The Well-Tempered Ear
Classical music: The Library of Congress has commissioned new music about the coronavirus pandemic. You can listen to the world premieres from this Monday, June 15, through June 26
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By Jacob Stockinger
The U.S. Library of Congress (LOC, exterior is below top and interior is below bottom) has started a new artistic project relevant to a public health crisis in both a historical era and the current times.
The LOC has commissioned 10 different short works, experienced in 10 different performance videos recorded at their homes — that pertain to the coronavirus pandemic and COVID-19 from American composers and performers.
It is called The Boccaccio Project after the Renaissance poet Giovanni Boccaccio (below), a 14th-century Italian writer who wrote “The Decameron,” a series of stories told by 10 people who fled from Florence, Italy, to find refuge in the countryside during the Black Plague.
The musical works will start being premiered on weekdays this coming Monday, June 15, at the Library of Congress website. The works will also be broadcast on social media including Facebook, Twitter and YouTube.
The website, which now has a complete list of performers and works, will soon have a complete schedule of world premieres, running on weekdays from Monday, June 15, to Friday, June 26. Then the manuscripts will be transferred to the LOC archives.
Here is a link: https://loc.gov/item/prn-20-038/
Many of the names will be unfamiliar to the general public. But an excellent story about the background and genesis of the project, including music samples, can be found on National Public Radio (NPR), which aired the story Friday morning.
Here is a link to that 7-minute story (if you listen to it rather than read it, you will hear samples of the music): https://www.npr.org/2020/06/12/875325958/a-new-library-of-congress-project-commissions-music-of-the-coronavirus-pandemic
And here are some of the participants, who are noteworthy for their ethnic and geographic diversity:
Flutronix (below) includes flutist Allison Loggins-Hull, left, and composer Nathalie Joachim.
The work by composer Luciano Chessa (below top) will be performed by violist Charlton Lee (below bottom), of the Del Sol Quartet:
And the work by Damien Sneed (below top) work will be performed by Jeremy Jordan (below bottom):
The new project strikes The Ear as a terrific and timely undertaking — the musical equivalent of the photographic project, funded and staffed by the Farm Security Administration (FSA) during The Great Depression of the 1930s. That project yielded enduring masterpieces by such eminent photographers as Dorothea Lange and Walker Evans.
But several questions arise.
How much did the project cost?
Will the general public be able to get copies of and rights to these works to perform? One assumes yes, since it is a public project funded with public money.
And will this project give rise to similar projects in other countries that are also battling the pandemic? New art – literature, films, painting, dance and so on — arising from new circumstances seems like something that is indeed worth the undertaking.
Listen to them.
What works stand out for you?
What do you think of the project?
The Ear wants to hear.
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Classical music: June is Gay Pride month. How many LGBTQ classical composers and performers do you know about? Which ones are your favorites or most surprise you?
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ALERT: This Sunday, the Bach Dancing and Dynamite Society’s Virtual Chamber Music Festival begins online. It is called “Bach’s Lunch” and will send out short concerts every Tuesday, Thursday and Saturday through Sunday, June 28, when a grand finale is planned. It is FREE. But you have to sign up by emailing crownover@bachdancinganddynamite.org
By Jacob Stockinger
This past week the Rainbow flags (below) have started flying, including at the Wisconsin state Capitol.
Last year was the 50th anniversary of the riot or uprising at the Stonewall Inn in New York City that eventually gave birth to a worldwide movement to insure that queer people deserve and will receive human rights.
This year marks the 50th anniversary of Pride, which started with parades and marches to celebrate that initial victory and the start of a global gay liberation movement that continues and widens today.
On this first weekend in June 2020, it seems fitting to recall the many LGBTQ composers and performers in classical music.
The gay rights movement has opened the closet doors not only of individual lives today but also of historical figures. When The Ear was taking piano lessons and started going to concerts and listening to recordings, and learning about classical music, the subject remained shrouded in silence and secrecy.
