The Well-Tempered Ear

Classical music: Local groups stream videos to entertain home-bound listeners, and perhaps to promote their next seasons. Plus, the Madison Symphony Orchestra cancels and postpones its May concerts

April 4, 2020
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By Jacob Stockinger

Cancellations and postponements aren’t the only effects that the coronavirus and COVID-19 pandemic are having on the local classical music scene.

Many local ensembles – much like such national and international organizations as the Metropolitan Opera and the Berlin Philharmonic Orchestra — are also starting to offer free streamed performances, some of them archival and some of them are specially performed.

Bach Around the Clock even held a virtual festival this year that featured many different original recorded performances spread out over many days and continues.

Why are they doing so?

Certainly to help entertain the public while they weather the boredom and loneliness of social distancing and sheltering in place at home. Music can comfort.

Perhaps they are also doing so as a smart marketing move to stay in the public’s consciousness despite cancellations and to indirectly promote their upcoming seasons.

Here are some examples:

The Madison Symphony Orchestra (MSO) is offering a link to a YouTube performance — by the Prague Radio Symphony Orchestra below) — of the Dvorak Requiem, which the MSO orchestra and chorus were supposed to perform this weekend but had to cancel.

The video also has a message from music director John DeMain; texts and translations from the Czech; a special pre-concert talk and program notes for the Requiem by J. Michael Allsen; and a link to the MSO’s 2020-21 season.

Here is a link: https://madisonsymphony.org/experience-dvorak-requiem-virtually/

In other MSO news: The concerts with pianist Yefim Bronfman playing the Piano Concerto No. 1 by Brahms on May 1, 2 and 3 and the open rehearsal on April 30 are now canceled, and the May 5 organ performance has been postponed.

For those who hold tickets for May concerts, the MSO will be announcing options for donation, exchange and refunds sometime this weekend or next week.

The Wisconsin Chamber Orchestra (WCO), which recently streamed its December concert in the UW’s Hamel Center, has started a special “Coucherto” series – it’s a pun on concerto and couch – of special at-home concerts by individual musicians in the WCO for those listeners who are staying at home.

The project uses social media including Facebook, YouTube, Twitter, Vimeo and at the WCO’s home website. Also included is an invitation by music director Andrew Sewell.

The WCO’s next season hasn’t been announced yet, but should be soon.

Here is a link: https://wisconsinchamberorchestra.org/about/coucherto/

For its part, the Bach Dancing and Dynamite Society, which is facing uncertainty about its June concert series, which focuses on Beethoven’s piano trios – is offering selected chamber music performances from its past seasons that are on BDDS’ YouTube channel.

It too has comments and the program lineup for its season this summer.

Here is a link: https://bachdancing.org/watch-listen/video/

Have you seen any of these videos?

What do you think of them?

Dp you think they work as marketing strategies?

Have you discovered sites for streaming classical music that you recommend to others?

The Ear wants to hear.


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Classical music: Renowned organist Hector Olivera will play classics and also improvise spontaneously in Overture Hall on Tuesday night

February 9, 2020
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By Jacob Stockinger

At 7:30 p.m. on this Tuesday night, Feb. 11, in Overture Hall, the renowned Argentinian organist and composer Hector Olivera (below) will make his local debut on the Overture Concert Organ Series sponsored by the Madison Symphony Orchestra.

Olivera will perform on the Klais Overture Concert Organ (below)

All tickets are $20.

The program includes works by: Johann Sebastian Bach; Cesar Franck; Wolfgang Amadeus Mozart; Astor Piazzolla; Louis Vierne; Marco Enrico Bossi; and William Ralph Driffill.

For the specific works on the program, plus information about buying tickets, biographical background and reviews of his past performances, go to: https://madisonsymphony.org/event/organ-hector-olivera/

Says Greg Zelek (below), the MSO organist and Juilliard School graduate who also organizes the organ concert series:

“Known as one of the most exciting organists of the 20th century, international concert organist Hector Olivera will entertain and exhilarate the audience with an unforgettable performance.

“Born in Buenos Aires, Argentina, Mr. Olivera has performed all over the world and has had audiences leaping to their feet with applause for years.

