The Well-Tempered Ear

Classical music: This weekend pianist Emanuel Ax helps conductor John DeMain celebrate his 25th anniversary season with the Madison Symphony Orchestra

September 26, 2018
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By Jacob Stockinger

This weekend the Madison Symphony Orchestra (below top, in a photo by Peter Rodgers) will open its season by celebrating the 25th anniversary of its music director and conductor John DeMain, who will collaborate with renowned pianist Emanuel Ax (below bottom, in a photo by Lisa-Marie Mazzucco).

The program opens with the “Fanfare Ritmico” by Jennifer Higdon, the contemporary American composer and Pulitzer Prize winner. Then comes a special suite of favorite movements, cobbled together by DeMain, from the ballet score for “Romeo and Juliet” by Sergei Prokofiev. The grand finale is the monumental Piano Concerto No. 2 by Johannes Brahms.

Performances will be held in Overture Hall, 201 State Street, on Friday night, Sept. 28, at 7:30 p.m.; Saturday night, Sept. 29, at 8 p.m.; and Sunday afternoon, Sept. 30, at 2:30 p.m.

Jennifer Higdon’s “Fanfare Ritmico” celebrates the rhythm and speed of life. Written on the eve of the new millennium, the work reflects on the quickening pace of life as time progresses.

Higdon (below) herself notes, “Our lives now move at speeds much greater than what I believe anyone would have imagined in years past. As we move along day-to-day, rhythm plays an integral part of our lives — from the individual heartbeat to the lightning speed of our computers. This fanfare celebrates that rhythmic motion, of man and machine, and the energy which permeates every moment of our being in the new century.”

Soviet composer Sergei Prokofiev (below) originally wrote the Romeo and Juliet Suite in 1935 for the titular ballet produced by the Kirov (now Mariinsky) Theatre. In addition to the somewhat standard instrumentation, the ballet orchestration also requires the use of tenor saxophone, a voice that adds a unique sound and contributes to the sense of drama prevalent in Shakespeare’s original tragedy.

For this performance, John DeMain (below, in a photo by Greg Anderson) has hand-picked the best excerpts from across the work to create one orchestra piece.

The epic Piano Concerto No. 2 in B-Flat Major, Op. 83, is separated by 22 years from Johannes Brahms’ first piano concerto and is dedicated to Brahms’ teacher Eduard Marxsen. It was premiered in 1881 in Budapest, Hungary, with Brahms (below) playing the piano solo.

The work was an immediate success and demonstrates Brahms’ ability to blend beauty with fire, tenderness with drama. (You can hear the unusual and fiery Scherzo movement, played by Krystian Zimmerman and Leonard Bernstein with the Vienna Philharmonic Orchestra, in the YouTube video at the bottom.)

Emanuel Ax (below) is considered one of the best-known concert pianists of the 21st century. As the Seattle Times reports, “[Ax’s] touch is amazing. The keys are not so much struck as sighed upon — moved as if by breath. There is no sense of fingers or hammers or material mechanisms…[it] simply materializes and floats in the air.”

Ax captured public attention in 1974 when he won the first Arthur Rubinstein International Piano Competition in Tel Aviv. In 1975 he won the Michaels Award of Young Concert Artists, followed by the coveted Avery Fisher Prize four years later. In 1975, he made his Madison solo recital debut at the Wisconsin Union Theater and he has frequently performed here since then.

Ax is a particular supporter of contemporary composers and new music, and he has given three world premieres in the last few seasons: “Century Rolls” by John Adams; “Seeing” by Christopher Rouse; and “Red Silk Dance” by Bright Sheng. He has also received Grammy awards for the second and third volumes of his cycle of Haydn’s piano sonatas and has made a series of Grammy-winning recordings with cellist Yo-Yo Ma of the Beethoven and Brahms sonatas for cello and piano.

Emanuel Ax (below, in a photo by Lisa-Marie Mazzucco) is currently a faculty member of the Juilliard School of Music, a Fellow of the American Academy of Arts and Sciences, and a recipient of Yale University’s Sanford Medal.

One hour before each performance, MSO retired trombonist and longtime program annotator J. Michael Allsen will lead a 30-minute Prelude Discussion in Overture Hall to enhance concertgoers’ understanding and listening experience. It is free to ticketholders.

Allsen’s program notes for the concerts are available online at this address: http://www.allsenmusic.com/NOTES/1819/1.Sep18.html

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.

