and bassoon music.

Here is the lineup:

MONDAY

At 6:30 p.m. in the Collins Recital Hall at the new Hamel Music Center, 740 University Ave., you can hear a FREE performance of the popular Violin Concerto by Beethoven.

It is a student performance of the entire Beethoven Violin Concerto with the orchestra. The conductor is doctoral candidate Ji Hyun Yim (below) who is studying with UW conducting professor Oriol Sans. It is a concert of friends who enjoy playing together. The violinist soloist is Rachel Reese.

Then at 7:30 p.m. in the Mead Witter Foundation Concert Hall, the Chamber Percussion Ensemble (below) – formerly the Western Percussion Ensemble – will give a FREE concert of contemporary music.

The conductor is director and UW-Madison percussion professor Anthony DiSanza, who is also the principal percussionist with the Madison Symphony Orchestra.

The program is “A Forest from a Seed.” Featured is post-minimalist music by composers not named Steve Reich. No specific works or composers are named.

Says DiSanza (below, in a photo by Katherine Esposito): “From the seed of minimalism (1964-1972), a deep and exhilarating repertoire has blossomed. Join us as we explore 40 years of diverse and engaging post-minimalist percussion chamber music.”

The Chamber Percussion Ensemble, he adds, “is dedicated to the performance of significant and engaging works for the Western percussion ensemble tradition, emphasizing core repertoire and works by emerging composers.”

TUESDAY (not Wednesday, as originally and incorrectly posted)

At 7:30 in the Mead Witter Foundation Concert Hall, the UW Concert Band (below) will give a FREE concert under director and conductor Corey Pompey. For the complete program, go to: https://www.music.wisc.edu/event/uw-concert-band-3/

THURSDAY

At 7:30 p.m. in Collins Recital Hall, UW cello professor Parry Karp (below), who plays in the UW’s Pro Arte Quartet, will give a FREE recital.

Piano accompanists are Bill Lutes; Martha Fischer; Frances Karp, the mother of Parry Karp; and Thomas Kasdorf.

The program is:

Robert Schumann: “Five Pieces in Folk Style” for Piano and Cello, Op. 102 (You can hear the first of the five pieces in the YouTube video at the bottom.)

Johannes Brahms: Sonata in F Minor for Piano and Clarinet, Op. 120 No. 1 (arranged for piano and cello by Parry Karp)

Robert Kahn (below): Three Pieces for Piano and Cello, Op. 25

Richard Strauss: Andante from “Le Bourgeois Gentilhomme” (The Bourgeois Gentleman), Op. 60

Ernest Bloch: “Schelomo” – a Hebraic Rhapsody for Cello and Orchestra

FRIDAY

At 8 p.m. in Collins Recital Hall, UW-Madison bassoon professor Marc Vallon (below) and friends – fellow faculty members and students — will perform a FREE concert of chamber music.

Joining Vallon, who plays in the acclaimed UW Wingra Wind Quintet, are: pianist Satoko Hayami; percussionist Todd Hammes; bassoonist Midori Samson; flutist Iva Ugrcic, clarinetist Alicia Lee; trumpeters Jean Laurenz and Gilson Luis Da Silva; trombonist Cole Bartels; and Travis Cooke.

Composers to be performed are: Robert Schumann; Alexander Ouzounoff; Sophia Gubaidulina (below); and Igor Stravinsky. No word about titles of specific works on the program.

 


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Classical music: The Wisconsin Chamber Choir will sing a program of “Live, Laugh and Love” this Sunday afternoon. Music by Brahms, Puccini, Bizet, Sondheim, Lin-Manuel Miranda and others is featured

February 12, 2020
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By Jacob Stockinger

This Sunday afternoon, Feb. 16, at 3 p.m. in the First Unitarian Society of Madison’s Landmark Auditorium, 900 University Bay Drive, the Wisconsin Chamber Choir will perform a varied program of vocal music.

The “Live, Laugh and Love” program includes Johannes Brahms’ Neue Liebeslieder Waltzes (New Love Song Waltzes) along with a wide variety of solos, duets and ensembles encompassing music by Giacomo Puccini, Georges Bizet, Clara Schumann, John Dowland, Stephen Sondheim and Lin-Manuel Miranda.

The singers will accompanied by duo-pianists Mark Brampton Smith and Sherri Hansen.

Brahms (below) completed his second group of “Love Song Waltzes” in 1874, setting poems that are alternately passionate, brooding, fiery and contemplative. (You can hear some excerpts in the YouTube video at the bottom.)

Building on the success of his first installment of Liebeslieder from five years earlier, Brahms’ music for the later set is more deeply emotional, mirroring the composer’s own complex romantic entanglements. Out of all Brahms’ female friends, he seems to have maintained the deepest affection for Clara Schumann (below), whose music appears on the first half of our program.

Classic arias and duets from the operas La Bohème, and The Pearl Fishers, and contemporary selections by Stephen Sondheim and Hamilton composer, Lin-Manuel Miranda, round out the program to be performed in the intimate setting of the historic auditorium designed by Frank Lloyd Wright.