“His debut performance at Overture Hall will feature organ classics like Vierne’s Carillon de Westminster, as well as transcriptions like “Oblivion” by another Argentine native, Astor Piazzolla.

“He will close the concert with an improvisation on a submitted theme that is sure to enthrall and amaze everyone in attendance.”

Want proof or a preview?

You can hear Olivera improvise on a traditional Chinese folk song, first sung to him, during a concert in Shenzhin, China, in the YouTube video below:


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Classical music: The Madison Symphony Orchestra performs its annual gala Christmas concert this weekend and also offers a FREE community carol sing this Saturday morning

December 12, 2019
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By Jacob Stockinger

As Charles Dickens might say, the Madison Symphony Orchestra knows how to keep Christmas well.

Over many years, “A Madison Symphony Christmas” has become a  popular and major annual kickoff to the holiday season in the Madison area by embracing the season with Christmas classics and new music.

Much of the event’s appeal derives from the diversity and range of the performers. This year it again features the full orchestra plus the Madison Symphony Chorus, the Madison Youth Choirs and the Mount Zion Gospel Choir.

In addition, two opera stars who have performed with the Madison Opera — tenor Mackenzie Whitney (below top) and soprano Michelle Johnson (below bottom)– return to the stage for this annual family-friendly tradition. For biographies of the two singers, go to: https://madisonsymphony.org/event/a-madison-symphony-christmas-2019/

MSO principal harpist Johanna Wienholts (below) is a featured soloist in a concerto by George Frideric Handel.

“A Madison Symphony Christmas” takes place in Overture Hall, 201 State Street, on this Friday night, Dec. 13, at 7:30 p.m.; Saturday night, Dec. 14, at 8 p.m.; and Sunday afternoon, Dec. 15, at 2:30 p.m.

Tickets are $19 to $95 with discounts available. See below for details.

NOTE: On this coming Saturday morning, Dec. 14, at 11 a.m., Greg Zelek (below, in a  photo by Peter Rodgers) — the Madison Symphony Orchestra’s Principal Organist and Curator of the Overture Concert Organ — leads a FREE Community Carol Sing in Overture Hall. All ages are welcome, and no tickets or reservations are needed. Learn more at: https://madisonsymphony.org/event/free-community-carol-sing-2019/

Music director and conductor John DeMain (below) offers the following preview of the MSO concert:“This is the biggest celebration of the season in Madison and beyond. It has four different choruses and choirs as well as amazing soloists from the orchestra, the world of opera and Broadway.

“The huge Madison Symphony Orchestra will play your favorite Christmas music, and there is a great carol sing-along featuring the Overture Hall organ playing with the MSO. After this concert, you’ll want to celebrate Christmas all year long.”

The program begins with classical styles in the first half, culminating in Handel’s “Hallelujah” Chorus (heard in the YouTube video at the bottom.) The concert climaxes with a Gospel music finale, and a chance for the audience to sing along.

Works to be performed include John Rutter’s version of “O Come, O Come Emmanuel”; the “Magnificat” by Johann Sebastian Bach; Franz Schubert’s “Wiegenlied” (“Lullaby”); and music by Charles Gounod, J. S. Bach, Felix Mendelssohn, Adolphe Adam, Dan Goeller and Randol Alan Bass.

The older voices of the Madison Youth Choirs (below) are featured in works by composer Stephen Hatfield, including a version of the traditional English “Apple-Tree Wassail.”

The Madison Symphony Chorus (below, in a photo by Greg Anderson) and soloists present of medley of familiar holiday favorites, including “Let It Snow! Let It Snow! Let It Snow!”

Finally, the Mount Zion Gospel Choir (below, in a photo by Bob Rashid) sings arrangements for choir and orchestra by co-director Leotha Stanley, including “The Joy of Christmas,” Stanley’s version of “Silent Night,” and a newly composed song by Stanley, “Christmas Hope.”

CONCERT, TICKET AND EVENT DETAILS

The lobby opens 90 minutes prior to each concert. 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 participate in singing carols with the Madison Symphony Chorus that take place in the Overture Hall lobby (below) 45 minutes before the concerts.

