The Well-Tempered Ear

Classical music: Meet the “Stay at Home” Symphony Orchestra. How do they sound so close and tight? Plus, today is May Day. What music would you play to celebrate workers?

May 1, 2020
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ALERT: Today is May Day, a time to honor workers. What music would you play to celebrate and thank all the frontline workers — doctors, nurses, EMTs, police officers, firefighters, bus drivers, cleaners and janitors, grocery store workers, delivery people and others — who are now so indispensable?

By Jacob Stockinger

Many musicians — both singers and instrumentalists (below) — are self-isolating and doing their at-home best to keep those of us also sheltering in place entertained by performing virtual concerts.

It is something listeners can be grateful for. The players do an admirable and free public service during the COVID-19 crisis and coronavirus pandemic.

Of course, the virtual performances also have practical purposes.

The musicians keep their skills sharp during isolation.

And the virtual performances help to keep the names of individuals and groups, of composers and pieces, in the public’s mind at a time when live concerts have all been canceled or postponed.

There are many, many virtual concerts to choose from – made by local, regional, national and international musicians, some amateurs and some professional.

Many of them are solo performances given by an individual member of an orchestra, chamber music group or choral ensemble as well as big-name soloists such as pianist Emanuel Ax and cellist Yo-Yo Ma.

The individual ones are appreciated and impressive, even if some of the performances seem amateur-like in the sound or awkwardness.

What really impresses The Ear is when large groups, such as symphony orchestras and choirs, perform something with all the players at home and yet somehow the whole finished product sounds incredibly tight in and incredibly professional.

Last Saturday, the Metropolitan Opera even held a four-hour online gala with singers and instrumentalists from all over the world.

It makes The Ear wonder why they sound so good. How they do it, with all the complications and variables of timing and tempo, of rhythm, pitch and dynamics?

Is it the planning?

The processing and editing?

In any case, a very good example comes from the “Stay at Home” Symphony Orchestra playing Mozart’s Overture to the opera “The Marriage of Figaro.”

You can hear the YouTube video of the performance below.

Are there other such performances that you can point out to The Ear and you would like to see posted on this blog?

The Ear wants to hear.

 


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Classical music: The 7th annual Schubertiade at the UW-Madison is this Sunday afternoon and will explore the influence of Beethoven on Schubert

January 23, 2020
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By Jacob Stockinger

This coming Sunday afternoon, Jan. 26, is the seventh annual UW Schubertiade – named after the evening gatherings of friends (below) where the composer Franz Schubert performed and premiered his own music.

This year’s theme, given that 2020 is the Beethoven Year, is the immense influence that the older Beethoven (below top) 1770-1827) had on the younger Schubert (below bottom, 1797-1828).

The event will begin with a pre-concert lecture by UW-Madison Professor of Musicology Margaret Butler at 2:15 p.m. in the Rehearsal Hall at the new Hamel Music Center, 740 University Avenue, next to the Chazen Museum of Art.

Then at 3 p.m. in the 330-seat Collins Recital Hall in the same building, the two-hour concert will take place.

The concert will close with the usual custom. The audience and performers will join in singing “An die Musik” (To Music). (In the YouTube video at the bottom, you can hear it sung by legendary German soprano Elisabeth Schwarzkopf and legendary British accompanist Gerald Moore.)

A reception will follow the concert in the main lobby.

For more description of the event plus a complete program and list of performers – who consist of UW-Madison graduates and musicians including soprano Jamie Rose Guarrine (below top) and mezzo-soprano Alisanne Apple (below middle) as well as the Pro Arte Quartet (below bottom, in a photo by Rick Langer) – go to: https://www.music.wisc.edu/event/our-annual-schubertiade/

At the site, you will also find information about buying tickets – general admission is $20 with free student tickets on the day of the concert is space is available – and about parking.

The event was founded by and continues to be directed by wife-and-husband pianists Martha Fischer and Bill Lutes (below) who also sing, accompany and play works for piano, four hands.

Lutes sent the following introductory remarks: “Ever since Martha and I presented the first of our annual Schubertiades back in January 2014, we’ve looked for ways to keep our all-Schubert birthday parties fresh and interesting for our audience.

“From time to time we contemplated introducing another composer – maybe even switching our allegiance from the immortal Franz to another of our favorites: perhaps a “Schumanniade.”

