The Well-Tempered Ear
Check out the 2022 classical music Grammys for trends and suggested listening
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By Jacob Stockinger
No doubt you have already heard about the 64th annual Grammy Awards, which were awarded last Sunday night.
But chances are you haven’t heard much about the classical music Grammys.
That’s just not where the money and publicity are for major record companies and for the music industry in general, compared to other, much more profitable genres such as hip-hop, rock and pop.
But the classical Grammy nominations and winners can be a good source about what composers, performers and music you might want to check out via streaming or by buying a CD.
You can also get a good idea of trends in classical music.
Contemporary or new music is big again this year, dominating the old standard classics.
Just like local, regional, national and international performers, both individuals and groups, the Grammys show an emphasis on female composers and performers, and a similar emphasis on rediscovering composers and performers of color from both the past and the present.
You might also notice that the New Orleans-born, Juilliard-trained jazz pianist and singer Jon Batiste (below) — who plays on CBS’ The Late Show with Stephen Colbert and directs the house band Stay Human and who seems a one-man Mardi Gras — was nominated for a record 11 Grammys and won five in other categories, seems to be the new Wynton Marsalis. Like Marsalis, with whom Batiste worked, Batiste seems perfectly at home in classical music as well as jazz, soul, blues and pop. And his original classical work Movement 11 was nominated for a Grammy this year.
Social activism, in short, has finally brought diversity and inclusion into the Grammys in a way that seems permanent.
Below are the nominations and winners of the 2022 classical music Grammys. Winners are boldfaced. I have also offered a few examples of those musicians who have performed in Madison and for what venue, although there are many more connections than indicated.
If you want to see the nominations and winners in other categories, here is a link:
https://www.npr.org/2022/04/03/1090342877/2022-grammys-full-list-winners-nominees
75. Best Engineered Album, Classical
- Archetypes — Jonathan Lackey, Bill Maylone and Dan Nichols, engineers; Bill Maylone, mastering engineer (Sérgio Assad, Clarice Assad and Third Coast Percussion)
- Beethoven: Cello Sonatas – Hope Amid Tears — Richard King, engineer (Yo-Yo Ma and Emanuel Ax)
- Beethoven: Symphony No. 9 — Mark Donahue, engineer; Mark Donahue, mastering engineer (Manfred Honeck, Mendelssohn Choir Of Pittsburgh and Pittsburgh Symphony Orchestra)
- Chanticleer Sings Christmas — Leslie Ann Jones, engineer (Chanticleer)
- Mahler: Symphony No. 8, ‘Symphony Of A Thousand’ — Alexander Lipay and Dmitriy Lipay, engineers; Alexander Lipay and Dmitriy Lipay, mastering engineers (Gustavo Dudamel, Fernando Malvar-Ruiz, Luke McEndarfer, Robert Istad, Grant Gershon, Los Angeles Children’s Chorus, Los Angeles Master Chorale, National Children’s Chorus, Pacific Chorale and Los Angeles Philharmonic)
76. Producer Of The Year, Classical
- Blanton Alspaugh
- Steven Epstein
- David Frost
- Elaine Martone
- Judith Sherman (below, who also recorded the UW-Madison Pro Arte Quartet’s centennial commissions)
CLASSICAL
77. Best Orchestral Performance
- “Adams: My Father Knew Charles Ives; Harmonielehre” — Giancarlo Guerrero, conductor (Nashville Symphony Orchestra)
- “Beethoven: Symphony No. 9” — Manfred Honeck, conductor (Mendelssohn Choir Of Pittsburgh and Pittsburgh Symphony Orchestra)
- “Muhly: Throughline” — Nico Muhly, conductor (San Francisco Symphony)
- “Florence Price: Symphonies Nos. 1 and 3″ — Yannick Nézet-Séguin, conductor; Philadelphia Orchestra (below)
- “Strauss: Also Sprach Zarathustra; Scriabin: The Poem Of Ecstasy” — Thomas Dausgaard, conductor (Seattle Symphony Orchestra)
78. Best Opera Recording
- “Bartók: Bluebeard’s Castle” — Susanna Mälkki, conductor; Mika Kares and Szilvia Vörös; Robert Suff, producer (Helsinki Philharmonic Orchestra)
- “Glass: Akhnaten” — Karen Kamensek, conductor; J’Nai Bridges, Anthony Roth Costanzo, Zachary James and Dísella Lárusdóttir; David Frost, producer (The Metropolitan Opera Orchestra; The Metropolitan Opera Chorus)
- “Janáček: Cunning Little Vixen” — Simon Rattle, conductor; Sophia Burgos, Lucy Crowe, Gerald Finley, Peter Hoare, Anna Lapkovskaja, Paulina Malefane, Jan Martinik & Hanno Müller-Brachmann; Andrew Cornall, producer (London Symphony Orchestra; London Symphony Chorus and LSO Discovery Voices)
- “Little: Soldier Songs” — Corrado Rovaris, conductor; Johnathan McCullough; James Darrah and John Toia, producers (The Opera Philadelphia Orchestra)
- “Poulenc: Dialogues Des Carmélites” — Yannick Nézet-Séguin, conductor; Karen Cargill, Isabel Leonard, Karita Mattila, Erin Morley and Adrianne Pieczonka; David Frost, producer (The Metropolitan Opera Orchestra; The Metropolitan Opera Chorus)
79. Best Choral Performance
- “It’s A Long Way” — Matthew Guard, conductor (Jonas Budris, Carrie Cheron, Fiona Gillespie, Nathan Hodgson, Helen Karloski, Enrico Lagasca, Megan Roth, Alissa Ruth Suver and Dana Whiteside; Skylark Vocal Ensemble)
- “Mahler: Symphony No. 8, ‘Symphony Of A Thousand'” — Gustavo Dudamel, conductor; Grant Gershon, Robert Istad, Fernando Malvar-Ruiz and Luke McEndarfer, chorus masters (Leah Crocetto, Mihoko Fujimura, Ryan McKinny, Erin Morley, Tamara Mumford, Simon O’Neill, Morris Robinson and Tamara Wilson; Los Angeles Philharmonic; Los Angeles Children’s Chorus, Los Angeles Master Chorale, National Children’s Chorus and Pacific Chorale)
- “Rising w/The Crossing” — Donald Nally, conductor (International Contemporary Ensemble and Quicksilver; The Crossing)
- “Schnittke: Choir Concerto; Three Sacred Hymns; Pärt: Seven Magnificat-Antiphons” — Kaspars Putniņš, conductor; Heli Jürgenson, chorus master (Estonian Philharmonic Chamber Choir)
- “Sheehan: Liturgy Of Saint John Chrysostom” — Benedict Sheehan, conductor (Michael Hawes, Timothy Parsons and Jason Thoms; The Saint Tikhon Choir)
- “The Singing Guitar” — Craig Hella Johnson, conductor (Estelí Gomez; Austin Guitar Quartet, Douglas Harvey, Los Angeles Guitar Quartet and Texas Guitar Quartet; Conspirare)
80. Best Chamber Music/Small Ensemble Performance
- “Adams, John Luther: Lines Made By Walking” — JACK Quartet
- “Akiho: Seven Pillars” — Sandbox Percussion
- “Archetypes” —Sérgio Assad, Clarice Assad and Third Coast Percussion
- “Beethoven: Cello Sonatas – Hope Amid Tears” — Yo-Yo Ma and Emanuel Ax (who have frequently performed individually and together at the Wisconsin Union Theater)
- “Bruits” — Imani Winds
81. Best Classical Instrumental Solo
- “Alone Together” — Jennifer Koh (below, who has performed with the Wisconsin Chamber Orchestra)
- “An American Mosaic” — Simone Dinnerstein
- “Bach: Solo Violin Sonatas and Partitas” — Augustin Hadelich (a favorite of the Madison Symphony Orchestra)
- “Beethoven and Brahms: Violin Concertos” — Gil Shaham; Eric Jacobsen, conductor (The Knights)
- “Mak Bach” — Mak Grgić
- “Of Power” — Curtis Stewart
82. Best Classical Solo Vocal Album
- Confessions — Laura Strickling; Joy Schreier, pianist
- Dreams Of A New Day – Songs By Black Composers — Will Liverman (who has sung with the Madison Opera); Paul Sánchez, pianist (below at in the YouTube video at the bottom)
- Mythologies — Sangeeta Kaur and Hila Plitmann (Virginie D’Avezac De Castera, Lili Haydn, Wouter Kellerman, Nadeem Majdalany, Eru Matsumoto and Emilio D. Miler)
- Schubert: Winterreise — Joyce DiDonato; Yannick Nézet-Séguin, pianist
- Unexpected Shadows — Jamie Barton; Jake Heggie, pianist (Matt Haimovitz)
83. Best Classical Compendium
- American Originals – A New World, A New Canon — AGAVE and Reginald L. Mobley; Geoffrey Silver, producer
- Berg: Violin Concerto; Seven Early Songs and Three Pieces For Orchestra — Michael Tilson Thomas, conductor; Jack Vad, producer
- Cerrone: The Arching Path — Timo Andres and Ian Rosenbaum; Mike Tierney, producer
- Plays — Chick Corea; Chick Corea and Birnie Kirsh, producers
- Women Warriors – The Voices Of Change — Amy Andersson, conductor; Amy Andersson, Mark Mattson and Lolita Ritmanis, producers (below)
84. Best Contemporary Classical Composition
- “Akiho: Seven Pillars” — Andy Akiho, composer (Sandbox Percussion)
- “Andriessen: The Only One” — Louis Andriessen, composer (Esa-Pekka Salonen, Nora Fischer and Los Angeles Philharmonic)
- “Assad, Clarice and Sérgio, Connors, Dillon, Martin & Skidmore: Archetypes” — Clarice Assad, Sérgio Assad, Sean Connors, Robert Dillon, Peter Martin and David Skidmore, composers (Sérgio Assad, Clarice Assad and Third Coast Percussion)
- “Batiste: Movement 11′” — Jon Batiste, composer (Jon Batiste)
- “Shaw: Narrow Sea” — Caroline Shaw, composer (Dawn Upshaw, Gilbert Kalish and Sō Percussion)
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Classical music: The successful centennial celebration of the Concert Series at the Wisconsin Union Theater continues this Friday night with a concert by the Kalichstein, Laredo and Robinson piano trio
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By Jacob Stockinger
This season marks the centennial of the Concert Series at the Wisconsin Union Theater (below are photos of the Memorial Union and Shannon Hall).
