The Well-Tempered Ear

Classical music: Personal experience, artistic excellence and historical importance drew pianist Wu Han and cellist David Finckel into planning next year’s centennial season at the Wisconsin Union Theater

March 30, 2019
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By Jacob Stockinger

Now that Spring Break is over and subscription tickets are available for the Wisconsin Union Theater’s special centennial celebration next season – which includes superstar soprano Renée Fleming and pianist Emanuel Ax — here is an email interview that pianist Wu Han and cellist David Finckel (below, in a photo by Lisa-Marie Mazzucco), the wife-and-husband consultants and planners of that season, granted to The Ear.

For more about the season and tickets, go to two websites:

https://welltempered.wordpress.com/2019/03/04/classical-music-superstar-soprano-renee-fleming-and-pianist-emanuel-ax-headline-the-100th-anniversary-of-the-wisconsin-union-theaters-concert-series-next-season/

https://union.wisc.edu/visit/wisconsin-union-theater/seasonevents/concert-series/

Could you briefly introduce yourselves to readers and tell them both your past and current activities?

We have been performing on the world’s many concert stages for almost our entire lives. In addition to our careers as concert performers, we serve as the founding Artistic Directors of Music@Menlo, the premier chamber music festival in Silicon Valley, as well as the Artistic Directors of the Chamber Music Society of Lincoln Center (CMS) in New York City.

Our main responsibility as concert performers is to give the best concerts we possibly can, and we are constantly striving to achieve the highest possible level of artistry in our performances.

In our roles as artistic directors, our responsibilities lie in the programming, casting and designing of concert series and chamber music projects for our organizations. At CMS, this includes designing the programming for our seven different satellite series around the country, plus international partnerships in Taiwan, Korea and Europe.

We are also involved in chamber music programming endeavors beyond Music@Menlo and CMS, having just completed a first-ever chamber music residency at the Society of the Four Arts in Palm Beach, Florida. Furthermore, Wu Han is serving as Artistic Advisor to Wolf Trap Chamber Music at the Barns, which entails thematically programming eight concerts per season for the 2018–19 and 2019–20 seasons.

As artistic directors, we spend much of our time putting ourselves in the shoes of our listeners, measuring their experience and receptivity to chamber music of all periods and styles, and putting together the best programs and artists who will move our audiences forward into ever-increasing engagement with and love of the art.

David was the cellist of the Emerson String Quartet for 34 seasons, and we have been performing together as a duo for about 35 years, and continue to do so as one of our main performance activities.

What are your personal relationships to the Wisconsin Union Theater, and what do you think of it as a concert venue?

Our engagement with the Wisconsin Union Theater goes back quite a few years, but certainly not even close to the beginning of the Theater’s distinguished history. For any performer setting foot on its stage, there’s a sense of slipping into an ongoing tradition of artistic excellence that makes us feel both privileged and obligated to do our best.

The Wisconsin Union Theater and its story in American cultural life is larger than any of us; only the music we play rises above and beyond it all, and as performers, our lucky moment is to represent that incredible literature in a venue as significant and storied as the Wisconsin Union Theater. (Below is the theater’s main venue, the renovated and restored Shannon Hall.)

Why did you agree to be artistic advisors and artists-in-residence for the centennial season? Did your personal experiences in Madison play a role in that decision?

As seasoned artists, we deeply admire and respect the very special place in the classical music tradition and history that the Wisconsin Union Theater (below) inhabits, and the invitation to participate in the Theater’s 100th anniversary was an honor for us to receive. Our experiences playing on this distinguished stage and forming a relationship with the local audience have made our pursuit of the common goal of artistic excellence in the centennial season incredibly fulfilling.

Of course, having performed there in the past gave us a hint of confidence through our familiarity with the place, but we must say we have learned perhaps double what we knew originally through this planning process. Without interfering, but at the same time sharing our uncompromised commitment to artistic excellence, we hope that our presence during the process has been useful, and we know that we look so much forward to seeing the careful thought and hard work of all involved come to fruition.