“This time, with six years of all-Schubert behind us, we thought we would do the obvious and finally unite Schubert with the composer who probably meant more to him than almost any other – Beethoven, whose 250th birthday is being celebrated this year.

“Once Beethoven moved permanently to Vienna at age 22, he soon became famous and eventually was regarded as the greatest of the city’s composers.

“Schubert, who was born in Vienna five years after Beethoven’s arrival, grew up hearing the older master’s works, often at their premieres. As his genius flowered early, Schubert was often challenged and inspired by Beethoven’s music.

“We bring together these two giants who lived in the same city, knew the same people, attended the same musical events, perhaps met or quite possibly didn’t.

“Yet Beethoven’s presence and example guided Schubert in his own road toward the Ultimate Sublime in music. Our concert of “Influences and Homages” features works where the musical, if not the personal, relationship is there for all to hear.”

Lutes also supplied a list of the song titles in English translation:

“Ich liebe dich” – I love you

“Der Atlas” – Atlas

“Auf dem Strom” – On the River

“Der Zufriedene” – The Contented Man

“Der Wachtelschlag” – The Quail’s Cry

“Wonne der Wehmut” – Joy in Melancholy

“Kennst du das Land?” – Do You Know the Land?

“An die ferne Geliebte” – To the Distant Beloved

“An die Freude” – Ode to Joy

“Gruppe aus dem Tartarus” – Scene from Hades

“Elysium”

“Nachthymne” – Hymn to the Night

“Abendlied unterm gestirnten Himmel” – Evening Song Beneath the Starry Firmament

Have you attended a past Schubertiade (below, in Mills Hall)?

What did you think?

Would you recommend it to others?

The Ear wants to hear.

 


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Classical music: A veteran reviewer bids farewell with a rave review of this summer’s last concert by the Willy Street Chamber Players and UW-Madison pianist Christopher Taylor

July 29, 2019
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By Jacob Stockinger

Here is a very special posting, the final review that will be written by frequent guest critic and writer for this blog, John W. Barker.

Barker (below), who is dealing with medical issues, is an emeritus professor of Medieval history at the University of Wisconsin-Madison. He also is a well-known classical music critic who wrote for The Capital Times, Isthmus and the American Record Guide, and who, until two weeks ago, hosted an early music show once a month on a Sunday morning on WORT-FM 89.9. For years, he served on the Board of Advisors for the Madison Early Music Festival and frequently gave pre-concert lectures in Madison.

Please use the comment section to join The Ear in thanking Barker for his many years of public service and wishing him well.

By John W. Barker

I had to miss the first concert this summer by the Willy Street Chamber Players (below) on July 12; and the next one, on July 19, was cancelled because of power failures. But the final one, last Friday night, was well worth waiting for — one of the really memorable events of the year, I think.

The program, performed at the usual near East Side venue of the Immanuel Lutheran Church, 1021 Spaight Street, began with some short items.

First, there was a set of Three Nocturnes (1924) for piano trio — violin, cello and piano — by Ernest Bloch. They contain elements of the Hebraic sound that Bloch cultivated but also had their own individualities, the first two contemplative and the third marked “tempestuoso.” Interesting was Bloch’s alternating uses of muting the strings.

After this came an example of the short pieces for string quartet by the contemporary composer Jessie Montgomery, her “Voodoo Dolls” (2008). Much is packed into this five-minute piece. A few lyrical touches aside, it sounded like a hoedown gone crazy, full of quite novel sounds, including rhythmic thumping on the wood of the instruments.

All that was a curtain-raiser to the big event of the program: the Piano Quintet No. 2 in A major, Op. 81, by Antonin Dvorak. This 40-minute work is one of the composer’s best-known chamber music compositions, and one of the standouts in the whole chamber music literature.

The very opening notes of the first movement bring a flood of warm well-being.  (After hearing just that, I commented, “I haven’t felt such happiness in months.”)

The fecundity and richness of invention pervaded the entire work. For me, its high point is the second movement, in which Dvorak (below) used the Czech formula of the dumka, a kind of folk music lament that is paced slow-fast-slow-fast. (You can hear the Dumka movement, played by the Jerusalem Quartet and pianist Stefan Vladar, in the YouTube video below.)

Dvorak liked to play viola in chamber music, and so he always wrote some good things for himself. The sublime passages for viola in this movement were played with such transcendent beauty by Rachael Hauser (below) – who is leaving Madison for New York City — that I felt I was hearing the composer’s voice directly. Put simply, this was one of the greatest examples of chamber-music performance that I have ever heard.