You could read and hear about Tchaikovsky (below top) and Leonard Bernstein (below bottom, in a photo by Jack Mitchell) – to take a very popular composer and a renowned composer-conductor — but no one mentioned the role of homosexuality in their lives and careers.
So here are several lists that may teach you something new about gay, lesbian, bisexual, transgender and queer musicians – both composers and performers.
Some of the calls seem very iffy to The Ear. For example, Beethoven, Schubert and Chopin (below and in the YouTube video at the bottom) lived at a time when a homoerotic friendship did not necessarily mean a queer sexual identity. But one way or the other, historical proof and documentation can be hard to come by. And clearly there is much more to find out about the past.
Take a look. No longer is such information a rarity. From both the quantity and quality of the entries, at least you will see how scholars are taking new looks and undermining the heterosexual assumption that has wrapped so many historical and even contemporary figures in a wrong or mistaken identity.
Freedom, acceptance and respect are not zero-sum games in which one party can win only if another party loses. There is enough of each to go around.
So enjoy the information, whether it is new or not, and the respect it should inspire for the central role of LGBTQ people in the arts both past and present.
Here is a pretty comprehensive alphabetical list from Wikipedia of LGBT composers, both living and dead. It includes Chester Biscardi (below), who did graduate work at the University of Wisconsin-Madison. You don’t have to click on each name. Just hover the cursor arrow over the name and you will see a photo and biographical blurb:
https://en.wikipedia.org/wiki/Category:LGBT_composers
And here is a list, also in alphabetical order and also from Wikipedia, of LGBT musicians and performers, not all of them classical. It works by clicking on sub-categories that include nationality – though one wonders if musicians from extremely homophobic countries and cultures are included:
https://en.wikipedia.org/wiki/Category:LGBT_musicians
Here is a similar list from QueerBio.com that also includes links to similar lists for rock, country, hip-hop, jazz, Christian music and more:
https://queerbio.com/wiki/index.php/LGBTQ_Classical_Music_Composers
Here is a more selective list from The Advocate, an LGBT magazine, of 18 queer composers who made history and you should know about:
And here is a similarly selective list from radio station WFMT in Chicago of 15 LGBT composers — including Corelli, Handel (below) and Lully — you should know about:
https://www.wfmt.com/2015/06/25/15-queer-composers-know/
From Arts Boston, here are 10 contemporary composers who are queer:
http://artsboston.org/2018/06/21/10-contemporary-lgbtq-composers-you-should-know/
Finally, here is a list from the Spotify streaming service that features many samplings of actual pieces by historical and contemporary queer composers:
https://open.spotify.com/playlist/37i9dQZF1DX75gMjYMWCsk
Which names most surprised you?
If you have questions, comments or additional names and information to add — The Ear doesn’t see the acclaimed pianist Jeremy Denk listed — please leave word in the Comment section.
The Ear wants to hear.
Happy Pride, everyone!
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Classical music: The prize-winning critic Alex Ross grieves to Brahms. What composer and piece would you choose to mourn the tragedies of the past week?
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By Jacob Stockinger
This past week feels like a week that deserves mass grieving.
Of course, there was the life-changing, historic landmark of surpassing, in only a few months, more than 100,000 deaths from COVID-19 during the coronavirus pandemic in the United States.
There were the spikes in new COVID-19 cases and deaths following the opening up from lockdowns and the mass gatherings over the Memorial Day holiday weekend, such as the party at the Lake of the Ozarks (below) in Missouri.
Then there was the tragic, racist death — an alleged murder — of George Floyd by the police and the ensuing rioting, violence and additional death in Minneapolis as well as the seven shootings among protesters in Louisville.
And depending of your political point of view, there were the incidents of White House threats against social media, especially Twitter, for simply telling the truth or at least directing viewers to it.
So what can one say about these sad events and sad times with music?
Well, not too long ago Alex Ross (below), the prize-winning and internationally respected music critic for The New Yorker magazine, wrote an engaging and moving essay about why he finds Brahms to be the perfect composer for grieving and mourning.
He mentions other composers as possibilities, including Bach, Haydn, Mozart, Beethoven and Schubert.
