The Well-Tempered Ear
Classical music: Tuesday night brings concerts of band music as well as organ and violin duets
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By Jacob Stockinger
This Tuesday night, Oct. 22, will see concerts of band music and organ-violin duets.
Here are details:
ORGAN AND VIOLIN CONCERT
At 7:30 p.m. in Overture Hall, the Overture Concert Organ Series, sponsored by the Madison Symphony Orchestra and organized by MSO principal organist Greg Zelek, offers a concert of music for organ and violin.
The organist is Michael Hey (below right), a Wisconsin native who won first prize at an organ competition in Shanghai, China, and is the organist at the famed St. Patrick’s Cathedral in New York City.
The violinist is Christiana Liberis (below left) who recently toured with the rock band The Eagles.
Tickets are $20.
The program includes music by Johann Sebastian Bach, Sir Edward Elgar, Maurice Ravel, Charles-Marie Widor, Giovanni Battista Vitali, Naji Hakim and Fritz Kreisler.
In the YouTube video at the bottom, you can hear the duo perform a haunting version of the popular “Gymnopedie No. 1” by Erik Satie
For information, including specific works on the program and detailed biographies about the performers, go to: https://madisonsymphony.org/event/organ-michael-hey-christiana-liberis/
UW-MADISON CONCERT BAND
At 7:30 p.m. in the new Mead Witter Foundation Concert Hall of the Hamel Music Center, 740 University Avenue, the UW-Madison Concert Band (below) will perform a FREE concert.
The band will perform under director Scott Teeple (below) and guest conductor Ross Wolf.
The program includes:
“Lux Arumque” by Eric Whitacre
“Firefly” by Ryan George
“Colonial Song” by Percy Grainger/ed. Mark Rogers
“Huntington Tower Ballad” by Ottorino Respighi
“George Washington Bridge” by William Schuman
For information, go to: https://www.music.wisc.edu/event/uw-concert-band-and-winds-of-wisconsin/
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Classical music: TONIGHT one longtime, generous classical music patron honors another with a FREE public, all-Schubert memorial concert at Oakwood Village West
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By Jacob Stockinger
Think of it as a well-deserved, heart-felt homage that one longtime and generous patron of classical music is paying to another patron who also happened to be a close personal friend and a professional colleague.
The public is invited to join in the one-hour, FREE all-Schubert memorial concert at Oakwood Village West (University Woods), at 6205 Mineral Point Road, on Madison’s far west side near West Towne Mall, at 7 p.m. TONIGHT, Oct. 19.
Here is an invitation from retired University of Wisconsin-Madison chemist Kato Perlman (below) about the concert she is sponsoring and funding in memory of her close friends:
“Join flutist Iva Ugrcic (below top) and pianist Thomas J. Kasdorf (below middle) for a FREE All-Schubert Evening and enjoy the music from one of the greatest composers of the 19th century, Franz Schubert (1797-1828, below bottom).
“This concert is in memory of the late Irving and Millie Shain. Irv Shain (below) was a chemistry professor and then a long-serving Chancellor of the University of Wisconsin, and a great supporter of the University of Wisconsin-Madison Mead Witter School of Music.
“He played the flute himself and these Schubert pieces belonged to some of his favorites for the flute.
“He also established, in addition to his long-running annual Beethoven piano sonata competition, a woodwind and piano competition. Both Iva Ugrcic and Thomas Kasdorf are previous winners.”
The program is:
Sonata in A Minor, D. 821 (“Arpeggione”)
Introduction and Variations on “Trockne Blumen” (Withered Flowers) from “Die Schöne Müllerin” (The Beautiful Miller’s Daughter), D. 802 (Op. 160)
Ständchen (“Serenade”) from Schubert’s final song cycle Schwanengesang (Swan Song), D. 957 (heard in the YouTube video below)
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Classical music: Steve Kurr talks about his new work celebrating Middleton that will be premiered Wednesday night by the Middleton Community Orchestra alongside Mozart and Dvorak
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By Jacob Stockinger
This Wednesday night, Oct. 9, the mostly amateur but highly praised Middleton Community Orchestra (below) will open its 10th anniversary season, which is dedicated to retired critic John W. Barker for his help in championing the ensemble.