All of the players, many of whom play in the Madison Symphony Orchestra,  of course matched remarkable skill with humane vitality and vibrancy.

And a measure of the Willys’ standards was the fact that they were able to draw as a partner no less than that magnificent UW-Madison music school pianist, Christopher Taylor (below), who also performed the same Dvorak Piano Quintet in the 1993 Van Cliburn International Piano Competition, where he won a bronze medal. Much of his excellence here was demonstrated by the fact that he did not play the star, but joined with the Willys in perfect collegial integration.

This ends the Willy Street group’s fifth summer season. As a symbol of vibrancy and fresh spirit, they are among the most important of Madison’s classical music world today. They have drawn steadily growing audiences, and the house was truly packed for this concert.  We can only hope that they will continue to brighten that world in the years ahead.

I am now ending my time as a music critic. I can think of no more satisfying a final review to write than of the Willy Street Chamber Players.


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Music education: The Madison Youth Choirs explore the theme of “Legacy” in three concerts this Saturday and Sunday in the Capitol Theater of the Overture Center

May 8, 2019
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By Jacob Stockinger

The Ear has received the following announcement to post from the Madison Youth Choirs about their upcoming concerts this weekend:

This spring, Madison Youth Choirs singers are exploring the meaning of “Legacy,” studying works that have endured throughout history, folk traditions that have been passed on, and musical connections that we maintain with those who have come before us. Along the way, we’re discovering how our own choices and examples are leaving a lasting impact on future generations.

In our upcoming concert series in the Capitol Theater of the Overture Center, 201 State Street, on this Saturday, May 11, and Sunday, May 12, we’ll present a variety of works. They  include Benjamin Britten’s “The Golden Vanity,” Palestrina’s beloved “Sicut Cervus,” Sweet Honey in the Rock’s “Wanting Memories,” the final chorus of Handel’s oratorio Samson, American and Scottish folk songs, and Zoe Mulford’s powerful modern folk piece, “The President Sang Amazing Grace.”

The concert will also pay tribute to our alumni, with selections featured on the very first Madison Boychoir album, and past Cantabile singers invited to join us on stage for “Sisters, Now Our Meeting is Over.”

At the Saturday concert, MYC will present the 2019 Carrel Pray Music Educator of the Year award to Diana Popowycz (below), co-founder of Suzuki Strings of Madison.

DETAILS ABOUT “LEGACY” MYC’S SPRING CONCERT SERIES

Saturday
7:30 p.m. Purcell, Britten, Holst and Ragazzi (boychoirs)

Sunday
3:30 p.m. Choraliers, Con Gioia, Capriccio, Cantilena and Cantabile (girlchoirs)

7:30 p.m. Cantilena, Cantabile and Ragazzi (high school ensembles)

THREE WAYS TO PURCHASE TICKETS:

  1. In person at the Overture Center Box Office (lowest cost)
  2. Online (https://www.overture.org/events/legacy)
  3. By phone (608-258-4141)

Tickets are $15 for adults and $7.50 for students. Children under 7 are free, but a ticket is still required and can be requested at the Overture Center Box Office. Seating is General Admission.

This concert is supported by the Pleasant T. Rowland Foundation, American Girl’s Fund for Children, BMO Harris Bank, the Green Bay Packers Foundation, the Kenneth A. Lattman Foundation and Dane Arts with additional funds from the Endres Mfg. Company Foundation, The Evjue Foundation, charitable arm of The Capital Times, and the W. Jerome Frautschi Foundation. This project is also made possible by a grant from the Wisconsin Arts Board with additional funds from the State of Wisconsin and the National Endowment for the Arts.

ABOUT MADISON YOUTH CHOIRS (MYC):

Recognized as an innovator in youth choral music education, Madison Youth Choirs (MYC) welcomes singers of all ability levels, annually serving more than 1,000 young people, ages 7-18, through a wide variety of choral programs in our community. Cultivating a comprehensive music education philosophy that inspires self-confidence, responsibility, and a spirit of inquiry leading students to become “expert noticers,” MYC creates accessible, meaningful opportunities for youth to thrive in the arts and beyond.