But Ross still finds Brahms more suited for several reasons. He even cites a favorite performance of a Brahms short, late Intermezzo by the Romanian pianist Radu Lupu. (You can hear that performance in the YouTube video at the bottom.)
Here is a link: https://www.newyorker.com/culture/cultural-comment/grieving-with-brahms
What composers – and what pieces or performances – do you find best for grieving? For marking loss?
Read the essay, listen to the music.
Then let us know in the comment section what music – perhaps Samuel Barber’s Adagio for Strings? – that you would want to listen to during sad occasions.
The Ear wants to hear.
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Classical music: During the COVID-19 pandemic, hosts at Wisconsin Public Radio suggest music that expresses gratitude and hope
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By Jacob Stockinger
The various hosts of Wisconsin Public Radio (WPR) — an indispensable companion during self-isolation at home — listen to a lot of music and think a lot about it, especially about its meaning and appeal to the public.
So it comes as no surprise that they have once again suggested music to listen to during the coronavirus pandemic and the mounting toll of COVID-19.
Almost two months ago, the same radio hosts suggested music that they find calming and inspiring. They did so on the WPR home page in an ongoing blog where they also included YouTube audiovisual performances.
Here is a link to that earlier posting, which is well worth reading and following: https://welltempered.wordpress.com/?s=Wisconsin+Public+Radio
This time, the various hosts – mostly of classical shows but also of folk music and world music – suggest music that inspires or expresses hope and gratitude. (Below is Ruthanne Bessman, the host of “Classics by Request,” which airs at 10 a.m. on Saturdays.)
Here is the genesis of the list and public service project:
“At a recent WPR music staff meeting, we talked about the many ways music can unite us and about how music can express the gratitude we feel for people and things that are important to us, often much better than words.
“That discussion led to this collection of music, which we wanted to share with you. It’s eclectic and interesting, just like our music staff.”
The composers cited include some familiar names such as Johann Sebastian Bach, Peter Ilyich Tchaikovsky, Benjamin Britten and John Williams.
But some new music, based on historical events and written by contemporary or modern composers, is also named. It includes works by the American composer Daniel Gawthrop (b. 1949, below top) and the Israeli composer David Zehavi (1910-1977, below bottom). Here are links to their biographies.
https://en.wikipedia.org/wiki/Daniel_E._Gawthrop
https://www.encyclopedia.com/religion/encyclopedias-almanacs-transcripts-and-maps/zehavi-david
Sound-wise, it is quite an eclectic list that runs from solo harpsichord music to orchestral and choral music as well as chamber music.
Many of the performers have played in Madison at the Overture Center, with Wisconsin Chamber Orchestra, at the Wisconsin Union Theater, at the UW-Madison and on the Salon Piano Series at Farley’s House of Pianos.
They include: the Milwaukee Symphony Orchestra and Chorus; cellist Amit Peled and pianist Eli Kalman, who received his doctorate from the UW-Madison and now teaches at the UW-Oshkosh; conductor-composer John Rutter and the Cambridge Singers; and superstars violinist Itzhak Perlman, cellist Yo-Yo Ma along with Venezuelan pianist-improviser Gabriela Montero in a quartet that played at the inauguration of President Barack Obama.
Here is a link to the new WPR suggestions: https://www.wpr.org/wpr-hosts-share-music-gratitude-and-hope
Happy listening!
If you read the blog or listen to the music, let us know what you think in the Comment section.
The Ear wants to hear.
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Classical music: After 54 years at the UW-Madison, the Wisconsin Youth Symphony Orchestras (WYSO) will move this fall to the new McFarland Performing Arts Center.
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By Jacob Stockinger
Starting this fall, the Wisconsin Youth Symphony Orchestras (WYSO, below) will have a new home for classes, rehearsals and performances.
The news of moving to the McFarland Performing Arts Center (below) is very good for WYSO. But The Ear feels sad to see the University of Wisconsin-Madison and WYSO parting ways after a partnership of 54 years.