The concert is at 7:30 p.m. in the comfortable and acoustically excellent Middleton Performing Arts Center (below, in a photo by Brian Ruppert), which is attached to Middleton High School, 2100 Bristol Street.
Admission is $15 for the public, free for students. Tickets are available from the Willy Street Coop West and at the door. The box office opens at 6:30 p.m. Auditorium doors open at 7 p.m.
The appealing program features J.J. Koh (below), principal clarinet of the Madison Symphony Orchestra, as guest soloist in the beautiful and poignant Clarinet Concerto in A Major, K. 622. (In the YouTube video at the bottom, you can hear the sublime slow movement, which may sound familiar from when it was used in the soundtrack to the film “Out of Africa.”)
Also on the program is the popular Symphony No. 9 – “From the New World” – by Antonin Dvorak.
But raising the curtain will be the world premiere of a work that was written specifically for this orchestra on this occasion in its own city.
The piece was composed by Steve Kurr, who teaches at Middleton High School and who is the resident conductor of the MCO.
For more information about the MCO’s season along with critical reviews and information about how to join it or support it and how to enter its new youth concerto competition, go to:
http://middletoncommunityorchestra.org
Kurr, below, will conduct the premiere of his own work, which he recently discussed via email with The Ear:
How much do you compose and why do you compose?
When I do compose, which is not often, it is usually with a specific event in mind. I have written several things for the musicians at Middleton High School, including a four-movement string symphony, a piece for a retiring colleague, and several works we have taken on tour.
In this case, the 10th season of the Middleton Community Orchestra provided a great reason to write. I always enjoy the process, but it can be time-consuming, so I don’t do it as often as I might like.
How does composing fit in with your teaching and conducting?
Most of the composing I do comes in the summer because it is when I can devote larger chunks of time. This new work was germinating in some form for several years, but almost all of the notes-on-the-page work came this past June.
How do you compose?
I approach composition in an analytical way, which will come as no surprise to anyone who knows me. I think about structure early on in the process, both at the full work scale and in the smaller sections.
Most of my work comes on the computer in the notation software Finale, and some comes on the piano or on a string instrument.
I run ideas past my wife Nancy for her input and for this piece I also got a huge amount of advice and help from composer and MCO violist Neb Macura (below). (Thanks, Neb! You were invaluable!) Most of the melodic material came to me in the car on the way to school.
How would you describe your musical or tonal style?
I would say that my style is mostly tonal and not all that adventurous in terms of harmony. The fact that I have spent much of my musical career studying the works of the Classical and Romantic periods shows through. And yet you might find some moments that hint at more recent styles.
Can you briefly tell the public about the new piece to be premiered?
“Good Neighbors” is subtitled “Episodes for Orchestra” and the connected episodes describe various aspects of the Middleton community.
Episode 1 depicts the city of Middleton and its bustling energy within a small town feel. Episode 2 is about all of the water around, including the creeks, ponds and Lake Mendota. Episode 3 is the Good Neighbor Festival, appearing at the end of summer for so many years. Episode 4 describes the land around, including the rolling farmland, the driftless area, and the Ice Age Trail.
The final episode brings together tunes from the previous four, combining them to demonstrate that the Good Neighbor City is more than the sum of its parts. The opening theme shows up in several different versions throughout, including most notably the theme from Episode 4.
Is there anything else you would like to say?
At first I considered the endeavor almost self-indulgent as I set a piece of my own in front of the ensemble. Then I started to feel presumptuous. It is a humbling experience to see my name on a program with Mozart and Dvorak, two of my favorite composers.