And so far, so good.
The anniversary features a variety of genres, and both individuals and ensembles, during the season-long event. Plus, many of the performers are returning to what The Ear calls “The Carnegie Hall of Madison.”
The anniversary started with a sold-out performance of the a cappella singing group Chanticleer and continued with a close to sold-out house for pianist Emanuel Ax in an all-Beethoven recital.
The first semester winds up this Friday night, Dec. 6, at 7:30 p.m. with the acclaimed piano trio of pianist Joseph Kalichstein, violinist Jaime Laredo and cellist Sharon Robinson (below).
The trio will be returning to Shannon Hall for the third time, this time as part of the new David and Kato Perlman Chamber Music Series.
The program features both the familiar and the unfamiliar.
It starts with the rarely heard Canonic Etudes by Robert Schumann. Then it continues with two of the most popular piano trios in the repertoire: the Piano Trio No. 1 in D Minor by Felix Mendelssohn and the “Archduke” Trio in B-Flat Major, Op. 97, by Ludwig van Beethoven. (You can hear the trio play the slow movement and finale of the “Archduke” Trio in the YouTube video at the bottom.)
Tickets are $10 to $50. For more information, go to: https://union.wisc.edu/events-and-activities/event-calendar/event/kalichstein-laredo-robinson-trio/
The trio will also give a FREE and PUBLIC one-hour master class TODAY – Thursday, Dec. 5 — at 1:30 p.m. in the Collins Recital Hall of the new Hamel Music Center, 740 University Ave.
Such an activity is not unusual. Not only are the members of the trio active performers, they are also devoted to teaching and music education.
For more information about that side of the trio, read: https://union.wisc.edu/visit/wisconsin-union-theater/the-green-room/kalichstein-laredo-robinson-trio-shapes-future-performers/
And to learn more about the history of the trio, which recently celebrated its 40th anniversary, here is a link to its home website: http://www.kalichstein-laredo-robinson-trio.com
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Classical music: A busy week at the UW-Madison brings FREE concerts in new halls with an emphasis on new music for winds, chamber ensembles, orchestra and band
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ALERT: Tonight’s performance by the a cappella vocal group Chanticleer is SOLD OUT.
By Jacob Stockinger
It’s going to be a busy week at the University of Wisconsin-Madison Mead Witter School of Music and especially in its new Hamel Music Center (below), 740 University Ave., next to the new wing of the Chazen Museum of Art.
On tap is a variety of FREE concerts, with an emphasis on new music, including compositions for winds, chamber ensembles, orchestra and band.
Earlier mistakes on dates and time have been corrected. To double check dates, times and venues as well programs, go to: https://www.music.wisc.edu/events/
Here is a schedule:
TUESDAY, OCT. 8
At 7:30 p.m. in the Mead Witter Foundation Concert Hall, the UW Wind Ensemble (below), conducted by director Scott Teeple and guest conductor Ross Wolf, will perform a FREE program of contemporary wind music.
The program includes works by Augusta Read Thomas (below top), Jake Runestad, Larry Tuttle, Xi Wang (below bottom) and Carlos Simon.
There will be one world premiere and two Wisconsin premieres.
For more information and the complete program, go to: https://www.music.wisc.edu/event/uw-wind-ensemble-5/
THURSDAY, OCT. 10
At 8 p.m. in Collins Recital Hall of the new Hamel Music Center, the Contemporary Chamber Ensemble will perform a FREE recital of new music, including two works — “Wet Ink” and ” Treetop Studio” — by the critically acclaimed UW-Madison composer Laura Schwendinger (below).
Also on the “Fall Notes” program are “Wing and Prayer” by Melinda Wagner (below top) and “Pentacle” by Irish composer Raymond Deane (below bottom) who will make his UW-Madison debut.
Performers for “Fall Notes” will feature UW-Madison musicians, including clarinetist Alicia Lee, cellist James Waldo, violist Sally Chisholm, pianist Christopher Taylor and student performers.
FRIDAY, OCT. 11
At 8 p.m. in the Mead Witter Foundation Concert Hall, the UW-Madison Symphony Orchestra (below) will open its season with a FREE concert under its new conductor Oriol Sans, a native of Catalonia, Spain, who studied at the Barcelona Conservatory and who came to Madison from the University of Michigan at Ann Arbor.
The program is: “aequilibria” by contemporary Icelandic composer Anna Thorvaldsdottir (heard in the YouTube video at the bottom); “Death and Transfiguration; by Richard Strauss; and “Symphonic Dances” by Sergei Rachmaninoff.
For more information about conductor Oriol Sans (below), go to: https://www.music.wisc.edu/oriol-sans/
For more information, from Wikipedia, about composer Anna Thorvaldsdottir (below), go to: https://en.wikipedia.org/wiki/Anna_S._Þorvaldsdóttir
SUNDAY, OCT. 13
At 2 p.m., in the Mead Witter Foundation Concert Hall, the University Bands will perform a FREE concert under conductor Darin Olson (below), the assistant director of bands at the UW-Madison.
No program is available.
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Classical music: UW countertenor Gerrod Pagenkopf returns to sing on Sunday night with Chanticleer. Here’s how he got there with the right teacher, hard work, good luck and a push from mom. Part 2 of 2
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By Jacob Stockinger
This coming Sunday night, Oct. 6, at 7:30 p.m. in the new Hamel Music Center, the a cappella singing group Chanticleer (below) will kick off the centennial anniversary celebration of the Concert Series at the Wisconsin Union Theater.
Tickets are $45 for the public; $40 for faculty staff and Union members; and $10 for students. For more information about the performers and the “Trade Winds” program, go to: https://union.wisc.edu/events-and-activities/event-calendar/event/chanticleer/
Among the 12 members of Chanticleer is Gerrod Pagenkopf, who is in his fifth year with the group as both a countertenor and the assistant music director.
For a biography of Pagenkopf, go to: https://www.chanticleer.org/gerrod-pagenkopf
Pagenkopf is a graduate of the UW-Madison. When he performed as a student, his high, clear countertenor voice was a new experience and made those of us who heard him sit bolt upright and take notice. “He is going places,” we said to each. And so he has.
But Pagenkopf’s story is not only about him. It is also about the rediscovery of countertenors, about the changing public acceptance of them, and about the challenges that young musicians often face in establishing a professional performing career.
So The Ear is offering a longer-than-usual, two-part interview with Pagenkopf (below).
Part 1 appeared yesterday. Here is a link: https://welltempered.wordpress.com/2019/09/30/classical-music-uws-first-countertenor-gerrod-pagenkopf-returns-to-perform-on-sunday-night-as-a-member-of-the-acclaimed-choral-group-chanticleer-heres-how-he-got-from-here-to-there/
Here is Part 2:
Back when you were a student here, were you the only countertenor at the School of Music? How did you find out you were a countertenor and pursue that training?