Is there a unifying or guiding principle to the season you have put together?

The guiding principle behind our work on this historic season is artistic excellence, which in our opinion is what most inspires audiences and best serves the art form of classical music.

Our area of expertise is chamber music, and, as we wanted to share the best of what we can do with the Theater, our focus has been on ensuring that the chamber music offerings during this historic season, and hopefully beyond, reflect the best of the world of chamber music.

In our suggestions, we looked for variety of instrumentations, of composers and periods—in other words, giving as much of an overview of the art as we could within a season.

What would you like the public to know about the Wisconsin Union Theater and the upcoming centennial season?

In the Theater’s centennial season, the audience will have the opportunity to savor a variety of different genres of chamber music, from solo piano to vocal music, as well as a sampling of the very best works of the chamber music canon. Between these various genres, the great composers left a wealth of chamber music that could sustain the art form on its own, but that’s still only the tip of the iceberg.

Our chamber music offerings will include the Kalichstein-Laredo-Robinson Trio, which has a long history of performing for the Madison audience. Their December program will include celebrated cornerstones of the piano trio repertoire, including Mendelssohn’s D minor Trio and Beethoven’s “Archduke” Trio. (You can hear the opening of the Archduke Trio in the YouTube video at the bottom.) Both pieces have achieved monumental historical significance through their influence in propelling the art form forward from the Classical period to the Romantic period.

The Escher String Quartet performance in January represents the best of the next generation of young string quartets. Their program includes a quartet by Franz Joseph Haydn—the father of the string quartet genre—and the sole quartet of none other than revered violin virtuoso Fritz Kreisler, who performed in the Wisconsin Union Theater nearly a century ago. Kreisler set foot on the Theater’s stage numerous times, and his rarely heard string quartet nods to the Theater’s long, distinguished history. David will join the Escher Quartet for the beloved Schubert Cello Quintet, which is the “desert island” must-have piece for many music lovers.

Furthermore, in March, we will bring two of the most fantastic musicians in the world to join us for a program of Antonin Dvorak, Josef Suk and Johannes Brahms. This multigenerational cast of musicians includes the incredible young French violinist Arnaud Sussmann (below top, in a photo by Matt Dine) as well as the most important violist of our generation, Paul Neubauer (below bottom). This program is all about the passing down of the baton and the continuous investment in the next generations of artists: Brahms was the one who discovered Dvorak, and Dvorak in turn discovered Suk.


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Classical music: UW-Madison pianist Jessica Johnson celebrates International Women’s Day this Friday night with a FREE recital of all-female composers and a special keyboard for smaller hands

March 6, 2019
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ALERT: This week’s FREE Friday Noon Musicale at the First Unitarian Society of Madison, 900 University Bay Drive, features Ukrainian pianist Yana Avedyan in solo works by Ludwig van Beethoven, Sergei Prokofiev and Franz Liszt. The program will include music from her upcoming appearance at Carnegie Hall. The musicale runs from 12:15 to 1 p.m.

By Jacob Stockinger

March is Women’s History Month, and this Friday is International Women’s Day.

To mark the latter occasion, Jessica Johnson, who teaches piano and piano pedagogy at the University of Wisconsin-Madison’s Mead Witter School of Music, where she has won an award for distinguished teaching, will perform a program of all-women composers.

The FREE recital is this Friday night, March 8, at 8 p.m. in Mills Hall. Johnson (below, in a photo by M.P. King for The Wisconsin State Journal) will perform works from the 19th, 20th and 21st centuries, pairing works with interesting connections.

Here is what Johnson has to say about the program:

Dreaming, Op. 15, No. 3, by Amy Beach (below top) and The Currents by Sarah Kirkland Snider (below bottom) both feature beautiful lyricism and long-line phrases inspired by poetry.

“2019 is the bicentennial celebration of Clara Schumann’s birth, so I wanted to honor her and her tremendous legacy. Her Romance, Op. 11, No. 1, was composed in 1839 in the midst of the difficult year when Clara (below) was separated from her beloved Robert. (You can hear the Romance in the YouTube video at the bottom.)