Program notes are available online for viewing in advance of the concerts: http://bit.ly/msodec19programnotes

  • Single Tickets are $19-$95 each and are on sale now at: https://madisonsymphony.org/event/a-madison-symphony-christmas-2019/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.
  • Flex-ticket booklets of 8-10 vouchers for 19-20 symphony subscription concerts are available. Learn more at: https://madisonsymphony.org/flex

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

 


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Classical music: Tuesday night brings concerts of band music as well as organ and violin duets

October 21, 2019
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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: The Madison Symphony Orchestra opens its new season with a strong and memorable concert that had something for everyone — with no outside help from a guest artist

October 4, 2019
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ALERT: On this Saturday, Oct. 5, from 4 to 5 p.m., cellist Amit Peled will teach a master class at Farley’s House of Pianos, 6522 Seybold Road, near West Towne Mall, where he will instruct local students. This is a FREE event that the public is invited to observe, and is part of the two concerts by Peled and pianist Daniel del Pino. For more information, go to:

https://welltempered.wordpress.com/2019/09/29/classical-music-cellist-amit-peled-and-pianist-daniel-del-pino-open-the-salon-piano-series-this-friday-and-saturday-nights-with-music-by-beethoven-strauss-and-others/

By Jacob Stockinger

Many orchestras, including the Madison Symphony Orchestra (below, in a photo by Peter Rodgers), often use the opening concert of a new season as a chance to lure audiences by wowing them with some big-name guest soloist.

But last weekend maestro John DeMain (below, in a photo by Greg Anderson) once again preferred to show off his own ensemble. And it worked, making for a memorable concert.

The MSO opener had something for everyone, and what you saw as the highlight probably depended more on your personal taste or preference than on the overall impressively tight playing and singing of the MSO, its principals and its chorus.

It seemed clear that, for most listeners the MSO’s young organist Greg Zelek (below, in a photo by Peter Rodgers) filled the role of the impressive imported star or guest artist.

The virtuosic Zelek is simply so good that he managed to turn a second-rate piece by Samuel Barber into a first-rate crowd-pleaser that brought huge applause and a long standing ovation, then an encore and another standing ovation.

As music, the concerto-like “Toccata Festiva” (1960) is simply not on par with Barber’s Violin Concerto or his Adagio for Strings or his Overture to “The School for Scandal.” It is 15 minutes of mostly loud and bombastic music meant to show off the new organ that it was commissioned for.

The King of Instruments seems to invite such bragging. And the boyish, vest-clad Zelek milked the score by Barber (below) for all it was worth, including an astounding three-minute cadenza played only with the feet. It’s hard to argue with such dramatic success.

If you preferred more serious fare, there was the Symphony No. 7 in D minor by Antonin Dvorak (below). Last spring, DeMain announced his fondness for Dvorak – in the spring the MSO will perform his Requiem.

DeMain’s feeling for Dvorak showed in a convincing and engaging performance of this darker, non-programmatic Brahmsian work that goes beyond the Czech folk dances, folk song-like melodies and nature mimicry of Dvorak’s other major symphonies and chamber music.

If you wanted exciting Romanticism, it would be hard to beat Wagner’s rhythmic strings soaring in the Overture to the opera “Tannhauser” by Richard Wagner (below). And that flowed into Wagner’s sensual “Venusberg” music that featured the MSO chorus singing offstage.

But The Ear thinks that the best measure of musicianship – orchestral, instrumental or vocal — is not how loudly they can play or sing, but how softly.

For that reason, he found the standout work at the concert to be “Prelude to The Afternoon of a Faun” by Claude Debussy (below). The balance among various sections proved ideal at expressing subtlety. You could hear everything combining to make a distinctive and atmospheric tonal color.

For example, it is hard to imagine more sensual playing of the opening theme than how principal flutist Stephanie Jutt (below) did it. The performance and interpretation projected the exact kind of impressionistic seductiveness that the composer meant for it to have. For sheer beauty of sound, it took the top spot. (You can see a graphic depiction of Debussy’s score in the YouTube video at the bottom.)

Still, there seemed to be more than the usual number of empty seats. Was it the rainy weather? The football weekend? Or do people still miss the thrill of hearing a well-known guest artist opening the season?

What do you think?

What was your favorite piece on the opening MSO program? And why?

The Ear wants to hear.