It has been a terrific experience working with these fine musicians as we realize this new work together. My thanks go to them for their willingness to help me present this gift to the Middleton community.
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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.
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Classical music: The Ancora String Quartet performs an all-Italian program four times this month starting this weekend and returns as an ensemble-in-residence at the First Unitarian Society of Madison
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By Jacob Stockinger
The Ear has received the following information to post:
The Ancora String Quartet (below) opens its 19th season with a program of works by three Italian composers more usually associated with opera, or solo violin music, than with string quartets.
Members of the Ancora String Quartet (ASQ, below from left in a photo by Barry Lewis) are violins Wes Luke and Robin Ryan; violist Marika Fischer Hoyt; and cellist Benjamin Whitcomb.
Violin virtuoso and composer Antonio Bazzini (below) led a rockstar’s life, touring Europe and hobnobbing with Robert Schumann and Felix Mendelssohn. He later settled in Milan, winning first prize in the Milan quartet competition in 1864 with this piece. The Scherzo shows Mendelssohn’s influence, and the Andante sostenuto delivers breathtakingly beautiful passages of lyrical romance and tender passion.
Opera great Giaocomo Puccini wrote Chrysanthemums (Crisantemi) in one night, upon hearing the news of the death of his friend the Duke of Savoy in 1890. The six-minute piece expresses the composer’s sorrow, in themes that bring to mind the poignant melodies of “Madama Butterfly.” (You can hear “Chrysanthemums” in the YouTube video at the bottom.)
The String Quartet in E Minor (1873) by Giuseppe Verdi (below) opens with restrained moodiness, but the drama quickly leaps off the page. Written to pass the time while waiting for the delayed opening of his opera “Aida,” this quartet demonstrates Verdi’s mastery of purely instrumental writing — although the cello solo in the Trio of the Scherzo could pass for a tenor aria. The work ends, surprisingly, with an elaborate fugue.
The quartet is gearing up for four performances in September, listed below.
In related news, the Ancora String Quartet, like the Madison Bach Musicians, will become a Resident Ensemble at the First Unitarian Society of Madison (FUS) starting this fall. We are pleased to reconnect with our FUS audiences, and hope our Regent Street fans will make the trip as well.
Here is the September schedule of the Italian program:
- This Friday, Sept. 6, from noon to 1 p.m. in an interview on Wisconsin Public Radio’s The Midday with host Norman Gilliland. WPR is Madison station WERN 88.7 FM. The ASQ will perform the entire Bazzini quartet.
- This Saturday, Sept. 7, at 7:30 p.m. at the FUS, Landmark Auditorium, Madison. Tickets at the door are $15 for the general public, $12 for seniors and $6 for students.
- Sunday, Sept. 8, at 3 p.m. at FUS, Landmark Auditorium, Madison, 900 University Bay Drive, Madison. Tickets at the door are $15, $12 and $6.
- Next Tuesday, Sept. 10, at 6 p.m. at the Germantown Community Library, N112W16957 Mequon Rd., in Germantown. The concert is FREE and open to the public.