As I recall, I was the only countertenor — certainly the only one studying in the voice department. I had been studying as a tenor with Ilona Kombrink (below, in photo by UW-Madison News Service) for a few semesters, and it just didn’t seem as easy as it was supposed to.
I didn’t sound like other tenors in my studio or on recordings. I remember that a famous countertenor had just come out with an album of Handel arias, and, upon hearing it, I thought to myself, “I can sing like that!”
I asked Professor Kombrink about it, and she told me to learn “Cara Sposa” from Handel’s “Rinaldo” over the summer. When I came back in the fall, if it sounded legitimate she agreed I could pursue countertenor singing.
I remember that first lesson of the fall. After I sang this Handel aria for her, she sat back and mused in her sage-like manner, “Yes, this must needs be.”
I never looked back. I think I was on the early edge of the re-emergence of countertenors. Certainly there were countertenors working professionally, but there weren’t that many. There weren’t any other countertenors in Houston when I went to grad school, and even when I moved to Boston, there were only a handful of working countertenors.
Since then, how has the treatment of countertenors changed in the academic and professional worlds?
By the time I left Boston a few years ago, you couldn’t throw a stone without hitting a countertenor. We now see young countertenors winning major competitions and earning places in young artist programs around the country. The competition is fierce now.
I was lucky enough to be one of just a few fish in the pond, but now countertenors are everywhere—and a lot of them are really good! I also remember that there was a stigma so that it would be difficult to find a voice teacher who would teach countertenors.
A lot of pedagogy books by reputable technicians said that countertenors weren’t real — they just sing in falsetto, which isn’t a real voice. I was lucky that Professor Kombrink was willing to explore that with me. I think now that there are so many successful countertenors singing everywhere, I hope this antiquated view of the voice type has changed.
What would you like the public to know about the program you will perform here? Are you featured in certain pieces?
Our “Trade Winds” program explores several different aspects of the wayfaring sailor. They include Monteverdi madrigals about water and nature; a wonderful mass setting by a largely unknown century Portuguese composer, Filipe de Magalhaes; several charming folksongs from around the Pacific Rim; and even a few sea shanties.
It’s a varied program that includes repertoire from as early as the 15th century up to just a few months ago. One of Chanticleer’s missions is to further the art of live music through new compositions, and we’ve commissioned a fantastic young Chinese-American composer, Zhou Tian (below), to write a new multi-movement piece for us, entitled “Trade Winds,” from which our program also gets its title.
Lots of listeners are scared of “new music,” but Zhou has given us a gem. It’s easy to listen to, and I think listeners will instantly understand what it’s all about.
What are your plans for the future?
Personally, I can’t say that I have anything coming up. As wonderful as Chanticleer is, the job pretty much limits any amount of outside freelance work. (At the bottom, you can hear Chanticleer singing “Shenandoah,” its most popular YouTube video – and a piece with a prominent countertenor part — with well over 1.6 million hits.)
One of the truly fantastic parts of singing in Chanticleer (below, performing on stage) is all the places we travel to. We started off this season with a three-week tour of Europe, which was actually the ensemble’s third trip to Europe in 2019.
We love traveling around the U.S., and as I’ve said, traveling back to Madison is certainly the highlight for me. The Midwest is always a special place for us to sing, as several of our members are from this region.
We’re very excited to travel to Australia in June 2020. I think it’s Chanticleer’s first visit “Down Under.” We will also be going back to the studio in January to record a new album for release sometime later in 2020. We have lots of exciting events coming down the pipeline.
Is there something else you would like to say?
Prior to singing with Chanticleer, I had been living in Boston for almost eight years, pursuing professional singing as a freelance artist.
To make ends meet, I had been working at Starbucks, which I actually started doing when I still lived in Madison, and my gigging was getting lucrative enough that I eventually decided to take a leave of absence from slinging lattes.
While I was in Wisconsin on Christmas vacation, I received a message from Chanticleer’s music director, William Fred Scott, letting me know that there was an immediate vacancy in the ensemble, and would I be interested in singing for them.
I thought I was being spammed, so I didn’t respond, and continued to enjoy the bliss of spending the entirety of the holidays with my family.
When I eventually got back to Boston a few days later, another email arrived from Mr. Scott: “Did you get my email? We’d really like to hear from you.” Ok, how do I tell them I’m clearly NOT the countertenor they’re looking for?
Well, after much soul-searching, calling my mother (“Just do it!” she exclaimed), and figuring out the logistics of liquidating a one-bedroom apartment, I decided to run away and join the circus. It was a complete leap of faith, but I think I made the right decision.
Don’t give up on your dreams. Singing in Chanticleer was the first legitimate dream I remember having. Although my musical path took me in several other directions, that path eventually led me to where I am today, and I wouldn’t trade it for the world.
Tags: #ACappella, #ACappellaMusic, #BarabooWisconsin, #BaroqueOpera, #BlogPost, #BlogPosting, #ChoralMusic, #ClaudioMonteverdi, #CommissionedMusic, #CountertenorSinger, #DoIt, #DownUnder, #FacebookPost, #FacebookPosting, #FalsettoVoice, #FilipedeMagalhaes, #folksongs, #GeorgeFridericHandel, #GerrodPagenkopf, #GiveUp, #GraduateSchool, #HamelMusicCenter, #HandelOpera, #Hard Work, #HardWork, #HomeWebsite, #IlonaKombrink, #JustDoIt, #LeapofFaith, #LiveMusic, #MadisonWisconsin, #MusicDirector, #NewMusic, #OperaAria, #PacificRim, #PortugueseComposer, #RunAway, #SchoolofMusic, #SeaChanty, #SeaShanty, #StarbucksCoffee, #TenorSinger, #TheMidwest, #TheU.S., #UnitedStates, #UniversityofWisconsin-Madison, #VocalMusic, #WilliamFredScott, #WisconsinUnionTheater, #YoungMusicians, #YouTubevideo, #ZhouTian, 15th Century, 15thCentury, a cappella, absence, acceptance, accessible, agree, Album, American, anniversary, antiquated, apartment, aria, Arts, assistant, audience, Australia, Baroque, bedroom, biography, bliss, blog, books, Boston, career, celebration, centennial, challenge, challenges, Chanticleer, charming, Chinese, Chinese-American, choral music, Christmas, circus, Classical music, Claudio Monteverdi, coffee, commission, Competition, composer, Composition, Concert, concert series, countertenor, country, decision, direction, do it, down under, dream, Early music, easy, email, ensemble, Europe, event, exciting, Facebook, faculty, falsetto, Family, famous, fantastic, fierce, Filipe de Magalhaes, fish, folksong, forward, freelance, gem, George Frideric Handel, Gerrod Pagenkopf, gig, give up, graduate, Graduate School, Hamel Music Center, Handel, hard, hits, Holiday, Holidays, home website, hope, Houston, Ilona Kombrink, immediate, Jacob Stockinger, January, just do it, latte, leap of faith, learn, leave, legitimate, like, limit, link, liquidate, listen, listener, live music, lived, logistics, look, lucky, lucrative, Madison, madrigal, major, manner, member, message, Midwest, mission, mom, Monteverdi, Mother, movement, muse, Music, Music director, musical, myself, new, New Music, opera, outside, Pacific Rim, path, pedagogy, perform, performer, performing, piece, pipeline, pond, popular, Portuguese, post, posting, professional, program, public, real, Recordings, rediscovery, region, release, repertoire, repertory, reputable, respond, right, Rinaldo, run away, sage, sailor, scared, School of Music, sea, sea chanty, sea shanty, Season, share, Shenandoah, singer, Singing, soul, spam, staff\, Starbucks, stigma, Student, studio, study, summer, tag, Teacher, technician, tenor, thought, tickets, tour, trade, Trade Winds, TradeWinds, travel, treatment, U.S., understand, United States, University of Wisconsin-Madison School of Music, University of Wisconsin–Madison, unknown, UW, UW-Madison, vacancy, vacation, varied, view, vocal music, voice, wayfaring, Website, week, William Fred Scott, Wisconsin, Wisconsin Union Theater, wonderful, work, working, world, young, YouTube, Zhou Tian
Classical music: UW-Madison’s first countertenor Gerrod Pagenkopf returns to perform on Sunday night as a member of the acclaimed choral group Chanticleer. Here’s how he got from here to there. Part 1 of 2
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ALERT: Madison Symphony Orchestra organist Greg Zelek did not announce his encore after he received a standing ovation at the MSO concert Sunday afternoon. It was the final movement from the Organ Symphony No. 1 by Louis Vierne.