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Classical music: UW-Madison’s first countertenor Gerrod Pagenkopf returns to perform on Sunday night as a member of the acclaimed choral group Chanticleer. Here’s how he got from here to there. Part 1 of 2 

September 30, 2019
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ALERT: Madison Symphony Orchestra organist Greg Zelek did not announce his encore after he received a standing ovation at the MSO concert Sunday afternoon. It was the final movement from the Organ Symphony No. 1 by Louis Vierne.

By Jacob Stockinger

This coming Sunday night, Oct. 6, at 7:30 p.m. in the inaugural  concert in the new Hamel Music Center’s main concert hall, the critically acclaimed 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 the San-Francisco-based Chanticleer is Gerrod Pagenkopf, who is in his fifth year with the group as both a countertenor and the assistant music director. (You can hear Pagenkopf singing music by Henry Purcell in the YouTube video at the bottom.)

For a biography of Gerrod Pagenkopf, go to: https://www.chanticleer.org/gerrod-pagenkopf

Pagenkopf (below) is a graduate of the UW-Madison. When he performed here 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 other. 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 today and tomorrow, The Ear is offering a longer-than-usual, two-part interview with Pagenkopf.

Here is Part 1:

When were you at the UW-Madison?

I was a student at the UW-Madison from the fall of 1997 until I graduated in May of 2002. Although I received a bachelor’s degree in music education, performing ended up being a huge part of my last few semesters.

Growing up in rural Wisconsin about 30 miles north of Green Bay, I always thought that if you liked music and were good at it, you were supposed to be a teacher. It wasn’t until I was a junior that my voice teacher, the late Ilona Kombrink, and I discovered that I had a viable solo voice. Although I received the music education degree, embarking on a solo career became more important to me.

What did you do and how well did your studies and performances here prepare you for the life of a professional musician?

I was very lucky to have ample opportunities for performing during my time at the UW. Singing in choirs was very important to me. For many years I sang in the Concert Choir under Beverly Taylor (below top) as well as in the Madrigal Singers under Bruce Gladstone (below bottom,, in a photo by Katrin Talbot). I think there was one semester where I sang in just about every auditioned choir.

Beverly Taylor also gave me a lot of solo opportunities in the large-scale works that the Choral Union performed: Bach’s “St. John” and “St. Matthew” Passions, and Handel’s “Israel in Egypt.” For a 23-year-old to have those masterworks, along with the B Minor Mass and “Messiah,” on his resume was very impressive.

I was also lucky enough to perform with University Opera, singing in the chorus at first, but then singing a solo role in Handel’s “Xerxes” my final semester, and then returning as an alumni artist to sing Public Opinion in Offenbach’s “Orpheus in the Underworld” and several years later Polinesso in Handel’s “Ariodante.” Director Bill Farlow took a lot of chances on my young, “raw” countertenor voice and gave me several opportunities to succeed.

I should also note the importance of the guidance and mentorship of Professor Mimmi Fulmer (below, performing at Frank Loyd Wright’s Hillside Theater at Taliesin in Spring Green) after I graduated from UW. She afforded me the opportunity to sing in recital with her numerous times — usually Brahms and Mendelssohn duets. But she also was a catalyst in bringing me back to Madison several years later to sing with the Wisconsin Baroque Ensemble. Our continued relationship is actually the primary reason Chanticleer is singing in Madison this fall.

How do you feel about returning to perform at your alma mater with Chanticleer?

I’m over the moon about it. It still feels like a dream that I’m singing in Chanticleer. To be able to bring a group that I’m so proud to be a part of back to Madison feels like a great personal triumph. And to be the opening performance in the new Hamel Center (below) is such an honor!

Throughout my studies at UW-Madison, I was torn between the solo performance track and the choral career. I managed to straddle both, but my dream was always to make ensemble singing my career. Way back in the early 2000s, I heard Chanticleer sing at Luther Memorial Church, and I thought, “That’s what I want to do!”

I went down several other paths since that concert — mostly in the realm of solo, operatic singing — but it’s incredibly rewarding to be able to say I achieved my dream, and I’m coming back to place where the seed of that dream was planted almost 20 years ago.