“Bolts of Loving Thunder by Missy Mazola (below) was written in 2013 for pianist Emanuel Ax as a piece that would appear on a program of works by Brahms. Mazzoli alludes to the romantic, stormy side of “pre-beard” Brahms, with exuberant floating melodies, hand crossings and dense layers of chords.

“Troubled Water (1967) by Margaret Bonds (below) is based on the spiritual “Wade in the Water,” with hints of blues, jazz and gospel traditions throughout.

“Azuretta (2000) by Chicago-based composer, Regina Harris Baiocchi (below) describes Azuretta as a musical reaction to a debilitating stroke Dr. Hale Smith, her former composition teacher, suffered in 2000. The work honors his incredible legacy by mixing classical and jazz idioms.

“Germaine Tailleferre (below), the only female member of Les Six, the group of early 20th-century French composers, wrote her beautiful Reverie in 1964 as an homage to Debussy’s “Homage à Rameau” from Images, Book I.

“Preludes (2002) by Elena Ruehr (below) draw inspiration from Debussy’s Preludes, mimimalism and Romantic piano music.

“Also, as an advocate for the adoption of the Donison-Steinbuhler Standard — which offers alternatively sized piano keyboards for small-handed pianists  — I will perform on the Steinbuhler DS 5.5 ™ (“7/8”) piano keyboard.

“By performing on a keyboard that better fits my hands — studies suggest that the conventional keyboard is too large for 87% of women — and featuring works by female composers who are typically underrepresented in concert programming, I hope to bring awareness to gender biases that still exist in classical music.

“For more information about both me and the smaller keyboard, go to the following story by Gayle Worland in The Wisconsin State Journal:

https://madison.com/wsj/entertainment/music/a-smaller-piano-for-bigger-artistry/article_38b80090-be0f-5050-9862-32c3c36c6930.html


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Classical music: You can celebrate Valentine’s Day this Thursday, Feb. 14, with live concerts of new music or old music in a large hall or a small cafe

February 10, 2019
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By Jacob Stockinger

If you are looking to celebrate Valentine’s Day on this coming Thursday, Feb. 14, with live classical music, there are at least two excellent choices facing you.

The larger event is a FREE concert at 7:30 p.m. in Mills Hall by the UW Symphony Orchestra (below top) under the award-winning conductor and professor Chad Hutchinson (below bottom) and two graduate student conductors, Michael Dolan and Ji Hyun Yim.

The program features the “Valse Triste” (Sad Waltz) by Finnish composer Jean Sibelius and the Symphony No. 39 in E-flat Major, K. 543, by Wolfgang Amadeus Mozart.

But the main focus will be on two works by the living American composer Augusta Read Thomas (below), who lives in Chicago and whose music is widely performed because of its accessible style.

The two works by Thomas are “Of Paradise and Light” and “Prayer and Celebration.”

Thomas, who this week will be doing a residency at the UW-Madison’s Mead Witter School of Music, will also hold a free and open master class in Music Hall, at the base of Bascom Hill, from 2 to 5 p.m. that same day. (You can listen to her discuss how she composes in the YouTube video at the bottom.)

For more information about the concert, the program and especially about Thomas – including an audio sample — go to: https://www.music.wisc.edu/event/uw-madison-symphony-orchestra/

A BAROQUE VALENTINE’S DAY

On Valentine’s Day, baroque chamber music enthusiasts can hear the music of the Kim-Kielson Duo as they perform a program on period instruments, titled Canons, Chaconnes and Chocolate!

Longtime friends and performers, baroque violinist Kangwon Lee Kim and recorder player Lisette Kielson (below top, right and left respectively) will be joined by viola da gambist James Waldo (below bottom).

The concert is on this Thursday, Feb. 14, at 7 p.m. at Chocolaterian Cafe, 6637 University Ave., in Middleton.