By Jacob Stockinger
This coming Sunday night, Oct. 6, at 7:30 p.m. in the inaugural concert in the new Hamel Music Center’s main concert hall, the critically acclaimed a cappella singing group Chanticleer (below) will kick off the centennial anniversary celebration of the Concert Series at the Wisconsin Union Theater.
Tickets are $45 for the public; $40 for faculty staff and Union members; and $10 for students. For more information about the performers and the “Trade Winds” program, go to: https://union.wisc.edu/events-and-activities/event-calendar/event/chanticleer/
Among the 12 members of the San-Francisco-based Chanticleer is Gerrod Pagenkopf, who is in his fifth year with the group as both a countertenor and the assistant music director. (You can hear Pagenkopf singing music by Henry Purcell in the YouTube video at the bottom.)
For a biography of Gerrod Pagenkopf, go to: https://www.chanticleer.org/gerrod-pagenkopf
Pagenkopf (below) is a graduate of the UW-Madison. When he performed here as a student, his high, clear countertenor voice was a new experience and made those of us who heard him sit bolt upright and take notice. “He is going places,” we said to each other. And so he has.
But Pagenkopf’s story is not only about him. It is also about the rediscovery of countertenors, about the changing public acceptance of them, and about the challenges that young musicians often face in establishing a professional performing career. So today and tomorrow, The Ear is offering a longer-than-usual, two-part interview with Pagenkopf.
Here is Part 1:
When were you at the UW-Madison?
I was a student at the UW-Madison from the fall of 1997 until I graduated in May of 2002. Although I received a bachelor’s degree in music education, performing ended up being a huge part of my last few semesters.
Growing up in rural Wisconsin about 30 miles north of Green Bay, I always thought that if you liked music and were good at it, you were supposed to be a teacher. It wasn’t until I was a junior that my voice teacher, the late Ilona Kombrink, and I discovered that I had a viable solo voice. Although I received the music education degree, embarking on a solo career became more important to me.
What did you do and how well did your studies and performances here prepare you for the life of a professional musician?
I was very lucky to have ample opportunities for performing during my time at the UW. Singing in choirs was very important to me. For many years I sang in the Concert Choir under Beverly Taylor (below top) as well as in the Madrigal Singers under Bruce Gladstone (below bottom,, in a photo by Katrin Talbot). I think there was one semester where I sang in just about every auditioned choir.
Beverly Taylor also gave me a lot of solo opportunities in the large-scale works that the Choral Union performed: Bach’s “St. John” and “St. Matthew” Passions, and Handel’s “Israel in Egypt.” For a 23-year-old to have those masterworks, along with the B Minor Mass and “Messiah,” on his resume was very impressive.
I was also lucky enough to perform with University Opera, singing in the chorus at first, but then singing a solo role in Handel’s “Xerxes” my final semester, and then returning as an alumni artist to sing Public Opinion in Offenbach’s “Orpheus in the Underworld” and several years later Polinesso in Handel’s “Ariodante.” Director Bill Farlow took a lot of chances on my young, “raw” countertenor voice and gave me several opportunities to succeed.
I should also note the importance of the guidance and mentorship of Professor Mimmi Fulmer (below, performing at Frank Loyd Wright’s Hillside Theater at Taliesin in Spring Green) after I graduated from UW. She afforded me the opportunity to sing in recital with her numerous times — usually Brahms and Mendelssohn duets. But she also was a catalyst in bringing me back to Madison several years later to sing with the Wisconsin Baroque Ensemble. Our continued relationship is actually the primary reason Chanticleer is singing in Madison this fall.
How do you feel about returning to perform at your alma mater with Chanticleer?
I’m over the moon about it. It still feels like a dream that I’m singing in Chanticleer. To be able to bring a group that I’m so proud to be a part of back to Madison feels like a great personal triumph. And to be the opening performance in the new Hamel Center (below) is such an honor!
Throughout my studies at UW-Madison, I was torn between the solo performance track and the choral career. I managed to straddle both, but my dream was always to make ensemble singing my career. Way back in the early 2000s, I heard Chanticleer sing at Luther Memorial Church, and I thought, “That’s what I want to do!”
I went down several other paths since that concert — mostly in the realm of solo, operatic singing — but it’s incredibly rewarding to be able to say I achieved my dream, and I’m coming back to place where the seed of that dream was planted almost 20 years ago.
Tomorrow: How countertenors re-emerged and were treated, the “Trade Winds” program and Pagenkopf’s future plans
Tags: #ACappella, #ACappellaMusic, #AlmaMater, #AppletonWisconsin, #Bachelor'sDegree, #BaroqueMusic, #BeverlyTaylor, #BillFarlow, #BlogInterview, #BlogPost, #BlogPosting, #BMinorMass, #BruceGladstone, #ChoralMusic, #ChoralUnion, #ChristianChurch, #ConcertChoir, #CriticalAcclaim, #CriticallyAcclaimed, #FacebookPost, #FacebookPosting, #FelixMendelssohn, #FrankLloydWright, #GeorgeFridericHandel, #GerrodPagenkopf, #GreenBay, #GregZelek, #GrowningUp, #HamelMusicCenter, #Handel'sMessiah, #HandelOpera, #HenryPurcell, #HillsideTheater, #IlonaKombrink, #IsraelinEgypt, #JacquesOffenbach, #JohannesBrahms, #JohannSebastianBach, #Large-scale, #LouisVierne, #LutherMemorialChurch, #MadisonSymphonyOrchestra, #MadrigalSingers, #MessiahOratorio, #MimmiFulmer, #MusicCritic, #MusicDirector, #MusicEducation, #OperaChorus, #OperaMusic, #OrpheusintheUnderworld, #PublicOpinion, #SanFrancisco, #SchoolofMusic, #SpringGreen, #St.JohnPassion, #St.MatthewPassion, #StandingOvation, #Sundayafternoon, #SundayNight, #Taliesincompound, #UniversityofWisconsin-Madison, #UniversityOpera, #VocalMusic, #WisconsinBaroqueEnsemble, #WisconsinUnionTheater, #YouTubevideo, a cappella, acceptance, acclaim, achieve, alma mater, alumni, alumnus, anniversary, artist, Arts, assistant, audience, audition, B Minor Mass, Bach, Bachelor's degree, Baroque, Beverly Taylor, Bill Farlow, biography, blog, Brahms, Bruce Gladstone, career, catalyst, celebration, centennial, cetennial, challenges, chance, chances, Chanticleer, Choir, choral music, Choral Union, chorus, Christian, church, Classical music, clear, composer, Concert, Concert Choir, concert series, countertenor, critically acclaimed, dream, duet, Early music, encore, experience, face, Facebook, faculty, fall, Felix Mendelssohn, final, forward, Frank Lloyd Wright, future, George Frideric Handel, Gerrod Pagenkopf, graduate, Green Bay, Greg Zelek, growing up, guidance, Hamel Music Center, Handel, Handel opera, Henry Purcell, high, Hillside Theater, Ilona Kombrink, impressive, interview, Israel in Egypt, Jacob Stockinger, Jacques Offenbach, Johann Sebastian Bach, Johannes Brahms, like, link, Lord, Louis Vierne, luck, lucky, Luther Memorial Church, Madison, Madison Symphony Orchestra, madrigal, Madrigal Singers, mass, masterwork, member, Mendelssohn, mentor, Messiah, Mimmi Fulmer, moon, movement, Music, music critic, Music director, Music education, new, night, Offenbach, opera, opinion, opportunities, oratorio, organ, organist, Orpheus in the Underworld, ovation, part, Passion, perform, performances, performer, performing, personal, plan, prepare, primary, program, public, public opinion, Purcell, raw, reason, reception, recital, rediscovery, relationship, resume, role, rural, Saint Matthew Passion, San Francisco, School of Music, seed, semester, share, sing, singer, Singing, solo, song, Spring Green, Spring Green Wisconsin, St Matthew Passion, St. John Passion, standing ovation, Student, studies, succeed, success, Sunday, Sunday afternoon, tag, Taliesin, Teacher, time, today, tomorrow, TradeWinds, triumph, United States, University of Wisconsin-Madison School of Music, University of Wisconsin–Madison, University Opera, UW Choral Union, UW-Madison, UW-Madison School of Music, viable, vocal music, voice, Wisconsin, Wisconsin Barque Ensemble, Wisconsin Union Theater, work, Xerxes, young, YouTube
Classical music: Here is a year-long list of concerts at the University of Wisconsin Mead Witter School of Music. They start Tuesday night with the 40th annual Karp Family Labor Day Concert
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By Jacob Stockinger
Get out your datebooks and calendars.