Tomorrow: How countertenors re-emerged and were treated, the “Trade Winds” program and Pagenkopf’s future plans


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Classical music: The Madison Symphony Orchestra opens its 94th season this weekend with the sonic sensuality of music by Wagner, Dvorak, Debussy and Barber

September 24, 2019
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By Jacob Stockinger

It has been warmer than the usual fall weather, so why not go sultry?

That’s what the Madison Symphony Orchestra (below, in a photo by Peter Rodgers) will do when it opens its 94th season this coming weekend.

The program “Love, Lust and Redemption” will combine the power of the Klais organ (below top) with MSO principal organist and curator of the Overture Concert Organ Greg Zelek who opens the season with Samuel Barber’s Toccata Festiva.

The all-orchestral program also features the Madison Symphony Orchestra exploring the sonic sensuality of Wagner’s “Tannhäuser”Overture, Debussy’s “Prelude to the Afternoon of a Faun” and Dvorak’s Symphony No. 7.

Performances will are in Overture Hall, 201 State Street, on Friday, Sept. 27, at 7:30 p.m.; Saturday, Sept. 28, at 8 p.m., and Sunday, Sept. 29, at 2:30 p.m.

Tickets are $19 to $95. For more information, see below.

MSO music director and conductor John DeMain (below) says of the program:

“Our opening concert is both festive and gorgeously romantic as we present our star organist Greg Zelek (below) in his MSO concerto debut.

“We open with one of the most beautiful overtures ever written, Wagner’s Overture to the opera Tannhäuser and then, after intermission, the great Symphony No. 7 in D Minor by Dvorak.

In between is the little jewel by Debussy, his quintessential impressionistic masterpiece, Prelude to the Afternoon of a Faun. All are favorites of mine, and I look forward to making them favorites of yours, if they aren’t already.”

Tannhäuser: Overture and Venusberg Music” by Richard Wagner (below) is frequently performed as a separate work in orchestral concerts, the first such performance having been given by Felix Mendelssohn conducting the Leipzig Gewandhaus Orchestra in February 1846.

Wagner began revisions to the opera immediately, which resulted in two more versions: the Paris version in 1861 and the Vienna version in 1875. Members of the Madison Symphony Orchestra Chorus also perform in this piece.

TheToccata Festiva was written by the American composer Samuel Barber (below) as an occasional work for the Philadelphia Orchestra and Eugene Ormandy. It pairs organ and orchestra, and celebrated the inauguration of a new organ for the Academy of Music in Philadelphia, a gift from longtime patron Mary Curtis Zimbalist who had also commissioned the new piece.

Prelude to the Afternoon of a Faunby French composer Claude Debussy (below) is a musical evocation of Stephane Mallarmé’s poem “Prelude to the Afternoon of a Faun,” in which a faun — a half-man, half-goat creature of ancient Greek legend — awakes to revel in sensuous memories of forest nymphs. Debussy begins the piece with a sinuous and well-known flute melody evocative of a graceful female form.

Symphony No. 7 by Czech composer Antonin Dvorak was greatly influenced by Johannes Brahms. Dvorak decided to compose this symphony after hearing Brahms’s new Symphony No. 3.

The piece is distinguished for its somber and dramatic atmosphere and its lack of Slavic-inspired melodies, a characteristic with which the composer’s style is usually associated. (You can hear the vivacious Scherzo in the YouTube video at the bottom.)

TICKETS AND EVENT DETAILS

The lobby opens 90 minutes prior to each concert. One hour before each performance, Randal Swiggum (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 that 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://bit.ly/msosept19programnotes.

 

  • Single Tickets are $19-$95 each and are on sale now at: https://madisonsymphony.org/event/love-lust-redemptionthrough 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.
  • Flex-ticket booklets of 8-10 vouchers for 19-20 symphony subscription concerts are available. Learn more at: https://madisonsymphony.org/flex
  • Subscriptionsfor the 2019–2020 season are available now. Learn more at: https://madisonsymphony.org/19-20

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


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Classical music: The Choir of Trinity College Cambridge sings a varied program with organ accompaniment this Wednesday night in Overture Hall

September 9, 2019
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By Jacob Stockinger

The new season of the popular Overture Concert Organ series, sponsored by the Madison Symphony Orchestra and curated by MSO organist Greg Zelek, begins this Wednesday night, Sept. 11, at 7:30 p.m. in Overture Hall.