REPERTOIRE

SATURDAY

For the 7:30 p.m. Concert (featuring MYC Boychoirs)

Britten

“The Golden Vanity,” by Benjamin Britten (to our knowledge, this will be the first time the work has ever been performed in Madison)

Purcell

“Simple Gifts” by Joseph Brackett, arr. Aaron Copland

“Tallis Canon” by Thomas Tallis

“Sound the Trumpet” from Come Ye Sons of Art by Henry Purcell

Britten   

“Ich jauchze, ich lache” by Johann Sebastian Bach

Holst

“Hallelujah, Amen” from Judas Maccabeus by George Frideric Handel

“Sed diabolus” by Hildegard von Bingen

“Bar’bry Allen” Traditional ballad, arr. Joshua Shank

“Ella’s Song” by Bernice Johnson Reagon

Ragazzi

“Let Your Voice Be Heard” by Abraham Adzenyah

“Sicut Cervus” by Giovanni Pierluigi da Palestrina

“Agincourt Carol,” Anonymous, ca. 15th century

Ragazzi & Holst

“The President Sang Amazing Grace” by Zoe Mulford, arr. Randal Swiggum

Holst

“Shosholoza,” Traditional song from Zimbabwe

Combined Boychoirs

“Will Ye No Come Back Again?” Traditional Scottish, arr. Randal Swiggum

Legacy Choirs

“Day is Done” by Peter Yarrow, arr. Randal Swiggum

SUNDAY

For the 3:30 p.m. Concert (featuring MYC Girlchoirs)

Choraliers

“Music Alone Shall Live,” Traditional German canon

“Ut Queant Laxis,” Plainsong chant, text attributed to Paolo Diacono

“This Little Light of Mine” by Harry Dixon Loes, arr. Ken Berg

“A Great Big Sea,” Newfoundland folk song, arr. Lori-Anne Dolloff

Con Gioia

“Seligkeit” by Franz Schubert

“Blue Skies” by Irving Berlin, arr. Roger Emerson

“When I am Laid in Earth” from Dido and Aeneas by Henry Purcell

“Pokare Kare Ana” by Paraire Tomoana

“Ah, comme c’est chose belle” Anonymous, 14th century

“Hope” by Marjan Helms, poem by Emily Dickinson

Capriccio

“Non Nobis Domine,” attributed to William Byrd

“Ich Folge Dir Gleichfalls” from St. John Passion by Johann Sebastian Bach

“Dirait-on” by Morten Lauridsen

Cantilena

“Aure Volanti” by Francesca Caccini

“Ella’s Song” by Bernice Johnson Reagon

Cantabile

“Come All You Fair and Pretty Ladies” Traditional Ozark song, adapted by Mike Ross

“Wanting Memories” by Ysaye M. Barnwell

Legacy Choir

“Music in My Mother’s House” by Stuart Stotts

For the 7:30 p.m. concert (featuring High School Ensembles)

Cantilena

“Aure Volanti” by Francesca Caccini

“Una Sañosa Porfía by Juan del Encina

“Ella’s Song” by Bernice Johnson Reagon

“O Virtus Sapientiae” by Hildegard von Bingen

Ragazzi

“Sicut Cervus” by Giovanni Pierluigi da Palestrina

“Agincourt Carol,” Anonymous, ca. 15th century

“Let Your Voice Be Heard” by Abraham Adzenyah

“The President Sang Amazing Grace” by Zoe Mulford, arr. Randal Swiggum

Cantabile

“In a Neighborhood in Los Angeles” by Roger Bourland

“Sed Diabolus” by Hildegard von Bingen

“Come All You Fair and Pretty Ladies” Traditional Ozark song, adapted by Mike Ross

“Wanting Memories” by Ysaye M. Barnwell

Combined Choirs

“Let Their Celestial Concerts All Unite” by George Frideric Handel

 Cantabile and Alumnae

“Sisters, Now Our Meeting is Over,” Traditional Quaker meeting song


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Classical music: Moscow and Paris meet through cello and piano music at the Wisconsin Union Theater this Saturday night at 7:30

December 4, 2018
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By Jacob Stockinger

What was the musical relationship between Paris and Moscow, especially after the Russian Revolution?

You can find out, and hear examples, this Saturday night, Dec. 8, at 7:30 p.m. in Shannon Hall (below) at the Wisconsin Union Theater.

Pianist Lise de la Salle and cellist Christian-Pierre La Marca (below right and left, respectively) will explore the musical relationship between Moscow and Paris through works by Gabriel Fauré (you can hear them play his Elegy in the YouTube video at the bottom), Camille Saint-Saëns, Jules Massenet, Sergei Rachmaninoff, Sergei Prokofiev, Igor Stravinsky and Nikolai Rimsky-Korsakov. It is the subject of their latest recording from Sony Classical.

