The Well-Tempered Ear

Classical music: Start the holiday season with the Madison Symphony Orchestra’s FREE Community Carol Sing, with organ, on Monday night

November 22, 2017
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By Jacob Stockinger

‘Tis the season—for singing together in groups!

The Madison Symphony Orchestra (MSO) will host a FREE Carol Sing in Overture Hall of the Overture Center, 201 State Street, on this coming Monday, Nov. 27, at 7 p.m.

All ages are welcome.

No tickets or reservations are needed for the free Carol Sing, which will last approximately 45 minutes.

MSO Principal Organist and Curator Greg Zelek will lead the Carol Sing with the Overture Concert Organ (below).

Familiar carols will be sung, and solo organ works will include the Carol Rhapsody (heard in the YouTube video at the bottom) by Richard Purvis and an arrangement of “Bring a Torch, Jeanette Isabella.”

Greg Zelek (below) is the Madison Symphony Orchestra’s own principal organist and Curator of the Overture Concert Organ and Series. Zelek has been praised as one of the most exciting young organists in the American organ scene. He has performed with the Metropolitan Opera, the New World Symphony, and in Carnegie Hall with the Metropolitan Opera orchestra.

Zelek directs the programming for the instrument. In addition to the Free Farmers’ Market Organ Concerts, the instrument is featured in the annual MSO Christmas concert, along with several Free Community Hymn Sings and a Christmas Carol Sing.

See details for all organ performances at www.madisonsymphony.org/organperformances.

Support for all Overture Concert Organ programs is provided by the Diane Endres Ballweg Fund.

The MSO’s Free Community Carol and Hymn Sings are presented in partnership with the Overture Center for the Arts.

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Classical music: We should hear more encores, especially at outstanding chamber music concerts. Plus, a FREE Farmer’s Market organ recital is this Saturday at 11 a.m.

August 11, 2017
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ALERT: This Saturday at 11 a.m. in Overture Hall of the Overture Center, the Madison Symphony Orchestra will offer another FREE Farmers Market Organ Concert. The program, which runs 45 minutes, features music by Johann Sebastian Bach, Felix Mendelssohn, Charles-Marie Widor and Louis Vierne. The organist is the prize-winning Madison native Adrian Binkley.

By Jacob Stockinger

Two weeks ago, the Willy Street Chamber Players gave The Ear yet another reason to like them and be a fan.

After the season-ending program of Schubert, Osvaldo Golijov and Mozart was over, while the audience was cheering, standing and applauding loudly, two members of the young chamber music group played an encore.

The encore was “Julie-O” by Mark Summer. It was written for one cellist, as you can hear in a performance by the composer in the YouTube video at the bottom.

But this time it was performed by the two cellists of The Willys — Lindsey Crabb and Mark Bridges (below).

They agreed to play an encore only reluctantly – after some prodding by other members of The Willys, by guest clarinetist Michael Maccaferri (of the Grammy-winning group eighth blackbird) and, of course, by the audience.

But there shouldn’t have been any reluctance.

The Ear thinks we hear too few encores after so much memorable music-making.

Certain student recitals at the UW-Madison come immediately to mind. It sometimes seems that the protocol of student recitals prohibits encores, but The Ear has been told by faculty members that such is not the case.

What also comes to mind is the lack of encores at chamber music concerts by larger ensembles – piano trios, string quartets and piano or string quintets and sextets.

And rarely do you hear encores at the Madison Symphony Orchestra, Wisconsin Chamber Orchestra or Madison Opera except when they are played by concerto soloists.

But why not?

The Ear recalls that several years ago the Peruvian tenor Juan Diego Florez, performing the aria with notoriously difficult nine high C’s in the aria “Ah! Mes amis” from Donizetti’s opera “La Fille du Regiment,” then quickly repeated the same passage to frenzied approval.

What are encores but a way of saying: “You liked me, so now I like you.”

Encores are not immodest bragging. They are a reward, a gift, a way for the performer to say thank you to the audience for its attention and appreciation.

Maybe every individual or group should have some kind of encore in the back pocket and ready to go. It could be a short movement or even a section of a movement, perhaps a coda or finale.

It seems to The Ear that many instrumentalists, especially pianists who have such a rich repertory, would do well to have four encores ready: one fast and one slow, one loud and one soft.

That way, the encore can underscore —  by either complementarity or contrast — the piece or pieces that preceded it and called for it.

Have you ever wanted to hear an encore and been frustrated?

What do musicians themselves say about playing encores?

Are there unwritten guidelines or an unstated protocol about when to play encores?

The Ear wants to hear.


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