It feels like the UW, a distinguished public institution, is backing away from the Wisconsin Idea of public service to the citizens who fund the university. It is embodied in the saying that “the boundaries of the university are the boundaries of the state.” (Editor’s note: For more about the Wisconsin Idea and its Progressive Era history, go to: https://en.wikipedia.org/wiki/Wisconsin_Idea)
It feels, in short, like a setback to community engagement by the UW-Madison and its Mead Witter School of Music, where WYSO once had offices and used Mills Concert Hall.
Be that as it may, here is a WYSO email newsletter’s account of what led up to the decision and move.
“The news from University of Wisconsin-Madison started trickling in a little at a time.
“First, Mills Hall (below), where WYSO had rehearsed almost every Saturday since the Humanities Building opened, was scheduled for transformation from a concert hall into a lecture hall. (You can see WYSO performing in Mills Hall in the YouTube video at the bottom.)
“Then the UW began to reconsider whether pre-college programs should actually share space with university departments.
“And there was the growth of WYSO itself — from one full orchestra to three, plus two string orchestras, a chamber music program (below top), a full array of ensembles, and the community-impact Music Makers (below bottom).
“Meanwhile, 12 minutes away, the town of McFarland opened an amazing 841-seat, state-of-the-art performing arts center (below).
“And incredibly, the adjacent middle school and high school campus (below) had enough parking and enough rehearsal space to accommodate the entire WYSO program with room to grow — all of the student musicians, all of the orchestras, and all rehearsing at the same time.
“In a unique move of creative place-making, McFarland’s School Superintendent Andrew Briddell reached out to WYSO and suggested all of the above opportunities, plus collaboration with the McFarland schools, staff and community, and the ability to build on the creative history of the town itself.
“Passionate about music and education, Andrew Briddell, earned a double major in music and English from Indiana University, a Master’s degree in bassoon from Temple University, and a doctorate in Educational Leadership and Policy Analysis from the UW-Madison.
“”A talented bassoon player, Briddell (below) played with the Alabama Symphony Orchestra and was music director of the Youth Symphony Orchestra of Birmingham.
“What a perfect match for this collaboration!
“It was an invitation too good to pass up. So starting in the fall of 2020, the Wisconsin Youth Symphony Orchestras will be in residence at the new McFarland Performing Arts Center.”
To read more details about WYSO’s new home, including design and acoustics, go to: https://www.wysomusic.org/the-wyso-weekly-tune-up-april-17-2020-wysos-new-home/
What do you think about the new move WYSO?
The Ear wants to hear.
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Classical music: The Madison Opera’s superb and sensual production of “Fellow Travelers” broke both hearts and new ground
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By Jacob Stockinger
Walking out into the heavy snow last Sunday afternoon, The Ear left the Madison Opera’s production of “Fellow Travelers” – done in the Capitol Theater of the Overture Center – feeling sad and moved, but also satisfied and proud. (Below is the full cast in a party scene. All performance photos are by James Gill.)
He was proud that the Madison Opera chose this 2016 work by composer Gregory Spears and librettist Greg Pierce — based on the 2007 novel of the same name by Thomas Mallon — for its annual winter staging of a modern or contemporary opera.
It was a brave choice.
For one, it focuses on a same-sex love affair in the oppressive political environment of the McCarthy era with its Lavender Scare, which, during the larger Red Scare, tied gays to communists and tried to purge and ruin them lest they be blackmailed.
In addition, the opera speaks to today’s politics of smear and fear, as practiced by President Donald Trump and conspiracy theory proponents on the far right. The Madison Opera wasn’t afraid to point out possible parallels in the program notes.
But the real affirmation of the opera’s contemporaneity came from the first-rate quality of this memorable production.
The cast of nine made a tight ensemble in which each member proved equally strong in singing and acting.
The two leading men who played federal government workers – tenor Andres Acosta (below right) as the young Timothy Laughlin and baritone Ben Edquist (below left) as the older Hawkins Fuller – turned in outstanding performances from their first meeting on a park bench, through their sexual encounters, to the final breakup.