Here is a complete listing for major concerts and events at the University of Wisconsin Mead Witter School of Music during the new 2019-20 season.
The calendar starts with the FREE season-opening 40th annual Karp Family Labor Day Concert this coming Tuesday night, Sept. 3, at 7:30 p.m. in Mills Hall. The program features chamber music by Mozart, Beethoven, Schumann and Dvorak. For more information about the program and performers, go to: https://www.music.wisc.edu/event/40th-karp-family-concert/
Using the search engine on this blog, you could also consult whenever individual or group you want. You could print it out and have it in hand instead of the usual brochure, which will not be printed this year. See a previous blog post: https://welltempered.wordpress.com/2019/08/19/classical-music-the-uw-madison-school-of-music-will-not-have-a-complete-brochure-for-the-new-season-go-to-the-website-and-sign-up-for-an-email-newsletter-the-30th-karp-family-labor-day-concert-is-s/
Most concerts this season will take place in the new Hamel Music Center (below), which has a three-day opening celebration Oct. 25-27.
Please note that just a few programs are listed. For other programs, and for information about any admission charge, you can go to the School of Music’s home website closer to the event and click on Concerts and Events: https://www.music.wisc.edu/events/
|
Tuesday, Sep 3, 2019 |
Karp Family Concert |
7:30 PM |
Mills Hall |
|
Sunday, September 29, 2019, |
Jessica Martin & John O’Brien – Nordic song recital |
4:00 PM |
Morphy Hall |
|
Monday, Sept. 30, 2019 |
Beth Wiese, Tuba, Guest Artist Recital |
7:30 PM |
Morphy Hall |
|
Friday, October 4, 2019 |
Pro Arte Quartet |
8:00 PM |
Mills Hall |
|
Sunday, Oct. 6, 2019 |
Chanticleer |
7:30 PM |
Mead Witter Hall |
|
Tuesday, Oct. 8, 2019 |
Wind Ensemble |
7:30 PM |
Mead Witter Hall |
|
Friday, October 11, 2019 |
UW-Madison Symphony Orchestra |
8:00 PM |
Mead Witter Hall |
|
Sunday, October 13, 2019 |
University Bands |
2:00 PM |
Mead Witter Hall |
|
Tuesday, October 15, 2019 |
Contemporary Jazz & Blue Note Ensemble |
7:30 PM |
Collins Hall |
|
Wednesday, October 16, 2019 |
Wisconsin Brass Quintet – Faculty Concert Series |
7:30 PM |
Mead Witter Hall |
|
Thursday, October 17 |
Jazz Faculty Quintet with special guest Michael Dudley, trumpet |
7:30 PM |
Collins Hall |
|
Monday, October 21, 2019 |
Afro-Cuban Jazz Ensemble and UW Jazz Orchestra |
7:30 PM |
Play Circle |
|
Tuesday, October 22, 2019 |
Concert Band |
7:30 PM |
Mead Witter Hall |
|
Wed, October 23, 2019 |
Jazz Composers Group & Jazz Standards |
7:30 PM |
Collins Hall |
|
Thu, October 24, 2019 |
Parry Karp with Eli Kalman, piano |
7:30 PM |
Collins Hall |
|
Friday, October 25, 2019 |
Opening Celebration Weekend: Hamel Music Center. Please check our website for details. |
All Day |
740 University Avenue |
|
Saturday, October 26, 2019 |
Opening Celebration Weekend: Hamel Music Center. Please check our website for details. |
All Day |
740 University Avenue |
|
Sunday, October 27, 2019 |
Opening Celebration Weekend: Hamel Music Center. Featured Event: Collins Fellows Concert |
1:00 PM |
Collins Recital Hall, Hamel Music Center |
|
Wed, October 30, 2019 |
Master Class with Violist Nobuko Imai |
6:30 PM |
Collins Hall |
|
Thu, October 31, 2019 |
Violist Nobuko Imai with Pro Arte Quartet |
12:00 PM |
Collins Hall |
|
Fri, November 1, 2019
|
Madrigal Singers |
8:00 PM
|
Mead Witter Hall |
Sat, November 2, 2019 |
Alicia Lee, faculty clarinet |
8:00 PM |
Collins Hall |
|
Sun, November 3, 2019 |
Wind Ensemble |
2:00 PM |
Mead Witter Hall |
|
Fri, November 8, 2019 |
Wingra Wind Quintet |
8:00 PM |
Collins Hall |
|
Sat, November 9, 2019 |
UW Chorale |
8:00 PM |
Mead Witter Hall |
|
Thu, November 14, 2019 |
UW-Madison Symphony Orchestra |
7:30 PM |
Mead Witter Hall |
|
Fri, November 15, 2019 |
University Opera: Benjamin Britten’s A Midsummer Night’s Dream |
7:30 PM |
Music Hall |
|
Sun, November 17, 2019 |
University Opera: Benjamin Britten’s A Midsummer Night’s Dream |
2:00 PM |
Music Hall |
|
Tue, November 19, 2019 |
University Opera: Benjamin Britten’s A Midsummer Night’s Dream |
7:30 PM |
Music Hall |
|
Sat, November 16, 2019 |
Low Brass Ensemble |
4:00 PM |
Collins Hall |
|
Sat, November 16, 2019 |
Combined Choirs |
8:00 PM |
Mead Witter Hall |
|
Sat, November 16, 2019 |
Timothy Hagen, faculty flute |
8:00 PM |
Collins Hall |
|
Fri, November 22, 2019 |
UW Concert Choir |
8:00 PM |
Mead Witter Hall |
|
Fri, November 22, 2019 |
Pro Arte Quartet |
8:00 PM |
Collins Hall |
|
Fri, November 22, 2019 |
UW Jazz Orchestra |
5:00-7:00 PM |
Rathskeller |
|
Saturday, Nov 23, 2019 |
Undergrad Audition Day |
All day |
|
|
Sat, November 23, 2019 |
World Percussion Ensemble |
12:00 PM |
Music Hall |
|
Sat, November 23, 2019 |
Brass Ensembles |
1:00 PM |
?? |
|
Sun, November 24, 2019 |
UW Concert Band with Winds of Wisconsin |
5:00 PM |
Mead Witter Hall |
|
Mon, November 25, 2019 |
Chamber Percussion Ensemble |
7:30 PM |
Mills Hall |
|
Tue, November 26, 2019 |
Opera Scenes |
7:30 PM |
Music Hall |
|
Mon, December 2, 2019 |
Piano Studio Recital |
6:30 PM |
Collins Hall |
|
Tue, December 3, 2019 |
Jazz Composers & Contemporary Jazz Ensembles |
7:30 PM |
Collins Hall |
|
Wed, December 4, 2019
|
Jazz Standards Ensemble & Afro-Cuban Jazz |
7:30 PM
|
Collins Hall |
Thu, December 5, 2019 |
UW-Madison Symphony Orchestra & UW Wind Ensemble |
7:30 PM |
Mead Witter Hall |
|
Fri, December 6, 2019 |
Saxophonist Greg Ward with the Blue Note Ensemble and UW jazz faculty |
8:00 PM |
Collins Hall |
|
Sat, December 7, 2019 |
UW & Madison Metropolitan Jazz Festival |
Final Concert, 3:00 PM |
Mead Witter Hall |
|
Sat, December 7, 2019 |
Choral Union: Ralph Vaughan Williams’s “A Sea Symphony” |
8:00 PM |
Mead Witter Hall |
|
Sun, December 8, 2019 |
University Bands |
2:00 PM |
Mead Witter Hall |
|
Sun, December 8, 2019 |
Choral Concerts at Luther Memorial Church |
2:00 PM |
Luther Memorial Church |
|
Sun, December 8, 2019 |
Choral Concerts at Luther Memorial Church |
4:00 PM |
Luther Memorial Church |
|
Sun, December 8, 2019 |
All-University Strings |
4:30 PM |
Mead Witter Hall |
|
BEGIN 2020 |
|||
|
Sun, January 26, 2020 |
Annual Schubertiade |
3:00 PM |
Mead Witter Hall |
|
Sat, February 1, 2020 |
Christopher Taylor and Friends — Beethoven Symphony Extravaganza |
8:00 PM |
Mead Witter Hall |
|
Wed, February 5, 2020 |
Daniel Grabois, horn |
7:30 PM |
Collins Hall |
|
Thu, February 6, 2020 |
UW Symphony Orchestra |
7:30 PM |
Mead Witter Hall |
|
Sat, February 8, 2020 |
The Knights |
8:00 PM |
Mead Witter Hall |
|
Sun, February 16, 2020 |
UW Wind Ensemble |
2:00 PM |
Mead Witter Hall |
|
Monday, February 17, 2020 |
Chamber Percussion Ensemble |
7:30 PM |
Mills Hall |
|
Tue, February 18, 2020 |
Concert Band |
7:30 PM |
Mead Witter Hall |
|
Thu, February 20, 2020 |
Parry Karp, faculty recital |
7:30 PM |
Collins Hall |
|
Fri, February 21, 2020 |
Marc Vallon & Friends |
8:00 PM |
Collins Hall |
|
Sunday, Feb 23, 2020 |
Les Thimmig, faculty recital |
2:00 PM |
Collins Hall |
|
Sat, April 18, 2020 |
Low Brass Ensemble |
4:00 PM |
Mead Witter Hall |
|
Fri, February 28, 2020
|
Pro Arte Quartet |
8:00 PM
|
Collins Hall |
Sat, February 29, 2020 |
Wingra Wind Quintet |
8:00 PM |
Collins Hall |
|
Fri, February 28, 2020, |
University Opera – Mozart’s Così fan tutte |
7:30 PM |
Music Hall |
|
Sun, March 1, 2020 |
University Opera – Mozart’s Così fan tutte |
2:00 PM |
Music Hall |
|
Tue, March 3, 2020 |
University Opera – Mozart’s Così fan tutte |
7:30 PM |
Music Hall |
|
Sun, March 1, 2020 |
Winds of Wisconsin |
5:30 PM |
Mead Witter Hall |
|
Wed, March 4, 2020 |
Afro-Cuban Jazz Ensemble & Jazz Composers Group |
7:30 |
Collins Hall |
|
Thu, March 5, 2020 |
Blue Note Ensemble & Jazz Standards Ensemble |
7:30 PM |
Collins Hall |
|
Sat, March 7, 2020 |
