The Well-Tempered Ear
Classical music: The Wisconsin Chamber Orchestra uses a new website and a new brochure to announce its new Masterworks season plus other innovations
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By Jacob Stockinger
In many ways, there is much that is familiar or tried-and-true about the Wisconsin Chamber Orchestra (below, in a photo by Mike Gorski) and its new Masterworks season for 2020-21.
But in other ways it seems as if the WCO is reinventing and rebranding itself – perhaps under the direction of its new CEO Joe Loehnis – as the ensemble starts a double anniversary: its 60th season of existence and its 20th year under the baton of music director Andrew Sewell (below in a photo by Alex Cruz).
As in past years, the WCO programs feature a mix of familiar composers and works with new and neglected ones. It also features both new and returning guest soloists.
Start with what’s new.
The new WCO home website – like the new brochure that has been mailed out — has been redesigned, with more visuals and more information about the 34-member orchestra. The Ear finds both the new brochure and the new home page to be more attractive, better organized and easier to use. Take a look for yourself: https://wcoconcerts.org
There also seems to be a heightened emphasis on donations and raising money, including a new organization called “Friends” that brings special benefits for $30 or even more perks at $8 a month.
And the website seems more customer-friendly. There is a section on the website about “What to Expect,” which includes how to choose seats, how to dress, when to applaud and so forth. There is also a portal for streaming events and concerts.
There is more, much more, including the pre-concert dinners for the Masterworks concerts and the culturally diverse programs for the postponed Concerts on the Square (below), to run this summer on Tuesday nights at 6 p.m. (NOT the usual Wednesdays at 7 p.m.) from July 28 to Sept. 1.
There seems to be more emphasis on Sewell, who this year provides extensive first-person notes about each program and the guest artists. (In the YouTube video at the bottom, you can hear Sewell discuss the new Masterworks season with Wisconsin Public Radio host and WCO announcer Norman Gilliland.)
This season will see two performances of Handel’s “Messiah”: one on Saturday, Dec. 19, at the Blackhawk Church in Middleton; and another downtown on Sunday, Dec. 20, at the UW-Madison’s Hamel Music Center.
The Masterworks series of concerts – held on Friday nights at 7:30 p.m. in the Capitol Theater of the Overture Center – will begin in late November rather than in late January. The six concerts include five new ones and the postponed appearance of harpist Yolanda Kondonassis, whose appearance this season was canceled because of the COVID-19 pandemic, on May 14.
Two of the concerts – on two Saturdays, Feb. 20 and April 10 – will also be performed in the Milwaukee suburb of Brookfield at the Sharon Lynn Wilson Center for the Arts (below).
You can read more about the community outreach and music education programs, especially the Youth and Education programs. They include the free Family Series and “Side by Side” concerts (below, in a photo by Mike DeVries for The Capital Times, WCO concertmaster Suzanne Beia, right, tutors a WYSO student); the Super Strings educational program; and the Young Artists Concerto Competition for grades 9-12.
Here are the Masterworks series:
NOV. 20 – Pianist John O’Conor (below) returns in a program of the Piano Concerto No. 5 “Emperor” by Beethoven; the Septet by Igor Stravinsky; and the Symphony No. 1 in D Major by Luigi Cherubini.
JAN. 15 – Cellist Amid Peled (below, in a photo by Lisa Mazzucco) returns in a program of Cello Concerto No. 1 by Dmitry Kabalevsky and the Andante by Jacques Offenbach; plus the Wind Serenade in D minor by Antonin Dvorak; and the Symphony No. 34 by Mozart.
FEB. 19 – Violinist Alexander Sitkovetsky (below) in returns in Antonio Vivaldi’s “Four Seasons” and Astor Piazzolla’s “Four Seasons in Buenos Aires”; plus the Suite for Strings by Leos Janacek.
