By Jacob Stockinger
Just as the first semester is coming to an end, The Ear has learned that four major retirements in the spring will put the University of Wisconsin-Madison School of Music staffing and teaching in a bind that poses some major challenges.
Three of the retirements are by major performers. The fourth is by a major scholar, a musicologist and music historian.
Here they are in alphabetical order:
For more information, go to: http://www.music.wisc.edu/faculty/john-aley/
For more information, go to: http://www.music.wisc.edu/faculty/lawrence-earp/
Jutt plans to move to her native New York City to live, but says she will continue her duties with the MSO and the BDDS.
For more information, go to: http://www.music.wisc.edu/faculty/stephanie-jutt/
Smith, a one-time professional clarinetist, plans to move into a new house he has built in Cross Plains where he will work on his repertoire and pursue stints as a freelance guest conductor.
For more information, go to: http://www.music.wisc.edu/faculty/james-smith/
All four have served the UW-Madison and area music-lovers well indeed and for a long time.
The bind for the music school is that, thanks to the boa constrictor-like choke hold on the UW-Madison’s budget and staffing by Gov. Scott Walker and his anti-intellectual, anti-education cronies in the Legislature and on the Board of Regents, tenured faculty do not usually get replaced by tenure-track positions. Instead the school has had to offer most new teachers non-renewable three-year stints as adjunct professors.
True, there is a long of talented people out there looking for jobs. So adjuncts are not necessarily inferior performers or teachers. But who wants to be moving around every few years and starting over?
As far as The Ear understands it, in the long-term the move to adjuncts is not good for the students, especially graduate students, for other faculty members and for the reputation of the School of Music, which has managed to secure major funding support for construction and physical plant projects but much less support for staff and scholarships.
Clearly, it introduces an element of instability and insecurity that hardly seems helpful in the competitive academic market place.
In any case, The Ear congratulates all the retirees on their distinguished careers and thanks them for so many years of public service and so many enjoyable hours of performing and understanding great music. They will be missed.
Feel free to leave your own comments and reactions in the COMMENT section.
No doubt the future retirees would like to hear from you.
And The Ear too wants to hear.
ALERT: The Wisconsin Chamber Orchestra and its acclaimed music director Andrew Sewell are pretty busy these days playing the accompanying music for the Madison Ballet‘s multiple performances of Peter Tchaikovsky‘s holiday ballet “The Nutcracker.”
Then on this coming Friday night at 7 p.m. at the Blackhawk Church in Middleton, the WCO, the WCO Chorus, the Festival Choir of Madison and guest soloists, all under the baton of Sewell, also give their annual and usually sold-out performance of George Frideric Handel‘s oratorio “Messiah.” The Ear has been told that this year’s performance is also close to selling out to. For more information and tickets, go to:
By Jacob Stockinger
At 8 p.m. this Saturday night, Dec. 10, the Madison Bach Musicians (below top) will give their sixth annual Baroque Holiday Concert.
The event will once again be held in the beautiful and sonorous sanctuary (below) of the First Congregational United Church of Christ, 1609 University Avenue.
There is a free pre-concert lecture by the always witty, informative and entertaining MBM founder, artistic director and harpsichordist Trevor Stephenson (below) at 7:15 p.m. NOTE: Trevor Stephenson will also discuss the upcoming holiday concert and play excerpts from past ones TODAY AT NOON on The Midday program aired by Wisconsin Public Radio.
The program will feature: a cappella (solo vocal) masterworks by Orlando di Lassus and Josquin des Prez performed by a vocal quartet; a Christmas Cantata for soprano and strings by Alessandro Scarlatti—featuring soprano soloist Chelsea Morris (below top); a trio sonata by Johann Joseph Fux; an intriguing Partita for two scordatura violins (scordatura means the open strings are re-tuned into a new interval configuration!) by Heinrich Biber; the Sonatina in A minor for baroque bassoon and continuo by Georg Philipp Telemann ― with soloist and UW-Madison professor Marc Vallon (below bottom, in a photo by James Gill); one of the Christmas Cantatas, BWV 122, Das neugeborne Kindelein (The Newborn Baby) by Johann Sebastian Bach (heard in the YouTube video at the bottom); and a bonus feature ― a preview of MBM’s upcoming April performance of Bach’s oratorio St. John Passion, the tenor aria Ach, mein Sinn.
Advance-sale discount tickets: $28 for general admission, $23 for students and seniors 65 and over. They are available at Orange Tree Imports, Farley’s House of Pianos, Room of One’s Own, and Willy Street Co-op (East and West) . You can also find online advance-sale tickets at madisonbachmusicians.org
Tickets at the door are: $30 for general admission; $25 for students and seniors 65 and over. Student Rush tickets are $10 at the door and go on sale 30 minutes before lecture (student ID is required)
Musicians will include: Chelsea Morris, soprano; Joseph Schlesinger, counter-tenor; Scott Brunscheen, tenor; Matthew Tintes, bass; Kangwon Kim and Brandi Berry, baroque violins; Marika Fischer Hoyt, baroque viola; Martha Vallon, baroque cello; Marc Vallon, baroque bassoon; and Trevor Stephenson, harpsichord