The lobby opens 90 minutes prior to each concert.

Tickets can be purchased in the following ways:

  • Single Tickets are $18-$93 each and are on sale now at: https://madisonsymphony.org/axthrough the Overture Center Box Office at 201 State Street, or by calling the Box Office at (608) 258-4141.
  • 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 18-19 symphony subscription concerts are available. Learn more at: https://madisonsymphony.org/flex

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

The Madison Symphony Orchestra is celebrating its 93rd season in 2018–2019 and its 25th season under the leadership of Music Director John DeMain. Find more information about the rest of the MSO season at madisonsymphony.org

The Presenting Sponsors for the September concerts are: Joel and Kathryn Belaire. Major funding is provided by: The Wisconsin State Journal and Madison.com; the Irving and Dorothy Levy Family Foundation, Inc.; the Kenneth A. Lattman Foundation, Inc.; Rosemarie and Fred Blancke; and David and Kato Perlman. Additional funding is provided by Jeffrey and Angela Bartell, Martin L. Conney and the 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 education: The Wisconsin Youth Symphony Orchestras’ annual “Art of Note” gala next Saturday night, March 4, seeks to raise $85,000 for music education

February 24, 2017
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By Jacob Stockinger

The Ear has received the following public service announcement to post, and he is happy to do so because he believes there is no better investment you can make in the future of both classical music and adult success:                                      

Wisconsin Youth Symphony Orchestras will hold its annual Art of Note Gala fundraiser, on Saturday, March 4, 2017 from 6 to 10 p.m., at Marriott West, 1313 John Q. Hammons Drive, in Middleton just off the Beltline on Madison’s far west side.

WYSO Logo blue

WYSO AoN logo

You can join dozens of major corporate underwriters and small business sponsors as well as individual attendees in helping WYSO to meet its goal of raising $85,000.

Study after study confirms that music education reaps lifelong benefits in academic and career success that go far beyond making music.

WYSO 50th Photo 1

No single music educational organization in Wisconsin reaches more students or listeners than the Wisconsin Youth Symphony Orchestras (WYSO), which is based at the University of Wisconsin-Madison Mead Witter School of Music.

WYSO has served nearly 5,000 talented young musicians from more than 100 communities throughout south central Wisconsin over the past 51 years.

WYSO provides over $50,000 in scholarships for students in need.

WYSO performs through the community and undertakes local concerts and TV appearances as well as international tours. International tours have included Vienna, Prague (below), Budapest, Argentina and Italy.

WYSO Tour Prague final audience

The Art of Note Gala garners community-wide support from those who are passionate about music education, ensuring that WYSO remains one of the top youth orchestra programs in the country.

The evening will feature live music performed by several WYSO student groups including the Brass Choir (below), Percussion Ensemble and Youth Advanced String Ensemble.

(In the YouTube video at the bottom, you can hear a WYSO orchestra under retiring music director James Smith, perhaps part of the suite from the opera “Carmen” by Georges Bizet.)

WYSO Brass Choir

The event will have an Italian theme to food, drinks and decor to bring back memories of WYSO’s most recent tour of Italy.

Fundraising events include silent and live auctions of more than 100 items that include everything from fine wine and restaurant gift certificates to holiday getaways, jewelry and tickets to major sporting and arts events.

To see the auction items, go to: http://www.wysomusic.org/artofnote/the-live-and-silent-auction-2017/

Of special note are the recycled violins that have been hand-painted and transformed into works of art by local artists. They are currently on display at Goodman Jewelers, 220 State Street. (Below top is the violin by Ellie Taylor, and below bottom by Margaret Andrews.)

wyso-art-of-note-2017-ellie-taylor-violin

wyso-art-of-Note-2017-margaret-andrews-violin

Individual admission is $125 in advance, $135 at the door ($85 tax-deductible as a charitable donation per person). You can also purchase a table of four for $450, a table of 8 for $900 and a table of 10 for $1,100.

For reservations and more information about attending or sponsoring the gala, donating auction items as well as WYSO’s overall program and upcoming concerts, visit WYSO’s home website for the fundraising event at www.wysomusic.org/artofnote. You can also call (608) 263-3320, ext. 2.

For more general information about WYSO and its programs, go to: www.wysomusic.org

NOTE: If you are a WYSO student, a WYSO parent or a WYSO donor or supporter and have encouraging words to help others decide about attending the WYSO “Art of Note” fundraiser, please leave them in the COMMENT section.