MARCH 19 – Grammy-winning Spanish guitarist Mabel Millán (below) making her U.S, debut in an all-Spanish program that features the Concierto del Sur (Concerto of the South) by Manuel Ponce; the Sinfonietta in D major by Ernesto Halffter; and the overture “Los Esclavos Felices” (The Happy Slaves) by Juan Crisóstomo Arriaga.
APRIL 9 – Pianist Michael Mizrahi (below), who teaches at the Lawrence University Conservatory of Music in Appleton, Wis., on the Piano Concerto No. 1 by Beethoven plus the Serenade No. 1 by Johannes Brahms.
MAY 14 — Harpist Yolanda Kondonassis (below) in the Harp Concerto by Alberto Ginastera; plus the Sinfonietta by Sergei Prokofiev and the Symphony no. 88 by Franz Joseph Haydn.
Single tickets, which go on sale in July, are $15 to $80. Season subscriptions are available now with seat preference through July 1, bring a discounted price with an extra 10 percent off for first-time subscribers.
For more information, go to the website at https://wcoconcerts.org; call 608 257-0638; or mail a subscription form to the Wisconsin Chamber Orchestra, Attn: Subscriptions; PO Box171, Madison, WI 53701-0171.
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Classical music: The Madison Early Music Festival will present a Grand Tour of musical styles to mark its success after 20 years. The “tour” starts this Saturday, July 6, and runs through Saturday, July 13. Part 1 of 2
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By Jacob Stockinger
A big anniversary deserves a big celebration – and that is exactly what the organizers of this year’s Madison Early Music Festival (below, the All-Festival Concert in 2018) have come up with.
Co-artistic director Cheryl Bensman-Rowe recently wrote about the festival in a Q&A interview for this blog. Here is Part 1 of 2:
This summer marks the 20th anniversary of the Madison Early Music Festival. Can you briefly summarize the progress of the festival over all those years and how you – through audience size, participants, media coverage – measure the success it has achieved?
How successful is this year’s festival compared to the beginning festival and to others in terms of enrollment, budgets and performers? How does this of MEMF’s reach nationally or even internationally compare to previous years?
What can you say about where the festival will go in the coming years?
As the 20th Madison Early Music Festival approaches, we have looked back at how far we have come from 1999 when we were a little festival of 60 participants and faculty. We have grown to our current size of 140 faculty members and participants — fellow lovers of early music.
Last year, we had the largest group of participants when 120 students enrolled. MEMF now attracts students of all ages, from 18 to 91, amateurs and professionals, from all over North America and Europe.
Our success is due to the help and support of many individuals and outside organizations. We could not manage MEMF without the amazing staff at the Division of the Arts at UW-Madison. They help with everything from printed materials, website design and management, social media, grant writing, fundraising, proofreading and on-site assistance at all of our events and more.
Paul and I (below) work with Sarah Marty, the Program Director of MEMF, who keeps things organized and running smoothly throughout the year.
Also, we are grateful to our dedicated MEMF Board, donations from many individuals, grants, and the generosity of William Wartmann, who created an endowment for the festival, and after his death left an additional $400,000 for our endowment. It takes a village!
Not only have we become an important part of the summer music scene in Madison, but we have contributed to the national and international early music community. The 2019 concert series will be featuring artists from California to New York, Indiana to Massachusetts, and from Leipzig, Germany.
We hope to have many old and new audience members join us for this exciting celebration of our 20th year. For future seasons our motto is “To infinity and beyond!” as we continue to build on our past successes.
What is new and what is the same in terms of format, students, faculty members and performers?
This year we have a new program, the Advanced Voice Intensive, which provides an opportunity for auditioned advanced singers who are interested in a capella vocal music from the Renaissance – singing sacred polyphony and madrigals to improve their skills as ensemble singers.
Twenty singers from all over the country will be joining the inaugural program to rehearse and perform music from Italy, England and Germany.
At the end of the week they will sing in a masterclass with the vocal ensemble Calmus (below) on Thursday, July 11, at 11:30 a.m. in Morphy Recital Hall. On Saturday, July 13, they will perform in a FREE concert with the popular Advanced Loud Band ensemble in Morphy Recital Hall.