A wine-and-cheese reception will follow the concert.

Advance tickets are available online for $15 ($10 for students) from www.wisconsinchamberchoir.org or Brown Paper Tickets, or from a member of the choir. The ticket price at the door is $20.

Founded in 1998, the Wisconsin Chamber Choir has established a reputation for excellence in the performance of oratorios by Bach, Handel, Mozart and Brahms; a cappella works from various centuries; and world premieres.

Artistic director and conductor Robert Gehrenbeck (below) – who heads the choral program at the University of Wisconsin-Whitewater — has been hailed by critics for his vibrant and emotionally compelling interpretations of a wide variety of choral masterworks.

 


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Classical music: This weekend, the Madison Symphony Orchestra celebrates Valentine’s Day with violinist Pinchas Zukerman and cellist Amanda Forsyth in the Romantic “Double Concerto” by Brahms

February 10, 2020
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By Jacob Stockinger

This coming weekend, the Madison Symphony Orchestra, under the baton of John DeMain, will celebrate Valentine’s Day.

The program “Romantic Encounter” examines the brashness of French composer Hector Berlioz’s Le Corsaire” Overture, as well as the thundering seriousness of American composer Aaron Copland’s Symphony No. 3.

The husband-and-wife duo (below) of violinist Pinchas Zukerman, and cellist Amanda Forsyth make their return to Madison to reprise their performance of German composer Johannes Brahms’ Double Concerto for Violin and Cello in A minor. (You can hear the passionate slow movement in the YouTube video at the bottom.)

Performances will be held in Overture Hall, 201 State Street, on Friday, Feb. 14, at 7:30 p.m.; Saturday, Feb. 15, at 8 p.m.; and Sunday, Feb. 16, at 2:30 p.m.

Tickets are $19 to $95. See below for details.

Says maestro DeMain (below, in a photo by Greg Anderson) about the world-renowned duo: “The married team of Pinchas Zukerman and Amanda Forsyth return to recreate their exciting interpretation of the Brahms Double Concerto for violin, cello and orchestra.

“One of Berlioz’s finest overtures, the exhilarating Le Corsaire opens the concert. And Aaron Copland’s majestic, powerful and lyrical Third Symphony — which is one of Copland’s great masterpieces and includes his Fanfare for the Common Man — is heard on the second half of the program.”

Eight minutes long, Berlioz’s swashbuckling Le Corsaire” was composed in Nice, France, after the final break-up of his marriage. The composer resided in a tower above the sea, which explains the ruined fortification’s depiction in his overture. “Corsaire” translates to “a ship used for piracy,” but this meaning is not related to the work.

 The Double Concerto was Brahms’ final work for orchestra. He composed the concerto for his old but estranged friend, violinist Joseph Joachim, as well as for cellist Robert Hausmann. With few recent precedents, the closest comparison to this work would be the Baroque concerto grosso, in which a soloist or small group is contrasted with an entire ensemble.

Copland’s monumental Symphony No. 3 was commissioned by conductor Serge Koussevitsky and the Boston Symphony Orchestra. The work perfectly reflects the spirit of post-war America and impressively holds the title of “Greatest American Symphony.” In writing this piece, Copland (below) borrowed from himself by incorporating his triumphant Fanfare for the Common Man.

ABOUT PINCHAS ZUKERMAN

With a celebrated career encompassing five decades, Pinchas Zukerman reigns as one of today’s most sought-after and versatile musicians — violin and viola soloist, conductor and chamber musician. He is renowned as a virtuoso, admired for the expressive lyricism of his playing, singular beauty of tone, and impeccable musicianship, which can be heard throughout his discography of over 100 albums.

Born in Tel Aviv, Zukerman came to the United States where he studied at the Juilliard School with Ivan Galamian as a recipient of the American-Israel Cultural Foundation scholarship. He received the National Medal of Arts from President Ronald Reagan and is a recipient of the Isaac Stern Award for Artistic Excellence in Classical Music.

ABOUT AMANDA FORSYTH

The Canadian and Juno Award-winning Amanda Forsyth is considered one of North America’s most dynamic cellists. She has achieved her international reputation as soloist, chamber musician and was principal cello of Canada’s National Arts Centre Orchestra from 1999 to 2015. Her intense richness of tone, remarkable technique and exceptional musicality combine to enthrall audiences and critics alike.

PROGRAM NOTES, TICKETS AND EVENT DETAILS

The lobby opens 90 minutes prior to each concert. 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 that takes place one hour before each concert.

Program notes are available at: http://www.allsenmusic.com/NOTES/1920/5.Feb20.html

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

Major funding for the February concert has been provided by NBC 15; The Madison Concourse Hotel and Governor’s Club; Marvin J. Levy; Fred and Mary Mohs; Nancy Mohs; and David and Kato Perlman.

Additional funding has been provided by Robert Benjamin and John Fields; Boardman and Clark LLP; Forte; Barbara Melchert and Gale Meyer; and the Wisconsin Arts Board with funds from the State of Wisconsin and the National Endowment for the Arts.

 


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