Classical music: On the eve of his performance at The Proms, meet Ivan Fischer – a modest maestro who gets great results from his orchestra

August 21, 2016
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By Jacob Stockinger

In less than a week from now, on this coming Friday night, Hungarian maestro Ivan Fischer (below) will make his debut at the famed British BBC Proms with the Budapest Festival Orchestra.

Ivan Fischer big headshot

In an age of jet-set, millionaire celebrity maestros, The Ear finds that the modest Fischer – a pianist by training who is also the music director of the Konzerthaus in Berlin, Germany — shows a refreshing lack of ego and ambition.

Fisher — who has also challenged the conservative right-wing government of Hungary –seems to have a healthy perspective on making music, which depends on taking the long view, with the acclaimed Budapest Festival Orchestra (below), which he founded and still leads.

Fischer is also extremely thoughtful and articulate in words as well as music, as you seen in his insightful remarks about the symphonies of Ludwig van Beethoven in the YouTube video at the bottom.

Fischer is also well know for his recorded interpretations of Franz Liszt, Johannes Brahms, Gustav Mahler, Anton Bruckner, Antonin Dvorak, Peter Tchaikovsky, Bela Bartok and Sergei Rachmaninoff.

In short, Ivan Fischer seems a model non-superstar musician.

Ivan Fischer with Budapest Festival Orchestra

The Ear hopes you agree.

Here is a terrific profile that appeared in The Guardian newspaper in the UK:

https://www.theguardian.com/music/2016/aug/12/how-ivan-fischer-found-greatness-with-the-budapest-festival-orchestra


Classical music: The Madison Area Youth Chamber Orchestra (MAYCO) closes out its existence this Friday night.

August 16, 2016
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By Jacob Stockinger

The Ear notes with sadness the passing of a fine and inspiring institution that has fostered music education.

It is the Madison Area Youth Chamber Orchestra (below), also known as MAYCO, and this Friday night it will give its 10th – and final – performance.

MAYCO Aug. 2014 1

The concert is this Friday night at 8 p.m. (NOT 7:30 p.m. as originally announced) in the Artrium auditorium of the First Unitarian Society of Madison (NOT Music Hall). Admission is $10 for the public, with students getting in for a free-will donation.

Much about the final concert follows a familiar pattern.

For one, old classics will be mixed with new music.

In this case, the old classics are the Overture to the operas “The Barber of Seville” by Giachino Rossini and the famously forceful Fifth Symphony by Ludwig van Beethoven. (You can get a taste of both the symphony and MAYCO in the YouTube video at the bottom.)

The new work is the world premiere of “is a is a is b is” by Ben Davis (below), a graduate of the UW-Madison.

ben davis

Also in keeping with MAYCO’S past, it will conducted by its founder and music director Mikko Rankin Utevsky (below), who founded it while he was still a student at East High School in Madison.

new Mikko Utevsky baton profile USE

Since then Utevsky graduated this past May from the University of Wisconsin-Madison School of Music, where he majored in viola, conducting and singing, even appearing in baritone roles in several University Opera productions and giving a lieder recital.

All that plus he proved a talented reviewer and writer for this blog, especially when he chronicled tour of Vienna, Prague and Budapest by the Wisconsin Youth Symphony Orchestras (WYSO) several years ago. You can read his writing by using the search engine in this blog. Just type in his name.

Why is MAYCO coming to an end?

Utevsky says simply and without bitterness that it is time for him to move on. He is taking off a year before pursuing graduate studies.

You can see what an achievement MAYCO provided – with lists of repertoire, composers and performers –by going to its home website:

http://www.mayco.org/#!concerts/cnnz


Classical music: Puccini makes us all bohemians. Madison Opera scores a big heart-rending success with “La Bohème.” The final performance is this afternoon.

November 15, 2015
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By Jacob Stockinger

Loyal readers of this blog know very well the name of Mikko Rankin Utevsky. The young violist, baritone and conductor is a senior at the University of Wisconsin School of Music, where he studies with Pro Arte Quartet violist Sally Chisholm, plays in the UW Symphony Orchestra, and sings with the University Opera.