Here’s the link for all the information about MEMF: https://memf.wisc.edu/
All concerts include a pre-concert lecture at 6:30 p.m. and the concerts in Mils Hall begin at 7:30 p.m. Tickets are $90 for an all-event pass; each individual concert is $22, for students $12. Tickets are available for purchase online and by phone at 608-265-ARTS (2787) with a $4 service fee, or in person at the Campus Arts Ticketing Box Office @ Memorial Union.
We also have two Fringe Concerts this year featuring new vocal ensembles from Wisconsin. On Monday, July 8, at 7 p.m. at Pres House, Schola Cantorum of Eau Claire (below), a 12-voice ensemble directed by UW-Madison graduate Jerry Hui, will perform “Mystery and Mirth: A Spanish Christmas.”
And on Wednesday, July 10, at 7 p.m. at Luther Memorial Church, 1021 University Avenue, the Milwaukee-based Aperi Animam (below) perform “Libera Nos,” a program of sacred vocal music.
The Fringe Concerts are FREE with donations accepted at the door.
Why was the theme of “The Grand Tour” chosen for the festival? What is the origin of the conceit, and what major composers and works will be highlighted?
We decided to celebrate the 20th anniversary by choosing a theme that would be broader than previous years and portray what people might experience when they are 20 years old – traveling abroad on a gap year.
We were also inspired by Englishman Thomas Coryat, aka “The First Tourist.” He published his travelogue Crudities in 1611, an amusing and thorough account of his five months of travel throughout Europe. This tradition of the Grand Tour of Europe continued through the 17th and 18th centuries, especially when wealthy young aristocrats finished their formal schooling.
Several of the concert programs this summer feature quotes from different travelogues, including Coryat’s, as an organizational concept. If you search all over Europe, you find an American at Versailles learning courtly manners, and a fictional Englishman, born in 1620, sending postcards from the Grand Tour.
We will also have a stop at Notre-Dame Cathedral in Paris with the silent film version of The Hunchback of Notre-Dame, and a musical tour of sacred vocal music and madrigals. This theme allowed us to include music from many different time periods from all over Europe — a rich Grand Tour of musical offerings!
The opening concert on this Saturday, July 6, features Dark Horse Consort returning to Madison with Wanderlust, their newly created program for MEMF’s Grand Tour theme. The program follows the misadventures of an English gentleman as he embarks on a continental Grand Tour adventure in search of love and fulfillment.
Our hero’s travelogue includes springtime consort songs by Alfonso Ferrabosco and William Byrd; Erasmus Widmann’s beguiling German dances dedicated to women; the wooing songs of the Italian gondolier; and sultry Spanish airs.
On Sunday, July 7, Alchymy Viols (below) performs “American at Versailles,” an original ballet masque of French baroque music, dance and drama written and choreographed by Sarah Edgar, featuring Carrie Henneman Shaw, soprano; Sarah Edgar, director and dancer; and guest soprano Paulina Francisco. The American on the Grand Tour encounters the exotic world of French baroque manners, dress, dance and love.
TOMORROW: Part 2 explores the rest of the festival next week, including a rare book exhibit and the All-Festival finale on Saturday night
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Classical music: This Saturday’s CAN’T MISS, MUST-HEAR Bach Around the Clock 5 is new and improved with something for everyone who loves the music of Johann Sebastian
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By Jacob Stockinger
How do you like your Bach?
No matter how you answer, it is just about certain that you will find it at this Saturday’s marathon Bach Around the Clock 5, which is even more impressive this year than last year, which was plenty successful.
BATC 5 is a community birthday celebration of the life and music of Baroque master Johann Sebastian Bach (below) – for many, The Big Bang of classical music — who turns 333 this month.
BATC 5 will take place this Saturday from 10 a.m. to 10 p.m. in St. Andrew’s Episcopal Church (below) at 1833 Regent Street, on Madison’s near west side.