For the full program plus biographies and videos of the performers and information about obtaining tickets ($25-$42 for the general adult public, $20 for young people, $10 for UW students), go to: https://union.wisc.edu/events-and-activities/event-calendar/event/lise-de-la-salle-and-christian-pierre-la-marca/

Lise de la Salle made her debut at age 13 in a performance at the Louvre. According to Le Monde, she “possesses a youthful single-minded spirit and the courage of conviction seldom expected of such a young artist.”

Now 29, de la Salle has established a reputation as one of today’s most exciting young artists and as a musician of uncommon sensibility and maturity. Her playing inspired a Washington Post critic to write, “For much of the concert, the audience had to remember to breathe … the exhilaration didn’t let up for a second until her hands came off the keyboard.”

She specializes in Russian composers and has played with symphony orchestras in London, Paris, Munich, Tokyo, Baltimore, Detroit and Quebec. Says Bryce Morrison of Gramophone magazine,“Lise de la Salle is a talent in a million.”

In just a few years, through his international concert appearances, the young cellist Christian-Pierre La Marca already ranks among the masters of the cello. He has performed in concert halls such as the Louvre, the Philharmonie of Berlin, the 92nd Street Y in New York City, and Izumi Hall in Osaka, among others.

La Marca has appeared as a soloist with many leading orchestras and is also highly sought after in chamber music. He plays a unique golden period Jean-Baptiste Vuillaume cello (1856) and the Vocation Foundation has provided him a rare Jacob Eury cello bow (1825). An exclusive Sony Classical artist, La Marca has already released three albums unanimously praised by international press and international critics.

Before the performance, enjoy a lecture by Kyle Johnson (below) at 6 p.m. Check Today in the Union for room location. Johnson is a pianist who recently received his Doctor of Musical Arts degree from the UW-Madison.

His performing experience ranges from solo and festival appearances throughout the U.S. and U.K., co-founding the Madison-based contemporary ensemble Sound Out Loud, and as a performance fellow in the Longitude Contemporary Ensemble in Boston, Mass.

His research interests strongly correlate with his interest in 20th-century piano repertoire, of which he produces a podcast series around (Art Music Perspectives). For more information, visit www.kyledjohnson.com.

This performance is presented by the Wisconsin Union Theater’s Performing Arts Committee. This project was supported in part by a grant from the Wisconsin Arts Board with funds from the State of Wisconsin and the National Endowment for the Arts. WORT-FM 89.9 is the media sponsor.


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Classical music: The Madison Symphony Orchestra concerts this weekend feature three local debuts — by a woman conductor, a Grammy-winning cellist and an immigrant composer

October 17, 2018
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By Jacob Stockinger

Three local debuts will take place this weekend in the three “Epic Romance” concerts by the Madison Symphony Orchestra (below).

Renowned Canadian guest conductor Tania Miller will lead the MSO while music director John DeMain makes his debut at the Liceu Theater in Barcelona, conducting the opera Candide in celebration of the 100th anniversary of Leonard Bernstein’s birth.

Grammy Award-winning American cellist Zuill Bailey will make his Madison Symphony Orchestra (MSO) solo debut in Edward Elgar’s Cello Concerto.

And Canadian composer Michael Oesterle will be performed for the first time in Madison when his work Home” opens each concert.

The second half of the program is Peter Ilyich Tchaikovsky’s Symphony No. 5.

Performances will be held in Overture Hall of the Overture Center, 2912 State Street, on Friday, Oct. 19, at 7:30 p.m.; on Saturday, Oct. 20 at 8 p.m.; and on Sunday, Oct. 21, at 2:30 p.m.

Here are more details:

Canadian Conductor Tania Miller has distinguished herself as a dynamic interpreter, musician and innovator, on the podium and off. She has been praised for “energy, grace, precision and restraint.” She has appeared as a guest conductor in Canada, the United States and Europe with such orchestras as the Bern Symphony Orchestra, Seattle Symphony, Oregon Symphony and the Vancouver Symphony, among others.

Over a 14-year tenure as the Music Director of the Victoria Symphony in Canada, Miller (below) gained national acclaim for her passion and commitment to the orchestra and community. Recipient of the 2017 Friends of Canadian Music award from the Canadian League of Composers for her acclaimed commitment to contemporary music in Canada, Miller has been an example of the impact of commitment and dedication to an orchestra and to the future of orchestral music through creative innovation and vision.