Particularly moving were the same-sex love scenes and moments of casual affection. Perhaps there are precedents in the history of other Madison Opera productions, but no one seems to know of any.
The two men in bed — wearing only boxer shorts while kissing and caressing each other — seemed like another brave first for the Madison Opera. The explicit scenes of the two men being intimate were tasteful but also sensual and realistic, erotic as well as poignant. (Below are Andres Acosta, left, as Timothy Laughlin and Ben Edquist, right, as Hawkins Fuller.)
Acting seems the real fulcrum of this chamber opera, with the appealing music underscoring the scenes and the acting rather than standing on its own. Yet the two men proved to be powerful singers, especially in their solos and duets. (You can hear Andres Acosta sing an aria in the Minneapolis production in the YouTube video at the bottom.)
The haunting music was always accessible and atmospheric, disproving the notion that music in new operas is always discordant or hard to listen to. True, The Ear heard no tunes to take away from the opera, no earworm arias from a first hearing. But the singing by all the cast members was uniformly strong.
John DeMain’s conducting exuded both control and subtlety. He maintained a balance from the Madison Symphony Orchestra players in the pit and never overwhelmed the singers.
DeMain (below, in a photo by Prasad) knew exactly when to pull the music into the background and create a context for the action; and then when to push it to the foreground to accompany the singers or set a scene.
Stage director Peter Rothstein (below), who also staged the opera for the Minnesota Opera in Minneapolis with some of the same cast, kept the show moving at a brisk and engaging pace.
The 16 scenes moved quickly throughout the two-hour show, thanks in part to the austere and portable but convincing sets.
The atmosphere of the 1950s, for example, was believably evoked by a simple office setting — a desk, a few filing cabinets, an American flag and a portrait of President Eisenhower. (Below, from left, are Ben Edquist as Hawkins Fuller, Andres Acosta as Timothy Laughlin, and Adriana Zabala as Mary Johnson.)
Particularly effective and disturbing was the interrogation scene, from the embarrassing questions about whether Hawkins Fuller walks or talks like a homosexual to the lie detector test. (Below, from left, are Andres Acosta as Timothy Laughlin, Ben Edquist as Hawkins Fuller, Stephen Hobe as the Technician and Alan Dunbar as the Interrogator.)
One outstanding performance involved the resonant and expressive Sidney Outlaw (below) as Tommy McIntyre, the bureaucrat who knows all the secrets in the office of Senator Charles Parker (played by Andrew Wilkowske) and how to use them in order to get his way. (Below, from left, are Andres Acosta as Timothy Laughlin and Sidney Outlaw as Tommy McIntyre.)
Another outstanding performance came from Adriana Zabala (below) as Mary Johnson, the secretary who finally quits her job and leaves Washington, D.C., to protest the treatment of Timothy by the aptly nicknamed “Hawk” Fuller and the government inquisitors. (Below, from left, are Ben Edquist as Hawkins Fuller and Adriana Zabala as Mary Johnson.
Throughout the entire opera, the audience proved amazingly quiet, rapt in their attention as they laughed out loud at humorous moments and openly cried at the heart-wrenching plot.
At the end the audience — gay and straight, men and women, old and young – gave the singers and orchestra players a prolonged standing ovation and loud applause.
And walking out, you heard many people talking about the opera in the most positive and approving ways.
The underlying irony, of course, is that an opera with this much insight into both the human heart and the exploitative politics of oppression could never have been staged in the same era it depicts.
At least on that score, we can say we have made some progress in confronting and correcting the injustices and bigotry we witness in “Fellow Travelers.”
But in the end the opera tells us to keep traveling.
You can see what other critics thought of “Fellow Travelers”:
Here is the review that Jay Rath wrote for Isthmus: https://isthmus.com/arts/stage/forbidden%20love/
And here is the review that Lindsay Christians wrote for The Capital Times: https://madison.com/ct/entertainment/arts_and_theatre/theatre/opera-review-fellow-travelers-is-a-certain-kind-of-wonderful/article_0ebc5a83-afbe-5f50-99eb-51e4baa4df0e.html
What did you think?
