The Well-Tempered Ear

Classical music: Concerts on the Square begin this Wednesday night – and half of the six concerts feature classical music

June 25, 2019
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By Jacob Stockinger

The 36th annual FREE summer series of six Concerts on the Square, performed by the Wisconsin Chamber Orchestra (below) and guest soloists, will begin this Wednesday night, June 26, at 7 p.m. on the King Street Corner of the Capitol Square in downtown Madison.

Each concert draws an average of 30,000 people.

But if you think it is largely a pops concert event, think again.

One of the many outstanding achievements that WCO music director Andrew Sewell (below) has brought to the event – billed as “the Biggest Picnic of Summer” — over the past 20 years is an increased emphasis on classical music, perhaps to help build new audiences for the WCO’s winter Masterworks concerts.

The opening concert, for example, has become a tradition, a chance to introduce to the public the latest winner of the WCO’s young people’s concerto competition – and this year is no different.

Three of the six concerts will be also all-classical – and that’s not counting Tchaikovsky’s “1812 Overture” that will be featured on the Fourth of July program on July 3.

There will also be pops music of course, including a tribute to the 50th anniversary of The Beatles’ iconic album “Abbey Road”; patriotic fare for Independence Day; and an evening of movie scores, most composed by John Williams, with concertmaster Suzanne Beia as violin soloist in the theme from “Schindler’s List.”

All concerts are on six consecutive Wednesday nights from June 28 through July 31. Performances begin at 7 p.m. on the King Street corner of the Capitol Square. They usually last about two hours.

To find out more, including the programs and biographies of performers for each program, go to: https://wisconsinchamberorchestra.org/performance-listing/category/concerts-on-the-square

Once there, if you click on a specific date, on the right hand side you will also find information about concert etiquette, seating on the Capitol lawn, weather cancellations, catering menus, food vendor sales and other information, including details about volunteering and donating. Here is a link to general guidelines:

https://wisconsinchamberorchestra.org/performances/concerts-on-the-square/attending-the-concert/ 

Here are the three classical concerts:

JUNE 26

“East Meets West” features the WCO’s concerto competition winner pianist Sakurako Eriksen (below) – a Madison native now living in Milwaukee — in the popular and virtuosic Piano Concerto No. 3 by Sergei Prokofiev.

Also on the program are “Francesca da Rimini” by Russian composer Peter Ilyich Tchaikovsky; “Noble and Sentimental Waltzes” by French composer by Maurice Ravel; and an unnamed work by Spanish composer Isaac Albeniz.

JULY 10

“Finlandia” features the Russian-born and Moscow Conservatory-trained accordion virtuoso Sergei Belkin (below).

On the program are unnamed works by Czech composer Antonin Dvorak and Alexander Glazunov; “Oblivion” by Argentinian composer Astor Piazzolla; the “Sabre Dance” by Russian composer Aram Khachaturian; and “Finlandia” by Finnish composer Jean Sibelius.

JULY 31

“Rockin’ Rachmaninov” features Russian pianist Ilya Yakushev (below), a frequent WCO guest artist who teaches at the Mannes College of Music in New York City.

The program includes the Piano Concerto No. 2 in C minor, Op. 18, by Sergei Rachmaninov; the Overture to the opera “The Magic Flute” by Wolfgang Amadeus Mozart; the 1944 “Cornish Rhapsody” piano concerto score, composed by English composer Hubert Bath for the World War II film “Love Story”; and a Suite from “The Firebird” by Igor Stravinsky.


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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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