Utevsky, who has won awards and impressive reviews for his work in music education since his days at Madison’s East High School, is the founder and conductor of the Madison Area Youth Chamber Orchestra (MAYCO – www.MAYCO.org), which will perform its sixth season this summer. He also directs a local community orchestra, The Studio Orchestra (www.disso.org).

You can check out his many honors and projects by typing his name into the search engine on this blog site.

Utevsky offered The Ear a guest preview review of this past weekend’s performance of “La Bohème” by the Madison Opera.

I immediately took him up on the offer. After all, he is a fine and perceptive writer who, you may recall, has done other opera reviews and who blogged for this post when he was on tour with the Wisconsin Youth Symphony Orchestras (WYSO) tour to Vienna, Prague and Budapest.

Here is the review by Mikko Utevsky (below):

new Mikko Utevsky baton profile USE

By Mikko Rankin Utevsky

Giacomo Puccini’s “La Bohème” is perhaps the most beloved of all operas, adored by newcomers and veterans alike for its richly Romantic melodies, subtly shaded score and sheer vocal magnetism. (Performance photos are by James Gill for the Madison Opera.)

This weekend’s production anchors Madison Opera’s writer-themed season, which continues with Mark Adamo‘s “Little Women” in February and Jacques Offenbach’s “Les Contes d’Hoffman” (The Tales of Hoffmann) in April.

The famous numbers in “La Boheme” — the first-act arias “Che gelida manina” by the poet Rodolfo (Mackenzie Whitney) and “Si, mi chiamano Mimi” by Mimi (Eleni Calanos), and the following duet “O soave fanciulla” in particular — are familiar showstoppers, and were well sung Friday night. (You can hear Jussi Bjorling and Renata Tebaldi sing the arias and duets in the YouTube video at the bottom. Can you not be moved?)

Boheme Madison Opera USE Mimi and Rodolfo GILL

But the indisputable star of this production was Maestro John DeMain (below in a photo by Prasad), whose flexible leadership in conducting united a remarkably even cast and the Madison Symphony Orchestra, whose lush, supple sound filled Overture Hall to the rafters with a powerful reading of Puccini’s rich and colorful score.

John DeMain full face by Prasad

One was struck by the tightness of composition. For a composer often accused of pandering to popular tastes, sacrificing musical integrity for cheap emotional tricks, the score to “La Bohème” is densely motivic and self-referential.

As in Mozart or Verdi, the orchestra often represents the subtext or the emotional undercurrents of the scene, with snatches of remembered melody drifting throughout the drama. The only complaint must be that we sometimes heard a bit too much of this lovely orchestra, to the detriment of balance with the singers.

Among the cast, the sense of camaraderie between the members of the male quartet — Marcello, Rodolfo, Colline and Schaunard — was palpable, by turns rowdy and rambunctious and in the fourth act deeply moving.

Madison Opera Boheme cafe sceneJames Gill

Whether this was the result of some special chemistry between the singers (Dan Kempson, Mackenzie Whitney, Liam Moran, and Alan Dunbar) or something drawn out by director David Lefkowich (below), it brought the ensemble scenes to life marvelously, and drew the audience into the lives of the four friends quite powerfully.

David Lefkowich 2013

Dan Kempson (below) deserves special praise as the painter Marcello, a somewhat unsympathetic role, both for humanizing the jealous lover and for his rich and warm singing throughout the evening.

Madison Opera boheme Rodolfo GILL

Tenor Mackenzie Whitney brought a clear and smooth tone to the role of Rodolfo, shining brightest in ensemble singing.

Evan Ross, in the buffo roles of Benoit and Alcindoro, brought humor, but not enough sound to be consistently heard over the orchestra, leaving the audience chuckling at his mannerisms and the supertitles rather than what he actually sang.

Soprano Emily Birsan (below), a favorite of local audiences and a UW-Madison graduate, who recently graduated out of the Ryan Center at the Lyric Opera of Chicago, made an excellent showing as the flirtatious Musetta, whose gentle side in the fourth act was extraordinarily poignant.

Emily Birsan MSO 2014

And Eleni Calenos’ Mimi (below, second from right) was both credibly fragile and vocally excellent, with warmth to spare and the ability to draw the audience into the intimate final moments of her life.

Madison Opera Boheme death scene

Sets from the Lyric Opera of Kansas City made subtle but evocative use of perspective, drawing the eye where it needed to be without drawing attention away from the action. (I was particularly fond of the Cafe Momus.)