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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 |
|
Tue, March 10, 2020 |
Percussion Department Recital |
7:30 PM |
Collins Hall |
|
Weds March 11, 2020 |
UW Jazz Orchestra |
7:30 PM |
Play Circle |
|
Wednesday, March 11, 2020 |
Wisconsin Brass Quintet – Faculty Concert Series |
8:00 PM |
Mead Witter Hall |
|
Thu, March 12, 2020 |
UW Wind Ensemble |
7:30 PM |
Mead Witter Hall |
|
Fri, March 27, 2020 |
Le Domaine Musicale with Marc Vallon and Friends |
8:00 PM |
Collins Hall |
|
Sun, March 29, 2020 |
Concert Band |
2:00 PM |
Mead Witter Hall |
|
Sun, April 5, 2020 |
Beethoven Competition Winners’ Recital |
3:30 PM |
Collins Hall |
|
Sun, April 5, 2020 |
“Symphony Showcase” Concerto Winners’ Solo Concert |
7:00 PM |
Mead Witter Hall |
|
Sat, April 11, 2020 |
Chorale |
8:00 PM |
Mead Witter Hall |
|
Fri, April 12, 2019 |
Perlman Trio Chamber Concert |
3:00 PM |
Collins Hall |
|
Tue, April 14, 2020 |
Opera Scenes |
7:30 PM |
Music Hall |
|
Wed, April 15, 2020 |
Contested Homes: Migrant Liberation Movement Suite |
7:30 PM |
Mead Witter Hall |
|
Thu, April 16, 2020 |
Pro Arte Quartet |
7:30 PM |
Collins Hall |
|
Fri, April 17, 2020 |
Combined Choirs |
8:00 PM |
Mead Witter Hall |
|
Sat, April 18, 2020 |
Low Brass Ensemble |
4:00 PM |
Mead Witter Hall |
|
Sat, April 18, 2020
|
UW-Madison Choral Reunion concert featuring Concert Choir, Madrigals and alumni |
8:00 PM
|
Mead Witter Hall |
Mon, April 20, 2020 |
Afro-Cuban Jazz Ensemble & Blue Note Ensemble |
7:30 PM |
Collins Hall |
|
Tue, April 21, 2020 |
Jazz Standards Ensemble & Jazz Composers Group |
7:30 PM |
Collins Hall |
|
Wed, April 22, 2020 |
Chamber Percussion Ensemble |
7:30 PM |
Mills Hall |
|
Thu, April 23, 2020 |
UW Jazz Orchestra with the UW Honors Jazz Band |
7:30 PM |
Music Hall |
|
Fri, April 24, 2020 |
Concert Band and Wind Ensemble |
7:30 PM |
Mead Witter Hall |
|
Sat, April 25, 2020 |
All-University Strings |
2:00 PM |
Mead Witter Hall |
|
Sat, April 25, 2020 |
Choral Union: Giuseppe Verdi’s “Requiem” |
8:00 PM |
Mead Witter Hall |
|
Sun, April 26, 2020 |
Choral Union: Giuseppe Verdi’s “Requiem” |
7:30 PM |
Mead Witter Hall |
|
Sun, April 26, 2020
|
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
Here is a news update on American Kenneth Broberg and the six other finalists in the piano concerto round of the International Tchaikovsky Competition on medici.tv for Tuesday, Wednesday and Thursday
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Here is a news update on the final round of the piano contest at the 16th International Tchaikovsky Competition in Moscow:
The Ear still hasn’t seen word about the specific repertoire, besides the required Tchaikovsky concerto, that seven finalists in the 16th International Tchaikovsky Competition will perform this week.
However, they will take place on Tuesday, Wednesday and Thursday at approximately 10 a.m. and 11:45 a.m. with an extra session on Thursday at 2 p.m., CDT.
American pianist Kenneth Broberg (below, in a photo by Jeremy Enlow), who played in Madison last season at the Salon Piano Series held at Farley’s House of Pianos, will perform second-to-last on Thursday, June 27, at 11:45 a.m.
The Ear is guessing that he will perform Sergei Rachmaninoff’s “Rhapsody on a Theme of Paganini,” which is what he played at the 2017 Van Cliburn International Piano Competition where he captured the silver medal.
Stay tuned!
Here is the complete schedule for the final concerto round, which will be live-streamed on TCH16.medici.tv .
Tuesday is Russian Konstantin Emelyanov at 10 a.m. and Russian Dmitry Shishkin at 11:45 a.m. Wednesday is Chinese An Tianxu at 10 a.m. and Russian Alexey Melnikov at 11:45. Thursday is French Alexandre Kantorow at 10 a.m. and American Kenneth Broberg at 11:45 a.m.; and Japanese Mao Fujita at 2 p.m.