You can name your own ticket price — $20-$35 per person is suggested, payable in either cash or check.

There also will be Special Valentine’s Day Chocolate available for purchase.

The program celebrates the popular baroque forms of the canon and chaconne as composed by Italian, German and French masters.

The duo will perform three chaconnes by Tarquinio Merula, Antonio Bertali and Marin Marais plus canonic duos by Georg Philipp Telemann as well as an arrangement of canons from The Art of Fugue, BWV 1080, by Johann Sebastian Bach.


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Classical music: Prize-winning composer John Harbison has turned 80. In February, Madison will see many celebrations of his birthday, starting this Friday night with the Imani Winds

January 30, 2019
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By Jacob Stockinger

This Friday night, Feb. 1, a month-long celebration in Madison of the 80th birthday of critically acclaimed and prize-winning composer John Harbison (below) gets underway.

The festivities start with a concert by the Grammy-nominated Imani Winds (below), which will perform this Friday night at 7:30 p.m. – with a pre-concert lecture at 6 p.m. — in Shannon Hall at the Wisconsin Union Theater. The program includes Harbison’s popular Wind Quintet.

Here is a link with more information about the group, the program and tickets: https://union.wisc.edu/events-and-activities/event-calendar/event/imani-winds/

Among America’s most distinguished artistic figures, Harbison is the recipient of numerous awards and honors, among them a MacArthur ”genius grant’ and a Pulitzer Prize. His work encompasses all genres, from chamber music to opera, sacred to secular. (You can hear Harbison discuss his approach to composing in the YouTube video at the bottom.)

He has composed for most of America’s premiere musical institutions, including the Metropolitan Opera, the symphony orchestras of Chicago, Boston, Los Angeles, Seattle and New York; and the Chamber Music Society of Lincoln Center and the Santa Fe Chamber Music Festival.

Institute Professor at MIT, Harbison serves as composer, conductor, performer, teacher and scholar. He divides his time between Cambridge, Mass., and Token Creek, Wis., where he co-founded and co-directs a summer chamber music festival with his violinist wife Rose Mary Harbison.

Other local birthday events include a performance by the Madison Symphony Orchestra; several chamber music and choral concerts at the First Unitarian Society of Madison, including one by the Mosaic Chamber Players; an exhibition of books and manuscripts at the Mills Music Library at UW-Madison’s Memorial Library.

There are also several concerts, including the world premiere of a new Sonata for Viola, and a composer residency at the University of Wisconsin-Madison’s Mead Witter School of Music; and the world premiere of a new motet by the Madison Choral Project.

Harbison will also be featured in radio interviews and broadcast retrospectives by both Wisconsin Public Radio and WORT community radio.

National and international celebrations include other world premieres of commissions, many new recordings and the publication of Harbison’s autobiographical book about Johann Sebastian Bach, “What Do We Make of Bach?”

For more details about the many local celebrations, you can go to the following two links. Schedules, programs and updates – events are subject to change — will be posted at www.tokencreekfestival.org and www.johnharbison.com.

To receive “Harbison Occasions,” an intermittent e-newsletter, write to arsnova.artsmanagement@gmail.com


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Classical music: Music from Schubert’s last year of life is the focus of this year’s UW-Madison’s Schubertiade this Sunday afternoon when a world-famous Schubert scholar will share her insights

January 25, 2019
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NEWS UPDATE: The UW-Madison is offering FREE ADMISSION to Sunday afternoon’s Schubertiade, discussed below, to furloughed federal workers, who just have to show their federal identification to an usher.

By Jacob Stockinger

The University of Wisconsin-Madison’s sixth annual Schubertiade – a re-creation of the historical and informal celebration of his music that Franz Schubert (1797-1828) used to hold with friends – will take place this Sunday afternoon, Jan. 27, at the UW-Madison’s Mead Witter School of Music.

The focus this year is the music composed in the last year of Schubert’s life, before his death at 31.

A schedule of events and information about tickets are below.