Madison Opera Boheme outdoor scene GILL

The city beyond the garret was subtly shaded by Connie Yun’s lighting design. And Anthony Cao’s chorus, together with the Madison Youth Choirs, brought the necessary sense of spectacle to the outdoor scenes in Act II.

Madison Opera Boheme outdoor 2 parade GILL

All in all, despite some balance issues early on, the gorgeous playing of the orchestra alone makes this a production worth hearing, and the largely young cast brings Puccini’s “verismo” (realistic) masterpiece vividly to life.

It’s another feather in the caps of artistic director John DeMain and general director Kathryn Smith of the Madison Opera.

It is sung in Italian with projected English supertitles. The final performance, with two intermissions, will be this afternoon at 2:30 p.m. in Overture Hall of the Overture Center.


Classical music: Percussion ensemble Clocks in Motion joins UW-Madison ceramic artist in making an MFA installation a “smashing success.”

May 21, 2015
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By Jacob Stockinger

Loyal readers of this blog know very well the name of Mikko Rankin Utevsky. The young violist, baritone and conductor is a junior at the University of Wisconsin-Madison School of Music, where he studies with Pro Arte Quartet violist Sally Chisholm, plays in the UW Symphony Orchestra, and sings with the University Opera.

Utevsky, who has won awards and impressive reviews for his work in music education since his days at Madison’s East High School, is the founder and conductor of the Madison Area Youth Chamber Orchestra (MAYCO — www.MAYCO.org), which will perform its fifth season this summer. He also directs a local community orchestra, The Studio Orchestra (www.disso.org).

You can check out his many honors and projects by typing his name into the search engine on this blog site.

Utevsky offered The Ear a guest preview review of this past weekend’s performance by Clocks in Motion.

I immediately took him up on the offer. After all, he is a fine and perceptive writer who, you may recall, blogged for this post when he was on tour with the Wisconsin Youth Symphony Orchestras (WYSO) tour to Vienna, Prague and Budapest.

Here is the review by Mikko Rankin Utevsky (below), who also took the performance photos:

new Mikko Utevsky baton profile USE

By Mikko Rankin Utevsky

On Sunday, University of Wisconsin-Madison School of Music graduate percussion ensemble Clocks in Motion performed as part of artist Jeannine Shinoda’s MFA Exhibition “The Collector’s Set” in what can only be described as a smashing success.

Shinoda’s exhibition consisted of a room filled with ceramic plates, cups and dishes suspended from the ceiling by strings (below), which the attendees were invited to cut, sending the dishes crashing to the concrete floor.

Clocks china hanging

The performance took place in an adjacent room, where it was counterpointed by the occasional crunching noise from the exhibition.

The four core members of Clocks (below) played an assortment of bowls, plates, cups, spoons and ceramic-shard wind chimes in a four-movement composition – his Opus 1 — by music director Sean Kleve. Composed as a set of rhythmic patterns and relative pitches before the instruments were chosen, the creatively scored work was orchestrated cooperatively by the ensemble for this eclectic assortment of pottery, played mostly with chopsticks.

Clocks playing china

It was structured in four movements. I quite enjoyed the lively second one in particular. A slightly eerie third movement made use of threaded metal rods that were scraped along the edges of the instruments to produce a sustained tone, and wind chimes made of broken plates and ceramic spoons (below).

Clocks china hanging spoons

One of the curiosities of the piece was discovering the range of sounds that can be produced from kitchenware — in particular, the gradual acclimation of the ear to the variety of pitches produced. The music seemed to coalesce out of the clatter of dishes and smashing china from the other room, emerging in minimalist rhythmic patterns and creative imitative passages.

All four parts were of equal importance, and each player could be seen taking the lead at various points — a sense of equality that is a hallmark of Clocks performances.

The fourth movement introduced a couple of small gongs, as though signaling that the grand finale was at hand. As the rest of the ensemble played, Dave Alcorn solemnly crossed in front and began the ritualistically choreographed conclusion — slowly and deliberately smashing the instruments.

The other three joined in with equal gravitas, sending plates and cups and bowls alike crashing to the ground. (The performers and audience, seen below, were equipped with protective eyewear for this portion of the work.)

Clocks China audience with goggles

As the last of the instruments were reduced to shattered fragments, the four musicians — straight-faced among stifled laughter from the audience — produced brooms and proceeded to sweep the remains into a single pile in the center of the stage, leaving the rooms silently when finished. They returned moments later to a standing ovation.