UW-Madison Symphony Orchestra with guest pianist Wu Han |
8:00 PM |
Mead Witter Hall |
|
Sun, March 8, 2020 |
University Bands |
2:00 PM |
Mead Witter Hall |
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Tue, March 10, 2020 |
Percussion Department Recital |
7:30 PM |
Collins Hall |
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Weds March 11, 2020 |
UW Jazz Orchestra |
7:30 PM |
Play Circle |
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Wednesday, March 11, 2020 |
Wisconsin Brass Quintet – Faculty Concert Series |
8:00 PM |
Mead Witter Hall |
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Thu, March 12, 2020 |
UW Wind Ensemble |
7:30 PM |
Mead Witter Hall |
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Fri, March 27, 2020 |
Le Domaine Musicale with Marc Vallon and Friends |
8:00 PM |
Collins Hall |
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Sun, March 29, 2020 |
Concert Band |
2:00 PM |
Mead Witter Hall |
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Sun, April 5, 2020 |
Beethoven Competition Winners’ Recital |
3:30 PM |
Collins Hall |
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Sun, April 5, 2020 |
“Symphony Showcase” Concerto Winners’ Solo Concert |
7:00 PM |
Mead Witter Hall |
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Sat, April 11, 2020 |
Chorale |
8:00 PM |
Mead Witter Hall |
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Fri, April 12, 2019 |
Perlman Trio Chamber Concert |
3:00 PM |
Collins Hall |
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Tue, April 14, 2020 |
Opera Scenes |
7:30 PM |
Music Hall |
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Wed, April 15, 2020 |
Contested Homes: Migrant Liberation Movement Suite |
7:30 PM |
Mead Witter Hall |
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Thu, April 16, 2020 |
Pro Arte Quartet |
7:30 PM |
Collins Hall |
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Fri, April 17, 2020 |
Combined Choirs |
8:00 PM |
Mead Witter Hall |
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Sat, April 18, 2020 |
Low Brass Ensemble |
4:00 PM |
Mead Witter Hall |
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Sat, April 18, 2020
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UW-Madison Choral Reunion concert featuring Concert Choir, Madrigals and alumni |
8:00 PM
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Mead Witter Hall |
Mon, April 20, 2020 |
Afro-Cuban Jazz Ensemble & Blue Note Ensemble |
7:30 PM |
Collins Hall |
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Tue, April 21, 2020 |
Jazz Standards Ensemble & Jazz Composers Group |
7:30 PM |
Collins Hall |
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Wed, April 22, 2020 |
Chamber Percussion Ensemble |
7:30 PM |
Mills Hall |
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Thu, April 23, 2020 |
UW Jazz Orchestra with the UW Honors Jazz Band |
7:30 PM |
Music Hall |
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Fri, April 24, 2020 |
Concert Band and Wind Ensemble |
7:30 PM |
Mead Witter Hall |
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Sat, April 25, 2020 |
All-University Strings |
2:00 PM |
Mead Witter Hall |
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Sat, April 25, 2020 |
Choral Union: Giuseppe Verdi’s “Requiem” |
8:00 PM |
Mead Witter Hall |
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Sun, April 26, 2020 |
Choral Union: Giuseppe Verdi’s “Requiem” |
7:30 PM |
Mead Witter Hall |
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Sun, April 26, 2020
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University Bands | 2 PM | Mead Witter Hall |
Tags: #AliciaLee, #All-UniversityStrings, #AntoninDvorak, #ASeaSymphony, #BandMusic, #BassoonMusic, #BeethovenSymphony, #BenjaminBritten, #BlogPost, #BlogPosting, #BrassMusic, #BrassQuintet, #CelloMusic, #ChamberMusic, #ChoralMusic, #ChoralUnion, #ChristianChurch, #ChristopherKarp, #ChristopherTaylor, #ClarinetMusic, #ConcertBand, #ConcertChoir, #ContemporaryMusic, #CosifanTutte, #DanielGrabois, #EliKalman, #EmailNewsletter, #FacebookPost, #FacebookPosting, #FacultyConcert, #FacultyMember, #FluteMusic, #FrancesKarp, #FranzSchubert, #GiuseppeVerdi, #GuestArtist, #HamelMusicCenter, #HornMusic, #JazzMusic, #KarpFamily, #KatoPerlman, #KatrinTalbot, #LaborDay, #LesThimmig, #LudwigVanBeethoven, #LutherMemorialChurch, #MadrigalSingers, #MarcVallon, #MeadWitterSchoolofMusic, #MidsummerNight'sDream, #MillsHall, #NobukoImai, #OperaMusic, #OperaScenes, #OperaSinger, #OrchestralMusic, #ParryKarp, #PaulCollins, #PerlmanTrio, #PianoAccompaniment, #PianoAccompanist, #PianoConcerto, #PianoMusic, #PianoQuartet, #PianoTrio, #ProArteQuartet, #RalphVaughan-Williams, #RalphVaughanWilliams, #RecitalHall, #RobertSchumann, #SaxophoneMusic, #Schubertiadeconcert, #StringMusic, #StringQuartet, #SuzanneBeia, #TheKnights, #TimothyHagen, #TrumpetMusic, #TubaMusic, #UniversityBands, #UniversityofWisconsin-Madison, #UniversityofWisconsin-Oshkosh, #UniversityOpera, #UWChorale, #UWChoralUnion, #UWSchubertiade, #UWSymphonyOrchestra, #ViolaMusic, #ViolinMusic, #VocalMusic, #WilliamShakespeare, #WindMusic, #WindsofWisconsin, #WingraWindQuintet, #WisconsinBrassQuintet, #WolfgangAmadeusMozart, #WorldPercussionEnsemble, #WuHan, A Sea Symphony, admission, Afro, Afro-Cuban, All-University Strings, alumni, Antonín Dvořák, audience, audition, band, Bassoon, Beethoven, Beethoven symphony, Benjamin Britten, blog, brass music, Brass quintet, brochure, calendar, celebration, Cello, cello music, Chamber music, Chanticleer, Choir, choral music, Choral Union, Chorale, Christian, Christian church, Christopher Karp, Christopher Taylor, church, clarinet, clarinet music, Classical music, classicalmusic, Competition, Concert, Concert Band, Concert Choir, concerto, contemporary music, contested, Cuban, Daniel Grabois, datebook, details, Dvorak, Eli Kalman, email, ensemble, event, extravaganza, Facebook, faculty, Family, flute, flute music, forward, Frances Karp, Franz Schubert, friends, Giuseppe Verdi, guest artist, Hamel Music Center, Home, Horn, Jazz, Karp Family, Kato Perlman, Katrin Talbot, Les Thimmig, liberation, like, link, Ludwig van Beethoven, Luther, Luther Memorial Church, Lutheran, madrigal, Marc Vallon, master class, masterclass, Mead Witter School of Music, Midsummer Night's Dream, migrant, Mills Hall, Mozart, Music, newsletter, Nobuko Imai, Nordic, opening, opera, opera scenes, opera singer, orchestral music, Oshkosh, Parry Karp, Paul Collins, percussion, performer, Pianist, Piano, Piano concerto, Piano Quartet, Piano Trio, post, posting, Pro Arte Quartet, program, quintet, Ralph Vaughan Williams, reader, recital, recital hall, Requiem, Robert Schumann, Saxophone, scenes, Schubert, Schubertiade, Schumann, sea, Shakespeare, share, showcase, singer, song, string, string music, String quartet, studio, subscriber, Suzanne Beia, symphony, symphony orchestra, tag, The Knights, Timothy Hagen, Trumpet, Tuba, undergraduate, university, University Bands, University of Wisconsin–Madison, University of Wisconsin–Oshkosh, University Opera, UW, UW Concert Band, UW Concert Choir, UW-Madison, UW-Oshkosh, Verdi, Viola, Violin, violinist, vocal music, Website, weekend, William Shakespeare, wind music, Wind quintet, winds, Winds of Wisconsin, Wingra Wind Quintet, winner, Wisconsin Brass Quintet, Wolfgang Amadeus Mozart, World Percussion Ensemble, Wu Han, year
Classical music: Superstar soprano Renée Fleming and pianist Emanuel Ax headline the 100th anniversary of the Wisconsin Union Theater’s Concert Series next season
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IF YOU LIKE A CERTAIN BLOG POST, PLEASE SPREAD THE WORD. FORWARD A LINK TO IT OR, SHARE or TAG IT (not just “Like” it) ON FACEBOOK. Performers can use the extra exposure to draw potential audience members to an event.