This Schubertiade will feature a world-famous Schubert scholar. Susan Youens, recently retired from the University of Notre Dame, has one of the most impressive musicology resumes in the world, and will share her insights about the late style of Franz Schubert (below) in her pre-concert lecture.

Youens has won four fellowships from the National Endowment for the Humanities, as well as fellowships from the National Humanities Center, the Guggenheim Foundation, and the Institute for Advanced Study at Princeton. She has published eight books, hundreds of articles, essays and chapters, and lectured all over the world.

“Dr. Youens (below) will explore the rich relationship of Schubert’s music to the poems he chose to set and the emergence of new directions in Schubert’s style,” says co-organizer William Lutes. “The influence of Beethoven had loomed large throughout Schubert’s music, and in the year following Beethoven’s death, the 31-year-old composer wrote works of homage to this great master, as he saw his own music becoming more widely recognized, published and performed.”

Highlights of the Schubertiade will be a complete performance of Schubert’s 14 final songs, published after his death as Schwanengesang, or “Swan Songs” — among the composer’s richest and most forward-looking works. (You can hear the famous “Serenade” from “Swan Songs” sung by Angela Gheorghiu in the YouTube video at the bottom,)

Also on the program are the humorous and risqué Refrain-Lieder; the slow movement of the great Piano Trio in E-flat major; the enchanting Rondo in A major for piano four-hands; and the beautiful song Auf den Strom for voice, horn and piano, composed for a concert commemorating the first anniversary of Beethoven’s death, and filled with subtly haunting references to Beethoven’s Symphony No. 3 “Eroica.”

In addition to pianists and singers Martha Fischer and William Lutes (below), guest performers will include voice faculty members Mimmi Fulmer, Julia Rottmayer and Paul Rowe, voice students Sarah Brailey, Wesley Dunnagan, and Benjamin Hopkins, graduate hornist Joanna Schulz, and guest singer Cheryl Bensman-Rowe.

Also participating is the Perlman Trio (Mercedes Cullen, violin; Micah Cheng, cello; and Kangwoo Jin, piano).

The School of Music also thanks donors Ann Boyer and Kato Perlman for their longtime support of the Schubertiades, the Perlman Trio and other musicians and events.

2019 SCHUBERTIADE SCHEDULE

Pre-concert lecture: 2 p.m., Sunday, Jan. 27, Morphy Hall. (Free.)

Concert: 3 p.m., Sunday, Jan. 27, Mills Hall. (Ticketed.)

Post-concert reception, included with ticket purchase: Sunday, Jan. 27, at the nearby University Club, 5:30 p.m.

TICKETS: $17 for adults, $7 for all age students/children; free to music majors, faculty and staff. To avoid long lines, we suggest arriving 30 minutes early or buying tickets ahead of time, either in person or online. Please see the link below.

Purchase options (online, by telephone and in person) here: https://www.music.wisc.edu/about-us/tickets/

To buy tickets directly online, click here.


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Classical music: A ticket to the concert here by the Imani Winds is an ideal gift to mark the African-American holiday Kwanzaa

December 27, 2018
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By Jacob Stockinger

The African-American and Pan-African harvest and heritage holiday of Kwanzaa started Wednesday and runs through Jan. 1.

Many people know the name of the events that mark the African Diaspora.

But do you know more about the holiday itself?

Do you know the seven principles of Kwanzaa?

Do you know the history and person behind the celebration, which started the United States in 1966?

Here is a link to a comprehensive view of Kwanzaa in Wikipedia:

https://en.wikipedia.org/wiki/Kwanzaa

If you are looking for a suitable gift to give during Kwanzaa, it would be hard to beat tickets to the concert by the Imani Winds (below) on Friday, Feb. 1, at 7:30 p.m. in Shannon Hall at the Wisconsin Union Theater.

The Imani Winds have been nominated for a Grammy Award, and have established a reputation for world music and commissioning new works.