Clocks clean up china

Here in his first work, Kleve demonstrates a sophisticated ear for texture and a shrewd understanding of pacing, both key to crafting a musically satisfying work that does not leave the listener feeling that the whole thing was just a setup to the final gambit of breaking dishes — an admitted risk with such a performance piece.

Clocks china Sean Kleve score

One of the wonderful gifts of Clocks in Motion is its ability to focus the ear on the sounds of “found objects” — whether they are plates or brake drums or cow jawbones — and provide a framework for listening to them as musical.

And, as is so often the case with Clocks in Motion, their strength of commitment and musical integrity is such that the enthusiastic audience is drawn into the fabric of even the most outwardly implausible works — their striking “Percussion is Revolution” program in September 2013 was a powerful example.

Clocks chna audience applauding

It is a testament to Madison’s musical community and to the School of Music percussion program that we continue to host such a remarkable performing ensemble, and this innovative performance is just the latest feather in their collective cap.

A PERSONAL NOTE:

Clocks in Motion will be joining my own ensemble, the Madison Area Youth Chamber Orchestra (MAYCO) on June 20 to open our fifth season, “Concerto Grosso!” It features the world premiere of UW-Madison graduate composer Jonathan Posthuma’s Concerto Grosso No. 1 in E minor for Percussion, Piano and Strings.

The performance will be at 7:30 p.m. in Mills Hall, and tickets are $7 at the door with students admitted by donation).

The program will also feature UW-Madison Professor and Pro Arte Quartet cellist Parry Karp in Robert Schumann’s Cello Concerto in A minor; the American premiere of contemporary British composer Cecilia McDowall‘s “Rain, Steam and Speed”; and the Symphony No. 6 in D major (“Le Matin” or Morning) by Joseph Haydn. (You can hear the sound painting that gives the symphony its nickname in the YouTube video at the bottom.) 

 


Classical music: Madison Opera brings singing, acting and sets together to stage a memorably fun production of Rossini’s “The Barber of Seville.” You can hear the last performance this afternoon at 2:30 p.m.

April 26, 2015
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By Jacob Stockinger

Loyal readers of this blog know very well the name of Mikko Rankin Utevsky. The young violist, singer and conductor is a sophomore at the University of Wisconsin School of Music, where he studies with Pro Arte Quartet violist Sally Chisholm and plays in the UW Symphony Orchestra.

Utevsky, who has won awards and impressive reviews for his work in music education since his days at Madison’s East High School, is the founder and conductor of the Madison Area Youth Chamber Orchestra  (MAYCO), which will perform its fourth season this summer. He has been named the new Music Director of a local community orchestra, The Studio Orchestra. The ensemble has an out-of-date website here (www.disso.org).

You can check out his many honors and projects by typing his name into the search engine on this blog site.

Utevsky offered The Ear a review of this weekend’s two performances of Gioachino Rossini’s “The Barber of Seville” by the Madison Opera in Overture Hall at the Overture Center.

The Ear immediately took him up on the offer. After all, he is a fine and perceptive writer who, you may recall, blogged for this post when he was on tour three summers ago with the Wisconsin Youth Symphony Orchestras (WYSO) tour to Vienna, Prague and Budapest.

Here is the review, with performance photo by James Gill, by Mikko Utevsky (below):

new Mikko Utevsky baton profile USE

By Mikko Rankin Utevsky

Madison Opera’s production of Rossini’s “The Barber of Seville” this Friday evening was delightful, entertaining, and well-sung throughout. The cast — mostly young — excelled in both their comic acting and singing, making for a performance that the company can be proud of.

Madison Opera barber of seville 2015 cast

As Count Almaviva (below top right and below bottom disguised as Don Basilio at the keyboard), John Irvin’s lush and youthful tenor shone throughout the evening, growing if anything more secure as the night went on. Emily Fons played a girlish and coy Rosina (below left) with impressive vocal flexibility and pure high notes.

Madison Opera barber of seville Ronsiina and Almaviva

Madison Opera barber of seville music lesson

Alan Dunbar was delightful as the imperious Doctor Bartolo; his aria “Un dottor della mia sorte” was both solidly sung and absolutely hilarious.