Here is a link, or go to PIANO on the home website and click on WATCH: https://tch16.medici.tv/en/piano/
You may experience some delays or temporary disruptions in the live-streaming. Medici.TV says that so far the competition has had more than 10 million views from more than 180 countries, and the online service is struggling to fix outage problems.
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Classical music: Summer begins today with Make Music Madison. Plus, both American pianists have advanced in the 16th International Tchaikovsky Competition
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By Jacob Stockinger
The summer solstice arrives this morning at 10:54 a.m.
That means today is when Make Music Madison takes place. Wisconsin’s capital city will join more than 1,000 other cities across the globe in celebrating live music-making of all kinds that is FREE and mostly outdoors.
Here is a link to the site with a map of various artists and venues – some 400 events in about 100 venues — and well as times around Madison:
http://www.makemusicmadison.org
Here is an earlier post with more details about the worldwide event:
But that’s not the only news today.
Last night, the 24 piano contestants in the preliminary round of the 16th International Tchaikovsky Competition in Moscow and Saint Petersburg were trimmed down to 14 semi-finalists. (It was supposed to be 12, but the jury couldn’t agree on 12.)
And the good news is that both Americans — Sara Daneshpour (below top) and Kenneth Broberg (below bottom, in a photo by Jeremy Enlow), who performed a recital last season in Madison at the Salon Piano Series held at Farley’s House of Pianos — made the cut. The next round starts very early today, given the 8 hours ahead time difference between here and Moscow, and runs into the afternoon.
Here is the complete list of the piano semi-finalists:
https://tch16.medici.tv/en/news/piano-first-round-results/
Of course, pianists aren’t the only ones who might be interested in the competition that became well known in the West when Van Cliburn won the inaugural competition in 1958.
These days, competitions are also going on in violin, cello, voice, brass and woodwinds as well as piano.
What’s more, the entire competition is being live-streamed on Medici TV, and all the performances, from the preliminaries through the finals, are being streamed in real time and also archived. Plus, it’s all FREE. Thank you, Medici!
Here is a link. You’ll find archived performances, which go up pretty fast, under replays. The Ear has found that the sound is excellent and the website pretty self-explanatory and easy to navigate. Check out the preliminary recitals with music by Bach, Haydn. Mozart, Beethoven, Chopin, Liszt, Rachmaninoff and of course Tchaikovsky. Here is a link:
Today being the first day of summer, you’ll probably get to hear “Summer” from “The Four Seasons” by Antonio Vivaldi.
But given other news, something by Tchaikovsky seems especially appropriate. So here is the “June” Barcarolle, or boat song, from the solo piano suite “The Four Seasons,” which features one piece for each of the 12 months in the year. You can hear “June” in the YouTube video at the bottom.
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Classical music: Here are the winners of the seventh annual Handel Aria Competition held Friday night before a record audience
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By Jacob Stockinger
Co-founders Orange and Dean Schroeder have sent the following announcement about the winners of the seventh annual Handel Aria Competition that was held Friday night in Mills Hall at the University of Wisconsin-Madison’s Mead Witter School of Music:
The seventh annual Handel Aria Competition was a joyous evening of arias! We had a record audience — we don’t have the final numbers yet, but we ran out of 240 printed ballots and figure there were 250 to 300 people present — despite a widespread power outage on the near west side and severe parking challenges.
The winners, accompanied by the Madison Bach Musicians, were: Australian soprano Morgan Balfour, first prize (below center, in a photo by Tom Miller); soprano Emily Yocum Black, second prize (below right); and bass-baritone Jonathan Woody, third prize and audience favorite (below left).
We are excited to know that Morgan will be singing in St. George’s Church, Hanover Square, next spring thanks to the London Handel Festival. In addition, she will receive $1,500 in cash and – like all finalists — $500 toward travel costs for competing. Other awards were $1,000 for second place, $750 for third place and $500 for Audience Favorite.