For more information about the group, the performers, ticket prices and how to buy tickets, go to: https://union.wisc.edu/events-and-activities/event-calendar/event/imani-winds/

The group’s name comes from a principle of Kwanzaa — namely, faith. And one member, Valerie Coleman, composed a signature piece based on the first principle of Kwanzaa – Umoji, or Unity. You can hear that work in the YouTube video at the bottom.

Then in June, from June 6 to June 9, Valerie Coleman (below) returns to Madison as the Composer-in-Residence for the second annual LunArt Festival — a cultural and all-women festival devoted to performers, composers, writers and artists.


Classical music: Live radio broadcasts of opera from The Met start today at noon on Wisconsin Public Radio. And superstar Plácido Domingo marks his 50th year at the Met.

December 1, 2018
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By Jacob Stockinger

Today at noon, the Metropolitan Opera starts its 88th season of Live Broadcasts From the Met.

Locally, the performance today, like all of them, airs on Wisconsin Public Radio. The new season, which starts with Arrigo Boito’s “Mefistofole,” continues through May 11.

Here is a list to the title of the entire season: https://www.wpr.org/metropolitan-opera-begins-its-88th-season

It also seems like a perfect time to mark a milestone at the Met: The 50th anniversary of the Met debut of superstar tenor Plácido Domingo (below) who is still singing, now as a baritone, at the age of 77.

Here is a link to his impressive biography on Wikipedia: https://en.wikipedia.org/wiki/Plácido_Domingo

Here is a link to an account, appreciation and review of the event last week, celebrated with Domingo’s appearance in Puccini’s “Gianni Schicchi” below center, in a photo by Sara Krulwich for the New York Times) in The New York Times:

https://www.nytimes.com/2018/11/25/arts/music/review-placido-domingo-met-opera-trittico-puccini.html

Here is The Met’s general manager Peter Gelb (left) giving a piece of the Met’s stage to Domingo to mark his golden anniversary:

Finally, here is a YouTube video of the Met’s celebration of Domingo:


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

November 5, 2018
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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: Can the annual Handel Aria Competition be improved? Here are two modest proposals from a fan. What do you think?

June 13, 2018
9 Comments

By Jacob Stockinger

Here is a guest posting by George Savage, a blog follower who is a self-described musical amateur. In his youth he sang in choirs and had a bit solo part of Morales in his college production of Bizet’s Carmen. Then, a long musical hiatus until his 60th birthday celebration, when he sang Leonard Cohen’s song “Hallelujah,” black hat in hand, knees on floor.

Most of his adult life was spent teaching literature and composition at the University of Wisconsin-Whitewater, specializing in the American Renaissance. To the extent he has stayed connected to the world of music, it is through his daughter Kelly Savage, who has a D.M.A in harpsichord from Stony Brook University and now teaches at the San Francisco Conservatory of Music.

By George Savage

As my bio indicates, I am a musical amateur, meaning simply that I am a lover (French amateur) of music. For the past three years, I have had this love rekindled through the annual Handel Aria Competition in Madison, Wisconsin.

The vocal quality has consistently been high — especially this year! — and it is fun to vote for the Audience Favorite, even when the judges disagree with your assessment.

(Editor’s note: This year the Audience Favorite was mezzo-soprano Lindsay Metzger, below top, while the three judges awarded First Prize to soprano Suzanne Karpov, below bottom. Here is a link to story about all the winners: https://welltempered.wordpress.com/2018/06/11/classical-music-here-are-the-winners-of-friday-nights-sixth-annual-handel-aria-competition/).

My heartfelt congratulations go to Dean and Carol “Orange” Schroeder (below) for establishing this annual competition in 2013 and for the many supporters who have made this competition a success.

I have two modest proposals, though, for improvement, one minor and one major.

A minor proposal: Unless you have an encyclopedic knowledge of opera — and I know that some people reading this have that knowledge — you will not know the context of the arias.

I propose that the program notes contain a brief context for each of the arias. Alternatively, the singers – below are the seven finalists this year — could introduce their songs with a similar brief context.