Soprano Chelsea Morris, a Madison Opera Studio Artist, made her company debut as the maid Berta. Her clear and focused tone rang effortlessly atop the ensemble writing, and her lone aria was morbidly funny.

Chelsea Morris soprano

Thomas Forde made for a hysterical Don Basilio from beginning to end, while Bryan Royston did the unbelievable — he stood out in a silent role as the servant Ambrogio with deft physical comedy throughout the night.

The star of the evening was the young baritone Will Liverman (below) in the title role of the barber Figaro. His voice has power and beauty throughout its impressive compass, including a ringing upper register to rival a tenor’s. Coupled with comic sensitivity and delightful physicality, Liverman must certainly be a singer to watch, and it is our fortune to hear him here. (You can hear his famous “Largo al factotum” aria sung by Thomas Hampson in a YouTube video at the bottom.)

Will Liverman as Figaro, the title role

Perhaps above all, director Doug Scholz-Carlson should be commended for an absolutely hilarious staging that managed to balance the schticky and slapstick with some truly clever opera in-jokes.

The fourth wall is occasionally shattered to tremendous effect, and every singer is in full command of their comic timing and physicality.

This staging does not put Rossini on a pedestal — it acknowledges that this music is, above all, riotously funny stuff, and it makes full use of the modern stage’s arsenal of gags and tricks to remind the audience of this fact. Judging by the response in the hall, most in attendance agreed.

Madison Opera barber of seville cast action

John DeMain led members of the Madison Symphony Orchestra in a clean and capable pit ensemble, with pacing and ensemble mostly tight (though the first act Finale lacked momentum — difficult to bring to so much static music). Scott Gendel provided imaginative accompaniment from the harpsichord, including a few clever musical jokes.

A lovely and versatile set — created by Peter Dean Beck for Opera Carolina — provided an evocative setting, with lighting by Marcus Dilliard including a very nice storm.

Madison Opera barber of seville set 2015

You can see it for yourself this afternoon at 2:30 in Overture Hall — and you should, if only to hear Will Liverman before the big houses snap him up for good. It is a thoroughly entertaining way to pass a Sunday afternoon.

 


Classical music: Bass trombonist Alan Carr joins the Madison Area Trombone Ensemble for a concert this Thursday night. Plus, Mikko Utevsky sings art songs and plays the viola this Saturday night.

April 14, 2015
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ALERT: UW-Madison School of Music student Mikko Utevsky (below) seems a musician for all seasons.

Primarily a violist, he is also a conductor who founded and directs the Madison Area Youth Chamber Orchestra (MAYCO). He is also an informed and fluid writer. For this blog, he wrote about the European tour to Prague, Vienna and Budapest that the Wisconsin Youth Symphony Orchestras (WYSO) undertook) three years ago, and he reviews Madison Opera productions. He also sings and was in the University Opera’s recent production of “The Magic Flute” by Wolfgang Amadeus Mozart.

Utevky’s unusual FREE student recital, with UW-Madison alumnus pianist Thomas Kasdorf, this Saturday night at 7:30 p.m. in Capitol Lakes Retirement Center, 333 West Main Street, off the Capitol Square, highlights two of his talents. Utevsky, a baritone, will sing Robert Schumann’s song cycle “Dichterliebe” (A Poet’s Loves), then pick up his viola and play the famous “Arpeggione” Sonata by Franz Schubert.

MAYCO Mikko Utevsky by Steve Rankin

By Jacob Stockinger

A musician friend who is a trombonist writes:

The Madison Area Trombone Ensemble (MATE, below) is back for another spring concert, featuring bass trombonist Alan Carr.

Madison Area Trombone Ensemble

Join us at 7:30 p.m. on this Thursday, April 16, at First United Methodist Church, 203 Wisconsin Avenue, off the Capitol Square.

Parking is available in FUMC’s lot, or free on the street after 6 p.m.

Admission is free, but a suggested donation of $10 is greatly appreciated.

Alan Carr will join MATE to perform “The Chief,” composed by UW-Madison Professor Emeritus John Stevens (below) who taught tuba and euphonium. The concert will also feature works by Peter Phillips, Richard Wagner, Fisher Tull, Eric Whitacre, Ralph Vaughan Williams, Eric Clapton and more.

john stevens lon gprofile with tuba

Directed by Madison freelance trombonist and University of Wisconsin-Madison School of Music alumnus Kevan Feyzi (below), MATE is comprised of top UW-Madison trombonists in groups such as Phat Phunktion, the Madison Brass Band, the Madison Mellophonium Jazz Orchestra, and the Madison Jazz Orchestra.