Leave your own review or reactions in the Comments section.
The Ear wants to hear.
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Classical music: The Wisconsin Chamber Choir will sing a program of “Live, Laugh and Love” this Sunday afternoon. Music by Brahms, Puccini, Bizet, Sondheim, Lin-Manuel Miranda and others is featured
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By Jacob Stockinger
This Sunday afternoon, Feb. 16, at 3 p.m. in the First Unitarian Society of Madison’s Landmark Auditorium, 900 University Bay Drive, the Wisconsin Chamber Choir will perform a varied program of vocal music.
The “Live, Laugh and Love” program includes Johannes Brahms’ Neue Liebeslieder Waltzes (New Love Song Waltzes) along with a wide variety of solos, duets and ensembles encompassing music by Giacomo Puccini, Georges Bizet, Clara Schumann, John Dowland, Stephen Sondheim and Lin-Manuel Miranda.
The singers will accompanied by duo-pianists Mark Brampton Smith and Sherri Hansen.
Brahms (below) completed his second group of “Love Song Waltzes” in 1874, setting poems that are alternately passionate, brooding, fiery and contemplative. (You can hear some excerpts in the YouTube video at the bottom.)
Building on the success of his first installment of Liebeslieder from five years earlier, Brahms’ music for the later set is more deeply emotional, mirroring the composer’s own complex romantic entanglements. Out of all Brahms’ female friends, he seems to have maintained the deepest affection for Clara Schumann (below), whose music appears on the first half of our program.
Classic arias and duets from the operas La Bohème, and The Pearl Fishers, and contemporary selections by Stephen Sondheim and Hamilton composer, Lin-Manuel Miranda, round out the program to be performed in the intimate setting of the historic auditorium designed by Frank Lloyd Wright.
A wine-and-cheese reception will follow the concert.
Advance tickets are available online for $15 ($10 for students) from www.wisconsinchamberchoir.org or Brown Paper Tickets, or from a member of the choir. The ticket price at the door is $20.
Founded in 1998, the Wisconsin Chamber Choir has established a reputation for excellence in the performance of oratorios by Bach, Handel, Mozart and Brahms; a cappella works from various centuries; and world premieres.
Artistic director and conductor Robert Gehrenbeck (below) – who heads the choral program at the University of Wisconsin-Whitewater — has been hailed by critics for his vibrant and emotionally compelling interpretations of a wide variety of choral masterworks.
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Classical music: This Saturday night, UW pianist Christopher Taylor will perform the virtuosic Liszt transcriptions of Beethoven’s Symphonies Nos. 1 and 9
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ALERT: The first concert by the Verona Area Community Orchestra is set for this Wednesday, Jan. 29, at 7 p.m. in the Verona Area High School’s Performing Arts Center at 300 Richard St. in Verona. A reception, with a sheet cake, will follow the concert. Admission is FREE.
Thirty-five amateur string orchestra musicians will play selections from: Johann Sebastian Bach (Brandenburg Concerto No. 3), Aaron Copland (“Rodeo”), Sir Edward Elgar (“Serenade for Strings”), Eric Whitacre (“October”), Louis Prima (“Sing Sing with a Swing”), and Peter Warlock (“Capriol” Suite).
By Jacob Stockinger
This coming Saturday, Feb. 1, will see what promises to be one of the most interesting and impressive events of The Beethoven Year in Madison.
At 8 p.m. in the Mead Witter Foundation Concert Hall, in the new Hamel Music Center at 740 University Avenue, the UW-Madison’s virtuoso pianist Christopher Taylor (below) will perform the solo piano transcriptions made by Franz Liszt of Beethoven’s Symphonies Nos. 1 and 9.
When he was just 12, the young Liszt — often considered the greatest pianist who ever lived — performed for and met Beethoven, who gave the boy his blessing.
For the rest of his life, Liszt (below top) promoted Beethoven’s piano sonatas and symphonies through the keyboard. Liszt also studied with Carl Czerny, who studied with Beethoven (below bottom).