A major proposal: As I listened this year to Handel piece after Handel piece after Handel piece, I wondered: “Could there be some variation?”

I started to think of other festivals that started with a single-artist focus but then gradually expanded, such as the Shaw Festival in Niagara-on-the-Lake, Canada, or, closer to home, the American Players Theatre in Spring Green, Wisconsin.

Both summer theater venues began with a single focus – Shaw and Shakespeare — but then evolved while at the same time staying true to their precipitating muse.

There is still lots of Shaw at the Shaw festival and lots of Shakespeare at APT. The same is true of the Carmel Bach Festival, which started with Bach but now has expanded to include many other forms of classical music. The same holds true for the famous Mostly Mozart Festival in New York City, which continues to expand its repertoire beyond Mozart.

In that spirit, I wonder if the singers at the Handel Competition, back up by the period-instrument Madison Bach Musicians, could in future events sing two selections — the first an aria by Handel and the second a non-Handel Baroque aria of the singer’s choice.

I think many singers would welcome the expanded repertoire and the audience would appreciate the added variety. The judging would be murkier, but it would be a good kind of murky.

I hope these proposals will engender a discussion: Should the competition be tweaked, or should it stay the same?

Your thoughts on these two proposals would be appreciated as well as other suggestions of your own.


Classical music: The Madison Symphony Orchestra finishes its season with first-time performances of a piano concerto by Mozart and a Slavic Mass by Janacek

May 3, 2018
1 Comment

By Jacob Stockinger

This weekend the Madison Symphony Orchestra (below, in a photo by Peter Rodgers) concludes its current season with “Mass Appeal,” a program that includes two first-ever performances.

One work is the Piano Concerto No. 22 in E-Flat Major, K. 382, with Christopher O’Riley as the soloist. The other work is the massive “Glagolitic Mass” by the Czech composer Leos Janacek.

The concerts are in Overture Hall of the Overture Center, 201 State St., on Friday, May 4, at 7:30 p.m.; Saturday, May 5, at 8 p.m.; and Sunday, May 6, at 2:30 p.m.

Tickets cost $18-$90. Ticket information is lower down.

MSO music director John DeMain (below, in a photo by Prasad) had the following comments about the program:

“The concert opens with the exhilarating Overture to the opera Don Giovanni by Wolfgang Amadeus Mozart,

“Janacek’s monumental Glagolitic Mass is a very dramatic work. The soloists who are joining us will fill Overture Hall with voluptuous sound, and the Madison Symphony Chorus will bring its high level of professionalism, adding to the thrilling auditory experience that is so characteristic of Janacek. (NOTE: You can hear the dramatic and brassy opening of the Glagolitic Mass in the YouTube video at the bottom.)

“This work also features the organ in a movement all its own, and will give our audiences a chance to once again experience the beauty and power of the Overture Concert Organ as played by MSO’s Principal Organist Greg Zelek (below).”

“Mozart’s opera Don Giovanni was completed in 1787. Mozart’s musical genius is evident in the subtle shadings of darkness he injects into even the most outwardly cheerful moments of the overture — which was most recently performed by the MSO in 2003.

“Composed in December of 1785, Piano Concerto No. 22 was the first concerto by Mozart (below) to include clarinets, his favorite woodwind, in its scoring. The concerto is considered to be a particularly elegant work, filled with ornate, often complicated, writing for the soloist that carries a natural sense of aristocratic poise.

“The Glagolitic Mass, considered to be one of the century’s masterworks and Janacek’s finest choral work, has often been viewed as a celebration of Slavic culture. With text in Old Church Slavonic, the five movements correspond to the Roman Catholic Ordinary of the Mass, omitting “Dona nobis pacem” in the Agnus Dei.

“The piece begins and closes with triumphant fanfares dominated by the brass and prominently features the organ throughout.

“Janacek (below) wanted it to be a Mass “without the gloom of the medieval monastic cells in the themes, without the same lines of imitation, without the tangled fugues of Bach, without the pathos of Beethoven, without the playfulness of Haydn,” rather he talks of the inspiration of nature and language.