All single tickets are $20. (A subscription to all four organ concerts is $63.)

The opening program features the world-famous Choir of Trinity College Cambridge (below), on tour from its home in the United Kingdom.

Adds Zelek:

“Our season opens with the amazing Choir of Trinity College Cambridge, named by Gramophone Magazine as one of the best choirs in the world.

“Conducted by the choir’s music director Stephen Layton (below top) and accompanied on the mighty Klais concert organ (below bottom), this 25-voice choir will present a program of music spanning many centuries that will display its beauty of tone and depth of feeling. These rich voices will make this varied program soar through Overture Hall and leave everyone in the audience breathless.”


Here are some sample reviews:

Virtuoso is the right word. I, for one, can’t immediately think of any more appropriate way of describing singing of such staggering accomplishment.  – BBC Music Magazine

Sitting front and center at a recent Trinity Choir of Cambridge concert at Grace Cathedral was, sonically speaking, a heavenly experience.                    -The New York Times

Here is Wednesday night’s eclectic program:

William Byrd | Sing joyfully
William Byrd | O Lord, make thy servant, Elizabeth
Thomas Tallis | Salvator mundi
Henry Purcell | Thou knowest, Lord
Arvo Part | Bogoroditse Djévo
John Tavener | Mother of God, here I stand
Vasily Kalinnikov | Bogoroditse Djevo
Robert Parsons | Ave Maria
Eriks Esenvalds | The Heavens’ Flock (You can hear a different Esenvalds work, “Only in Sleep,” sung by the Trinity College Choir, in the YouTube video at the bottom.)
Morten Lauridsen | O magnum mysterium
Jaakko Mantyjarvi | Stuttgarter Psalmen
Herbert Howells | Take him, earth, for cherishing
Herbert Howells | Trinity St. Paul’s

For more information about the Overture Organ Series, detailed background about the Trinity College Choir and how to purchase tickets, call (608) 258-4141 or go to: https://madisonsymphony.org/concerts-events/overture-concert-organ-performances/ or https://madisonsymphony.org/event/organ-trinity-choir/ 


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Classical music: The Madison Symphony Orchestra is offering an unlimited, season-starting single ticket sale with 20 percent off, through this Saturday

August 28, 2019
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By Jacob Stockinger

For the first time ever, the Madison Symphony Orchestra (below, in a photo by Peter Rodgers) is offering a sale on tickets to the first three concerts this season.

You will get 20 percent off if you buy tickets through the Overture Center box office in person, by phone (608 258-4141) or online at https://www.overture.org/events

The discount code to say or use is FIRST3SYMPHONY.

Be forewarned: You will NOT find the ticket sale on the MSO website.

There is no limit of how many tickets you can buy, says MSO marketing director Peter Rodgers who also said the traditional holiday ticket sale, with two-tiered discount pricing, will take place as usual from Dec. 16 through Dec. 31.

The season-starting sale runs through this coming Saturday, Aug. 31. You can get discounted single tickets to the concerts on Sept. 27-29, Oct. 18-20 and Nov. 8-10 with performances on Fridays at 7:30 p.m., Saturday at 8 p.m. and Sunday afternoons at 2:30 p.m.

Ticket prices range from $19-$95, up about 2 percent from last year to keep up with inflation, Rodgers added.

Why isn’t the sale on the MSO website?

“We did it digitally and in a printed brochure that we mailed out just to try and reach out to either season subscribers or people who have already bought single tickets before and have already been to the symphony,” says Rodgers. “We just wanted to give some people a little nudge. But anyone can take advantage of the sale.”

Rodgers also said that the inaugural sale is not being held because ticket sales are slow. “Ticket sales for this season are competitive with last season’s,” he said, adding that some buyers might use the sale to get tickets as birthday gifts or for other special occasions.

Although there is no limit to the number of single tickets an individual can buy, Rodgers said that once you get to 10, you are better off going with the usual 25 percent off group rate.

MSO music director John DeMain (below, in a photo by Greg Anderson) will conduct all performances of the first three concerts.