By Jacob Stockinger
The Ear has received the following major announcement to post about the Wisconsin Union Theater, which The Ear calls “the Carnegie Hall of Madison” for its long and distinguished history of presenting great performing artists.
The Wisconsin Union Theater (below top, with Shannon Hall below bottom) is delighted to announce the schedule for its 100th Concert Series during 2019-20.
In this celebratory year, we introduce two exciting additions: A transformative gift by Kato Perlman establishes the David and Kato Perlman Chamber Series, ensuring the world’s best chamber ensembles continue to perform as a regular feature of the Concert Series.
Additionally, two Concert Series performances will take place in the Mead Witter School of Music’s new Hamel Music Center (below). We look forward to increased collaborations with the school of music.
The 100th anniversary series was curated by the Wisconsin Union Directorate’s Performing Arts Committee, with wife-and-husband advisors pianist Wu Han and cellist David Finckel (below, in a photo by Tristan Cook), who are celebrated musicians and directors of several festivals of classical music and also serve as co-artistic directors of the Chamber Music Society of Lincoln Center. (You can hear them performing music by Johann Sebastian Bach in the YouTube video at the bottom.)
The first season of this distinguished series was in 1920-1921, and featured soprano May Peterson, violinist Fritz Kreisler and pianist Benno Moiseiwitsch.
Nineteen years later, in 1939-1940, the series moved to the newly opened Wisconsin Union Theater. The first season in the Wisconsin Union Theater featured bass singer Ezio Pinza, cellist Emanuel Feuermann, violinist Joseph Szigeti, pianist Robert Casadesus and, the highlight, contralto Marian Anderson.
Through these 99 years, numerous renowned, accomplished and prominent classical musicians have played in the series, the longest continuous classical series in the Midwest. Some made their debut here and continued returning as their fame rose.
See this article for an interview with former WUT director Michael Goldberg about the history of the series.
The schedule for the 100th Concert Series, including the inaugural David and Kato Perlman Chamber Music Series, is:
Oct. 6 – A cappella choral group Chanticleer, Hamel Music Center. Program To Be Announced
Nov. 2 – Pianist Emanuel Ax (below), Shannon Hall. All-Beethoven program, including Piano Sonatas Nos. 1, 2 and 3.
Dec. 6 – The Kalichstein, Laredo and Robinson Piano Trio (below), Shannon Hall. “Canonic Etudes” by Robert Schumann; Piano Trio No. 1 in D minor by Felix Mendelssohn; and Piano Trio in B-flat major “Archduke” by Ludwig van Beethoven.
Jan. 25, 2020 – The Escher String Quartet (below), featuring David Finckel, Shannon Hall. Quartets by Franz Joseph Haydn, Fritz Kreisler and Franz Schubert.
March 5, 2020 – Chamber Music Society of Lincoln Center – featuring David Finckel, Wu Han, Paul Neubauer and Arnaud Sussman, Shannon Hall. Sonatine by Antonin Dvorak; Piano Quartet by Josef Suk; Piano Quartet No. 1 in G Minor, Op. 25, by Johannes Brahms.
March 7, 2020 – Wu Han with the UW Symphony Orchestra, Hamel Music Center. Program TBD.
March 28, 2020 – Violinist Gil Shaham (below) with pianist Akira Eguchi, Shannon Hall. Program TBD.
May 2, 2020 – Special Gala Concert with Renée Fleming (below). Shannon Hall. Mixed Recital.
All programs are subject to change.
Subscriptions will be available starting March 18, 2019. Subscribers benefits include: access to the best seats, 20% off the price of single tickets, no order fees, a free ticket to Wu Han’s performance with the UW Symphony Orchestra, and the opportunity to be first to purchase tickets to Renée Fleming’s 100th Anniversary Gala Concert.
Find more information about the series and the artists at www.uniontheater.wisc.edu. Subscriptions will be available on March 18 at www.artsticketing.wisc.edu.
Tags: #ACappellaMusic, #AkiraEguchi, #All-Beethoven, #AntoninDvorak, #ArchdukeTrio, #ArtisticDirector, #BaroqueMusic, #BassSinger, #BennoMoiseitwitsch, #BlogPost, #BlogPosting, #CarnegieHall, #ChamberEnsemble, #ChamberMusic, #ChamberMusicSocietyofLIncolnCenter, #ChoralMusic, #ClassicalMusician, #ConcertSeries, #ContraltoSinger, #DavidFinckel, #EmanuelAx, #EmanuelFeuermann, #EscherStringQuartet, #EzioPinza, #FacebookPost, #FacebookPosting, #FelixMendelssohn, #FranzJosephHaydn, #FranzSchubert, #FritzKreisler, #GalaConcert, #GilShaham, #HamelMusicCenter, #husband-and-wife, #JaimeLaredo, #JohannesBrahms, #JohannSebastianBach, #JosefSuk, #JosephKalichstein, #JosephSzigeti, #KalichsteinLaredoRobinsonPianoTrio, #KatoPerlman, #LincolnCenter, #LudwigVanBeethoven, #MarianAnderson, #MeadWitterSchoolofMusic, #MichaelGoldberg, #MusicFestival, #NewYorkCity, #PerformingArtists, #PianoConcerto, #PianoMusic, #PianoQuartet, #PIanoRecital, #PianoSonata, #PianoTrio, #RenéeFleming, #RobertCasadesus, #RobertSchumann, #SchoolofMusic, #ShannonHall, #SharonRobinson, #SopranoSinger, #StringQuartet, #SubscriptionConcert, #TheEar, #TheMidwest, #ToBeAnnounced, #UniversityofWisconsin-Madison, #UWSymphonyOrchestra, #VocalMusic, #VoiceRecital, #Wife-and-Husband, #WisconsinUnionDirectorate, #WisconsinUnionTheater, #WuHan, #YouTubevideo, a cappella, access, accomplished, addition, advisor, Akira Eguchi, anouncement, Antonín Dvořák, Archduke Trio, Artistic director, artists, Arts, audience, Baroque, bass, Beethoven, Benno Moiseiwitsch, Canon, Carnegie Hall, cellist, Cello, centennial, chamber ensemble, Chamber music, Chamber Music Society of Lincoln Center, Chanticleer, choral music, Classical music, classical musician, collaboration, composer, concerto, contralto, curated, David Finckel, debut, director, distinguished, Emanuel Ax, Escher String Quartet, etude, Ezio Pinza, Facebook, fame, feature, fee, Felix Mendelssohn, forward, Franz Joseph Haydn, Franz Schubert, free, gala, gift, Gil Shaham, great, Hamel Music Center, highlight, History, husband, inaugural, information, interview, Jacob Stockinger, Jaime Laredo, Johann Sebastian Bach, Johannes Brahms, Josef Suk, Joseph Kalichstein, Joseph Szigeti, Kato Perlman, like, LIncoln Center, Lincoln Center for the Performing Arts, link, long, Ludwig van Beethoven, Madison, Marian Anderson, Mead Witter School of Music, Michael Goldberg, Midwest, Music, Music festival, New York City, performer, performing artists, Pianist, Piano, Piano concerto, Piano Quartet, Piano sonata, Piano Trio, post, posting, program, prominent, recital, regular, Renée Fleming, renowned, Robert Casadesus, Robert Schumann, schedule, School of Music, seat, Shannon Hall, share, Sharon Robinson, singer, Sonata, Sonatine, soprano, star, String quartet, subscription, superstar, tag, TBA, The Ear, ticket, University of Wisconsin–Madison, UW Symphony Orchestra, violinist, vocal music, voice, voice recital, wife, Wisconsin Union Directorate, Wisconsin Union Theater, Wu Han, year, YouTube
Classical music: Here are some other concerts – featuring vocal, orchestral, band, wind and reed music – that are on tap this weekend.