You can hear Tania Miller discuss women conductors in the informative YouTube video at the bottom.(But please be forewarned: YouTube was having major technical issues and glitches last night that affected all their videos on this blog, not just this one. If it doesn’t load when you try, wait and then try again.) 

Zuill Bailey (below), described by Classical Net as “easily one of the finest cellists today,” has been featured with symphony orchestras worldwide, including Los Angeles, Chicago, San Francisco, Toronto, Israel, Cape Town, and the Bruckner Orchestra in Linz, Austria. Bailey has also appeared at Disney Hall, the Kennedy Center, the United Nations, Lincoln Center and Carnegie Hall.

In 2017, Bailey won a best solo performance Grammy Award for his live recording of “Tales of Hemingway,” by composer Michael Daugherty. His celebrated “Bach Cello Suites” and recently released Britten Cello Symphony and Sonata CD with pianist Natasha Paremski immediately rose to the No. 1 spot on the Billboard magazine Classical Chart.

His Cello Concerto was the last notable work by Sir Edward Elgar (below), composed in 1919 in the aftermath of World Ear I. Upon regaining consciousness following a 1918 tonsillectomy, Elgar immediately asked for pencil and paper and wrote down the melody that would become the first theme in this concerto.

Despite today’s renown as a crowd favorite, the piece did not achieve wide popularity until the 1960s, when a recording by Jacqueline du Pré caught the public’s attention, and it became a classical favorite.

Michael Oesterle’s “Home” had its world premiere in November 2017 with the Royal Conservatory Orchestra and conductor Tania Miller.

The piece is an homage to the great geographical ebb and flow of humanity, also known as the immigrant experience. Oesterle (below) notes, “I wrote it through the filter of my personal impressions as an immigrant, and with the realization that this subject is humbling in its breadth.”

Composed between May and August 1888, Tchaikovsky’s Symphony No. 5 was first performed in St. Petersburg at the Mariinsky Theatre with Tchaikovsky below) conducting.

Unlike its two predecessors, there is no known program for the Fifth Symphony, save for a recurring main theme heard throughout all four movements. Over the years this theme has become known as the “fate” motive; its original ominous character undergoes various metamorphoses, emerging triumphant in the score’s concluding pages.

ABOUT ATTENDING

The lobby opens 90 minutes prior to each concert. One hour before each performance, Madison Symphony Chorus Director and UW-Madison director of choral activities Beverly Taylor (below) will lead a 30-minute Prelude Discussion in Overture Hall to enhance concertgoers’ understanding and listening experience. It is free to ticket holders.

The MSO recommends concert attendees arrive early for each performance to make sure they have time to pass through Overture Center’s security stations, and so they can experience the Prelude Discussion.

Program notes for the concerts are available online: http://bitly.com/oct2018programnotes

Tickets can be purchased in the following ways:

  • Single Tickets are $18-$93 each and are on sale now at: https://madisonsymphony.org/ax through the Overture Center Box Office at 201 State Street, or by calling the Box Office at (608) 258-4141. Fees apply to online/phone sales.
  • Groups of 10 or more can save 25% by calling the MSO office at (608) 257-3734. For more information, visit, https://www.madisonsymphony.org/groups.
  • Student rush tickets can be purchased in person on the day of the concert at the Overture Center Box Office at 201 State Street. Students must show a valid student ID and can receive up to two $15 or $20 tickets. More information is at: https://www.madisonsymphony.org/studentrush
  • Seniors age 62 and up receive 20% savings on advance and day-of-concert ticket purchases in select areas of the hall.
  • Subscribers to 5 or more symphony subscription concerts can save up to 50% off single ticket prices. More information is available about the season at: https://madisonsymphony.org/18-19
  • Flex-ticket booklets of 10 vouchers for 18-19 symphony subscription concerts are available. Learn more at: https://madisonsymphony.org/flex

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

Find more information, go to madisonsymphony.org

Major funding for the October concert is provided by: Mirror 34 Productions and National Guardian Life Insurance Company. Additional funding is provided by John A. Johnson Foundation, a component fund of the Madison Community Foundation, Barbara J. Merz, Selma Van Eyck, and the Wisconsin Arts Board, with funds from the State of Wisconsin and the National Endowment for the Arts.


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