“Acclaimed for his engaging and deeply committed performances, pianist Christopher O’Riley (below, in a photo by Dan Williams) is known to millions as the host of NPR’s From the Top, which spotlights gifted young classical musicians.

“O’Riley’s repertoire spans a kaleidoscopic array of music from pre-baroque to present-day. He performs around the world and has garnered widespread praise for his untiring efforts to reach new audiences.

Christopher O’Riley has performed as a soloist with virtually all of the major American orchestras, including the New York Philharmonic, Los Angeles Philharmonic, Philadelphia Orchestra, Chicago Symphony, National Symphony, and San Francisco Symphony. He last appeared with the Madison Symphony Orchestra in 1995, making for a highly anticipated return with his performance this season.

Soprano Rebecca Wilson (below, in a photo by Jeremy Lawson) has been praised as a “staggeringly talented singer” by St. Louis Magazine. She has appeared with Union Avenue Opera, in the role of Gutrune in Richard Wagner’s Götterdämmerung (Twilight of the Gods) and has performed throughout the Chicago area in many roles.

Hailed as possessing a voice of “spell-binding power and intensity” (The Register-Guard), mezzo-soprano Julie Miller (below, in a photo by Devon Cass) has appeared as a soloist with many orchestras and in many major concert halls across the country.

Tenor Rodrick Dixon (below, in a photo by Dan Demetriad) is a classical crossover artist who possesses a voice of extraordinary range and versatility. His body of work covers 25 years of television, recordings, live theater and concerts, including PBS Specials with tenors Victor Cook, and Thomas Young; “Hallelujah Broadway,” starring his wife, Alfreda Burke; the Miss World Pageant broadcast from China and Washington, D.C., on the “E” channel in 126 countries.

Dixon recently appeared in the annual Freedom Awards. His eclectic discography includes recordings for Sony BMG, EMI Records and Naxos.

Bass Benjamin Sieverding (below, in a photo by Lu Zang) has been recognized by critics nationwide for his “surprising depth” (Boulder Daily Camera), as well as his “natural gift for comedy” and “full, rich sound” (Ann Arbor Observer).

As an active soloist and recitalist, Sieverding performs both regionally and internationally. Sieverding is a three-time district winner and regional finalist of the Metropolitan Opera National Council Auditions.

The Madison Symphony Chorus (below, in a photo by Greg Anderson) gave its first public performance on February 23, 1928, and has performed regularly with the Madison Symphony Orchestra ever since. The chorus (below) is directed by MSO assistant conductor Beverly Taylor and is comprised of more than 150 volunteer musicians who come from all walks of life and enjoy combining their artistic talent.

One hour before each performance, Beverly Taylor (below), Director of Choral Activities and Professor at the UW-Madison,will lead a 30-minute Prelude Discussion in Overture Hall to enhance concertgoers’ understanding and listening experience.

For more background on the music, please view the Program Notes by MSO trombonist and retiring UW-Whitewater professor J. Michael Allsen at: http://www.allsenmusic.com/NOTES/1718/8.May18.html

The Symphony recommends concert attendees arrive early for each performance to make sure they have time to pass through Overture Center’s security stations, and so they can experience the pre-concert talk (free for all ticket-holders).

Single Tickets for the 2017–2018 season finale May concerts are $18-$90 each and are on sale now at https://www.madisonsymphony.org/singletickets, through the Overture Center Box Office at 201 State Street, or by calling the Box Office at (608) 258-4141.

Groups of 15 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 $12 or $18 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.

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

Major funding for the May concerts is provided by Mirror 34 Productions, Fiore Companies, Inc., the Steinhauer Charitable Trust, Diane Ballweg, and WPS Health Solutions. Additional funding provided by Carla and Fernando Alvarado, Forte Research Systems and Nimblify, William Wilcox and Julie Porto, and Wisconsin Arts Board with funds from the State of Wisconsin and the National Endowment for the Arts.


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