The September concerts open the season with MSO organ soloist Greg Zelek (below) and features the Overture to the opera “Tannhauser” by Richard Wagner; the “Toccata Festiva” by Samuel Barber; the tone poem “Prelude to the Afternoon of a Faun” by Claude Debussy; and the Symphony No. 7 by Antonin Dvorak.

The October concerts feature guest violinist Rachel Barton Pine. The all-Russian and all-20th century program includes the Violin Concerto by Aram Khachaturian; the Symphony No. 9 by Dmitri Shostakovich; and the Suite from “Lieutenant Kije,” for trumpet and orchestra, by Sergei Prokofiev.

The November concerts feature guest pianist Joyce Yang. The program is the Symphony No. 2 by Robert Schumann; the Piano Concerto No. 3 by Sergei Prokofiev; and “Newly Drawn Sky” by the Pulitzer Prize-winning and Grammy Award-winning contemporary American composer Aaron Jay Kernis, who teaches at the Yale University School of Music. (You can hear “Newly Drawn Sky” in the YouTube video at the bottom.)

For more details about the three opening concerts and the entire 2019-20 season, including complete programs, go to: https://madisonsymphony.org/concerts-events/2019-2020-symphony-season-concerts/


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Classical music: The Middleton Community Orchestra and conductor Kyle Knox brightened a soggy spring with early Beethoven and Elgar. On Tuesday night, an organ and cello concert takes place in Overture Hall.

April 15, 2019
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ALERT: On  this Tuesday night, April 16, at 7:30 p.m. in Overture Hall, organist Greg Zelek and guest cellist Thomas Mesa will close out the season of Concert Organ performances sponsored by the Madison Symphony Orchestra. The program includes music by Johann Sebastian Bach, Franz Joseph Haydn, Ludwig van Beethoven, Franz Schubert, Peter Ilyich Tchaikovsky, Claude Debussy and Charles-Marie Widor. For tickets ($20) and more information about the program with detailed biographies of the performers, go to:  https://madisonsymphony.org/event/thoms-mesa-greg-zelek/

By Jacob Stockinger

Here is a special posting, a review written by frequent guest critic and writer for this blog, John W. Barker. Barker (below) is an emeritus professor of Medieval history at the University of Wisconsin-Madison. He also is a veteran and well-known classical music critic who writes for Isthmus and the American Record Guide, and who hosts an early music show once a month on Sunday morning on WORT FM 89.9 FM. For years, he served on the Board of Advisors for the Madison Early Music Festival and frequently gives pre-concert lectures in Madison.

By John W. Barker

The early spring concert on last Wednesday night by the Middleton Community Orchestra (below, in a photo by Brian Ruppert) at the Middleton Performing Arts Center that is attached to Middleton High School was comparatively short – it had no intermission — and was devoted to only two composers.

The first was Edward Elgar (below, in 1910), whose early orchestral works included a good deal of music drawn from his youthful sketchbooks. Notable in that category were two suites, given the joint title of The Wand of Youth.

From the eight sections of the First Suite (1907), six were played, and from the six sections comprising the Second Suite (1908), four were given. All these movements are colorful and evocative little miniatures, reflecting early imagination, often touching, but many quite boisterous.

The other composer was Ludwig van Beethoven (below), as represented by his Symphony No. 2. This shows the young composer moving quite distinctly beyond the stylistic world of Haydn and Mozart into the rambunctious new symphonic idiom he would go on to create. (You can hear Leonard Bernstein and the Vienna Philharmonic play the opening of Beethoven’s Symphony No. 2 in the YouTube video at the bottom.)

The guest conductor this time, Kyle Knox – the recent University of Wisconsin-Madison graduate who is the music director of Wisconsin Youth Symphony Orchestras and the associate conductor of the Madison Symphony Orchestra — chose to give the music a “big orchestra” approach.

For both the suites and the symphony, the lighter and cleaner textures of a chamber orchestra would seem best. But with an orchestra totaling some 91 players, Knox chose to go for volume and sonority.

His tempos, especially in the Beethoven were notably fast. As the largely amateur orchestra followed loyally, there was some raw playing at times.

Still, the MCO asserted strong character, which made a very happy impression on the audience and brightened an evening of soggy weather.


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