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By Jacob Stockinger
The big classical music events this week are the week-long residency at the UW-Madison of British composer Cecilia McDowall; the organ recital by Thomas Trotter in Overture Hall; and Friday night’s concert of Franz Joseph Haydn, Franz Schubert and Vittorio Giannini by the Wisconsin Chamber Orchestra with pianist Shai Wosner under conductor Andrew Sewell.
But there are other important events on tap too, events that should attract audiences.
FRIDAY
This week’s FREE Friday Noon Musicale, which runs from 12:15 to 1 p.m. in the Landmark Auditorium of the Frank Lloyd Wright-designed First Unitarian Society of Madison at 900 University Bay Drive, features the Mad Reeds Trio. Members include Laura Medisky, oboe (below); Cynthia Cameron-Fix, bassoon; and Vincent Fuh, piano.
The trio will perform music by Madeline Dring, Dan Welcher and Jean Francaix.
SATURDAY
At 8 p.m. in Shannon Hall of the Wisconsin Union Theater, the critically acclaimed and popular a cappella singing group Chanticleer will perform. The San Francisco-based group performs “Shenandoah” in a YouTube video at the bottom that has drawn more than 730,000 hits.)
Tickets are: General Public: $45, 25; Wisconsin Union Members and Non UW-Madison Students: $40; UW-Madison Faculty & Staff: $42; UW-Madison Student (with ID): $10. Prices do not include fees.
Here is a link with detail of the eclectic program that runs from early music and the Renaissance to jazz and Bossa Nova:
And here is a link to the concert announcement with video and audio clips:
http://www.uniontheater.wisc.edu/season14-15/chanticleer.html
SUNDAY
At 1:30 p.m. in Morphy Recital Hall on the UW-Madison campus GUEST ARTIST Laura Loge, soprano (below), with pianist Kathryn Ananda-Owens, a graduate of Memorial High School in Madison who teaches piano at St. Olaf College, will perform a recital featuring Norwegian songs by Edvard Grieg, Grondahl, Frederick Delius, Kjerulf, Christian Sinding and Alnaes.
Admission is FREE.
The concert is supported by funding from the Ygdrasil Literary Society of Madison, Vennelag Lodge, Idun Lodge #74 Sons of Norway, the Madison Torske Klubben, and by the Anonymous Fund.
At 2 p.m. in Mills Hall, the UW-Madison Concert Band, under director Mike Leckrone (below), will give a FREE concert. Sorry, no word about the program.
At 2:30 p.m. in the St. Joseph Chapel, 1000 Edgewood College Drive, the Edgewood Chamber Orchestra, under director Blake Walter (below in a photo by John Maniaci), will give its Winter Concert.
Admission is $5 to benefit music scholarships; FREE with Edgewood College ID.
Included on the program is the aria “Come Scolio” from the opera “Cosi fan Tutte” by Wolfgang Amadeus Mozart, featuring soprano Angela Sheppard (below), winner of the Edgewood College Music Department’s Student Concerto Competition, as well as a three-time recipient of the Ken and Diane Ballweg Music Scholarship. Also on the program are the Overture to “L’isola Disabitata” by Franz Joseph Haydn and the Symphony No. 2 in B-flat Major, D. 125, by Franz Schubert.
At 3:30 p.m. in Mills Recital Hall, a FREE recital will present this year’s winners of the annual Irving Shain Woodwind-Piano Duo Competition at the UW-Madison School of Music.
A reception will follow the performance.
The competition and concert are made possible by retired UW-Madison Chancellor and chemistry professor Irving Shain (below).
The 2014-15 WINNERS are
Kai-Ju Ho, clarinet and SeungWha Baek, piano.
Iva Ugrcic, flute (below top, playing recently in the UW Concerto Competition winners’ concert) and Thomas Kasdorf, piano (below bottom).
HONORABLE MENTION
Pedro Garcia, clarinet and Chan Mi Jean, piano.
Tags: aria, art song, Arts, Baroque, Bassoon, Blake Walter, bossa nova, Chamber music, chamber orchestra, Chanticleer, chemistry, Chicago, choral music, clarinet, Classical music, Competition, Concert Band, concerto, Cosi fan tutte, duo, Early music, Edgewood Chamber Orchestra, Edgewood College, First Unitarian Society of Madison, flute, Frank Lloyd Wright, Franz Schubert, Giannini, Grieg, Haydn, Jacob Stockinger, Jazz, Joseph Haydn, Madison, Mozart, Music, Norway, Oboe, opera, Orchestra, Piano, reeds, Renaissance, San Francisco, Schubert, Shenandoah, song, soprano, symphony, Unitarian, United States, University of Wisconsin-Madison School of Music, University of Wisconsin–Madison, Violin, vocal music, Wisconsin, Wisconsin Chamber Orchestra, Wisconsin Union Theater, Wolfgang Amadeus Mozart, woodwind
Classical music: The Carnegie Hall of Madison — the renovated Wisconsin Union Theater on the University of Wisconsin campus — will reopen next fall with a gala concert by cellist Yo-Yo Ma and other classical stars.
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By Jacob Stockinger
The Ear likes to call the Wisconsin Union Theater (below) “The Carnegie Hall of Madison.”
The reason is simple. Ever since the historic WUT opened, that is where the really great classical music talents of the 20th century performed, especially long before there was a Madison Civic Center or an Overture Center.
Two seasons ago, the Wisconsin Union Theater closed for repairs and started holding concerts in Mills Hall at the University of Wisconsin-Madison School of Music.
But the renovations are almost completed. For more information about the two-year renovation, visit:
http://unionreinvestment.wisc.edu
So the Wisconsin Union Theater has announced a gala and celebratory 2014-2015 Concert Series in the renovated theater.
The press release reads: “The Wisconsin Union Theater is proud to announce its 2014-2015 Concert Series. Reopening for its 75th anniversary (and the Concert Series’ 95th anniversary) after a two-year renovation, the theater offers a magnificent series, which includes:
Yo-Yo Ma, cello, with pianist Kathryn Stott, piano on Saturday, October 18, 2014. (At the bottom, you can hear the duo perform the “Meditation” from the opera “Thais” by Jules Massenet in a YouTube video that has more than 1 million hits.)
Valentina Lisitsa, piano, who has been an Internet sensation and procured a contract with Decca Records from her millions of followers on YouTube, on Thursday, November 20, 2014.
Chanticleer singers on Saturday, February 21, 2015.
Takacs String Quartet on Saturday, February 28, 2015, for the Fan Taylor Memorial Concert.
Sharon Isbin, guitar, and Isabel Leonard, mezzo-soprano, on Saturday, March 21, 2015. Presented with the Madison Opera.
“As was promised when the theater closed for renovations, past and current subscribers are given first priority to place an order for the series and request their preferred seating area. Others can subscribe later and single tickets will be available in August.
“This is just the beginning, says WUT officials. Details of the theater’s complete season will be released at a later date and will include many additional superb artists and performances.
“The season is presented by Wisconsin Union Directorate’s Performing Arts Committee.
Single ticket prices range from $25 t0 $125 for the Yo-Yo Ma concert. The others generally run from $12 to $45 or $50.
Brochures will be mailed in mid-June.
For more information visit:
http://www.uniontheater.wisc.edu
Tags: Arts, Carnegie Hall, Cello, Chamber music, Chanticleer, choral music, classical guitar, Classical music, duo, guitar, Isabel Leonard, Jacob Stockinger, Jukes Massenet, Kathryn Stott, Madison, Madison Opera, Meditation, Mezzo-soprano, Music, Overture Center, Piano, String quartet, Takacs Quartet, Thaïs, University of Wisconsin-Madison School of Music, University of Wisconsin–Madison, Valentina Lisitsa, vocal music, Wisconsin, Wisconsin Union Theater, Yo-Yo Ma, YouTube
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