Here are the arias, from opera and oratorios, sung by the three winners:
Morgan Balfour: “Spietati, io vi giurai” from “Rodelinda” and “Mean as he was, he is my brother now … Author of Peace” from “Saul”
Emily Yocum Black: “Art thou not Zaphnath? … Prophetic raptures swell my breast” from “Joseph and His Brethren” and “Credete al mio dolore” from “Alcina.”
Jonathan Woody: “Oh memory, still bitter to my soul! … Opprest with never-ceasing grief” from “Belshazzar” and “Why do the nations so furiously rage together?” from “Messiah.”
Schroeder says: “The seven finalists (below in a photo by Tom Miller) were all excellent, presenting a real challenge for audience members picking their favorite as well as for the judges.” (For names and more biographical information about the finalists and judges, go to https://handelariacompetition.com
Adds Schroeder: “The caliber of applicants gets better and better every year. This year everybody was amazing and one of the judges said he was blown away by the quality of the competition. Yet we still try to make the sure that the competition is friendly and most collegial, not cutthroat.”
All the performances from all the finalists as well as the winners were video recorded and, after they are processed, will be posted on YouTube in about a month. (The Ear will let you know when they are available.)
You can also see and hear most of the finalists from the past six years on YouTube now; and more information about the past six years of the competition is on its home website at https://handelariacompetition.com/past-competitions
Did you go to the competition?
Did you agree with the judges about the winners and the Audience Award?
What did you think of the annual competition?
The Ear wants to hear.
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Classical music: The 7th annual Handel Aria Competition, which has grown in international stature and ties, will take place this Friday night at 7:30 p.m. in Mills Hall. Here are the 7 finalists and more information
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By Jacob Stockinger
The final round of the seventh annual Handel Aria Competition will be held on this Friday night, June 7, at 7:30 p.m. in Mills Hall at the University of Wisconsin-Madison’s Mead Witter School of Music. (Below is soprano Suzanne Karpov, the winner last year. You can hear her prize-winning performance in the YouTube video at the bottom. To whet your appetite, you can also find many other outstanding competition performances from past years on YouTube.)
As in recent years, the accompaniment will be provided by the Madison Bach Musicians (below), a period instrument Baroque music ensemble under the direction of harpsichordist Trevor Stephenson that uses historically informed performance practices.
Tickets will be $15 each for general admission, and will be available at the door.
The seven finalists were chosen from a field of 100 singers from five countries.
Three prizes are awarded by the guest judges, and the audience also gets to award its own prize — which doesn’t always agree with the judges.
The finalists are (below, from the upper left):
- Emily Yocum Black, soprano
- Jonathan Woody, bass-baritone
- Katherine Cecelia Peck, soprano
- Scott J. Brunscheen, tenor
- Sarah Moyer, soprano
- Morgan Balfour, soprano
- Ryne Cherry, baritone
To read extensive biographies about each of these singers, go to the competition’s home website.
There is other important news to announce. The competition has a new director, Wisconsin native Sarah Brailey (below), a soprano who is pursuing graduate work at the UW-Madison while maintaining a busy concert schedule and blossoming career. She is also a co-founder of the free monthly Just Bach midday concerts that started this past season.
Read her biography and be impressed: https://sarahbrailey.com/about/
This year also saw the competition foster music education with its first showcase concert by high school singers performing Handel arias at the Capitol Lakes Retirement Community near the Capitol Square.
Finally, an international link has been established.
There is a new cooperative initiative with the esteemed London Handel Festival! The first prize winner of this year’s Handel Aria Competition will be invited to give a lunchtime recital in London at Handel’s own parish church, St. George’s in Hanover Square, next spring. (It is contingent, of course, on being able to coordinate the singer’s schedule with that of the London Handel Festival.)
The winner will receive a travel grant of up to $750, and the London Handel Festival will provide a home stay, professional accompaniment and even a small stipend.
The Handel Festival in London, now in its 18th year, was one of the inspirations in starting the Handel Aria Competition in the U.S.
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