Kevan Feyzi

In just its second year of existence, MATE numbers 16 strong and is already being lauded as a leading community ensemble. (At bottom is a YouTube video with an excerpt from the inaugural concert in 2014 by the Madison Area Trombone Ensemble.)

Alan Carr (below) currently completing a DMA (Doctor of Musical Arts) at the UW-Madison — where he is a Collins Fellow — and is Adjunct Professor of Low Brass at Concordia University. He holds degrees from the Julliard School in New York City and the Peabody Conservatory at Johns Hopkins University in Baltimore.

He has also been a finalist in several competitions and was selected as a participant in the prestigious Alessi Seminar. Alan performed and toured for seven years with the King’s Brass, and has appeared with Ensemble ACJW, the American Brass Quintet, Isthmus Brass, and the Baltimore, Hartford, and Dubuque Symphony Orchestras.

alan carr bw mate

Recently, Alan formed a consortium with a dozen other prominent American bass trombonists to commission John Stevens’ newest composition: the Kleinhammer Sonata for Bass Trombone. Premiered this spring by Alan and other consortium members, Alan will release the first recording of the piece on his forthcoming solo album “The Elephant in the Room.”

Find out more about Alan and the Kleinhammer Sonata at http://www.carralan.com

This performance is a part of International Trombone Week, from April 12–19, organized by the International Trombone Association. More info here: https://www.trombone.net/itw/


Classical music education: WYSO’s Art of Note benefit on Saturday, April 18, needs sponsors and donors as it seeks to raise $50,000 to benefit music education in the Greater Madison area.

March 24, 2015
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By Jacob Stockinger

Our friends at the Wisconsin Youth Symphony Orchestras (WYSO) write:

On Saturday, April 18, 2014, from 6 to 10 p.m., at CUNA Mutual, 5810 Mineral Point Road, on Madison’s far west side, WYSO will hold its annual Art of Note gala fundraiser, this year called “Believe in Music.”

WYSO AoN logo

You can join dozens of major corporate underwriters and small business sponsors as well as individual attendees in helping WYSO to meet its goal of raising $50,000 for music education.

Study after study confirms that music education reaps lifelong benefits in academic and career success that go far beyond making music. And no single music educational organization in Wisconsin reaches more students or listeners than the Wisconsin Youth Symphony Orchestras (WYSO), which is based at the University of Wisconsin-Madison School of Music.

WYSO Youth  Orchestra

“WYSO has served nearly 6,000 talented young musicians from more than 100 communities throughout south central Wisconsin over the past 49 years,” says executive director Bridget Fraser (below right, seen at last year’s Art of Note with Libby Bestul, chair of the Art of Note fundraiser).

WYSO Art of Note Libby Bestul (l) and Bridget Fraser

But such a mission is not easy to run or cheap to fund.

WYSO provides many scholarships and undertakes local concerts and TV appearances as well as international tours — two summers ago, to Vienna, Prague and Budapest (below); this past summer to Argentina. Another international tour, to Italy, is being planned.

WYSO Tour Prague final audience

That is why WYSO needs your help.

Adds Fraser: “The Art of Note Gala garners community-wide support from those who people are passionate about music education, ensuring that WYSO remains one of the top youth orchestra programs in the country.”

The evening will feature fine food and live music performed by several WYSO student groups (a WYSO string quartet is below), including an honors ensemble of students from the Madison Music Makers.

WYSO AoN strig quartet

Fundraising events include silent and live auctions of more than 100 items that include everything from fine wine and restaurant gift certificates to holiday getaways and tickets to major sporting and arts events.

Of special note are the recycled violins (below) that have been hand-painted and transformed into works of art by local artists.

WYSO AoN violins 2015

Individual admission is $100 in advance, $110 at the door. ($65 is tax-deductible as a charitable donation per person.) Tables for 4 are available for $375; tables for 8 for $750.

For reservations and more information about attending or sponsoring the gala, about donating auction items and about WYSO’s overall program as well as upcoming concerts, visit WYSO’s home website at http://wyso.music.wisc.edu and the special event’s page with a list of sponsors at http://wyso.music.wisc.edu/artofnote/

For more information, you can also call (608) 263-3320, ext. 2.

 


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