NOTE: If you can’t make it in person, the entire event will be streamed live, as it was last year, from the church via a link on the BATC web page.
https://bacharoundtheclock.wordpress.com/live-stream/
But also – new this year – you can listen via streaming from the web site of Early Music America, which also awarded the event one of only five $500 grants in the entire U.S.
https://www.earlymusicamerica.org
For all 12 hours, BATC 5 is FREE and OPEN TO THE PUBLIC. Those who attend are also encouraged to be informal in dress and behavior – to come in and listen, then leave and came back again – in short, to wander in and out as they want to or need to.
To The Ear, the event has been improved in just about every way you can think of.
Do you like to hear professional performers? Amateurs? Students? You will find lots of all of them. (Below are the Sonora Suzuki Strings of Madison.)
Do you like your Bach on period instruments, such as the harpsichord and the recorder, using historically informed performance practices? BATC 5 has that.
Do you like your Bach on modern instruments like the piano? BATC has that too. (Below is Tim Adrianson of Madison who will play the Partita No. 5 in G Major this year.)
Do you like more familiar works? There will be the Harpsichord Concerto No. 1 in D minor, the Concerto for Two Violins and the Brandenburg Concerto No. 2. (Last year saw Brandenburg Concertos Nos. 3 and 5, and BATC director Marika Fischer Hoyt says her plans call for the one-day festival to work its way through all six Brandenburgs before repeating any.) You can hear the Brandenburg Concerto No. 2 in the YouTube video at the bottom.
Do you like less familiar works to expand your horizon? There will be lots of those too.
Do you prefer Bach’s vocal and choral writing? BATC has lots of it, including the famous Cantata No. 140 (“Wachet auf”) performed by UW baritone Paul Rowe (below, in a photo by Michael R. Anderson) and his students from the UW’s Mead Witter School of Music, plus two solo cantatas. The Wisconsin Chamber Choir will also sing.
Do you prefer Bach’s instrumental music? BATC has that in abundance, from solo pieces like a Cello Suite to chamber music such as an Organ Trio Sonata and larger ensembles.
Do you like the original versions? No problem. BATC has them.
Do you like novel or modern arrangements and transcriptions of Bach’s universal music? BATC has them too.
Concerned about how long the event is?
You might want to bring along a cushion to soften a long sit on hard pews.
Plus, there is more food and more refreshments this year, thanks to donations from Classen’s Bakery, HyVee, Trader Joe’s and the Willy Street Co-op.
There are more performers, up from 80 last year to about 200. And they include a pianist who is the official Guest Artist Lawrence Quinnett (below) and is coming all the way from North Carolina, where he teaches at a college, to perform two half-hour segments of Preludes and Fugues from The Well-Tempered Clavier, Book II.
Here is a link to Quinnett’s own web site:
http://www.lawrencequinnett.com
But familiar faces and voices from the UW-Madison and other groups in the Madison area will also be returning to perform.
Also new this year is a back-up group for concertos and accompaniment.
Some features have been carried over, including mini-interviews with performers conducted by hosts, including Stephanie Elkins (below top) of Wisconsin Public Radio and Marika Fischer Hoyt herself (below bottom, with flutist Casey Oelkers, on the left, who works for the Madison Symphony Orchestra)
But The Ear is also impressed by how little repetition in repertoire there is from last year. So far, each year feels pretty much new and different, and the newly designated non-profit organization, with its newly formed board of directors, is working hard to keep it that way.
What more is there to say?
Only that you and all lovers of classical music should be there are some point – or even more than one.
Here is a link to the BATC general web site, with lots of information including how to support this community event — which, for the sake of full disclosure, The Ear does:
https://bacharoundtheclock.wordpress.com
And here is a link to the full schedule that you can print out and use as a guide. It also has last year’s schedule for performers and pieces that you can use for purposes of comparison:
https://bacharoundtheclock.wordpress.com/concert-schedule/
Let the music begin!
See you there!
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