These performances mark Taylor’s completion of the ambitious and monumental cycle of Liszt’s Beethoven symphony transcriptions.
The Ninth or “Choral” Symphony – with the famous “Ode to Joy” finale – will also have five singers to perform the solo and choral parts. They are: Mead Witter School of Music faculty members Mimmi Fulmer and Paul Rowe (below top); and graduate students Sarah Brailey (below bottom), Thore Dosdall and Benjamin Liupaogo.
(You can hear the famous Scherzo movement played by Cyprien Katsaris and see the note-filled score for it in the YouTube video at the bottom.)
Tickets are $20, except for music school faculty and students who will be admitted free on the night of the performance if space allows.
For more information about the tickets, parking, the performers and the program, go to: https://www.music.wisc.edu/event/christopher-taylor-and-friends-beethoven-symphony-extravaganza/
To just purchase tickets, go to the Campus Arts Ticketing box office in the Memorial Union, call (608) 265-ARTS (2787) or go to: https://artsticketing.wisc.edu/Online/default.asp?doWork::WScontent::loadArticle=Load&BOparam::WScontent::loadArticle::article_id=79084672-5D75-4981-B0A3-B135EDB97FF1
For more information about the extraordinary keyboard transcriptions, go to the Wikipedia entry and be sure to read the section on History: https://en.wikipedia.org/wiki/Beethoven_Symphonies_(Liszt)
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Classical music: This Sunday afternoon, the Madison Symphony Orchestra takes listeners “Behind the Score” of the Symphony No. 5 by Prokofiev
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By Jacob Stockinger
This Sunday afternoon, Jan. 19, at 2:30 p.m. in Overture Hall, the Madison Symphony Orchestra (below, in a photo by Peter Rodgers) and MSO music director John DeMain will present the story behind Prokofiev’s Symphony No. 5 with “Beyond the Score®: Sergei Prokofiev Symphony No. 5: Pure Propaganda?”
The one performance-only concert is a multimedia examination of the Russian composer’s musical celebration of the end of World War II. (You can hear the second movement in the YouTube video at the bottom.)
The presentation stars American Players Theatre actors James Ridge (below top), Colleen Madden (below second), Marcus Truschinski (below third) and Sarah Day (below bottom).
Along with MSO pianist Dan Lyons (below), the concert experience features visual projections, photos and musical excerpts.
Then in the second half comes a full and uninterrupted performance of the Symphony No. 5 by the orchestra conducted by John DeMain (below, in a photo by Prasad).
“This is one of the great offerings of Beyond the Score,” says DeMain. “Three generations of great Russian composers influenced Sergei Prokofiev (below) from childhood into his adult years, helping him create the most popular of his big symphonies, his fifth.
Adds DeMain: “I have so much fun working with the great actors from the American Players Theatre as they interweave the backstory with the orchestra. The visuals for this production are spectacular. After intermission, we play this wonderful symphony in its entirety.”
Prokofiev’s Symphony No. 5 was published in 1944. Taking inspiration from his experiences in America and his return to the Soviet homeland after the war, Prokofiev expresses the heroic, beautiful and strong nature of the music.
This Beyond the Score production joins Prokofiev at the end of World War II and discovers his inspiration for Symphony No. 5.
Incorporating war video footage and propaganda photos, the program presents the historical context behind the classical piece turned masterpiece.
CONCERT, TICKET AND EVENT DETAILS
The lobby opens 90 minutes prior to each concert. The symphony recommends concert attendees arrive early for each performance to make sure they have time to pass through Overture Center’s security stations.
Program notes are available online for viewing in advance of the concerts: http://bit.ly/msojan20programnotes
- Single Tickets are $16-$70 each and are on sale now at: https://madisonsymphony.org/event/beyond-the-score-2020-prokofiev/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.
- Seniors age 62 and up receive 20% savings on advance and day-of-concert ticket purchases in select areas of the hall.
Discounted seats are subject to availability, and discounts may not be combined.
ABOUT BEYOND THE SCORE®
For newcomers to classical music and longtime aficionados alike, each Beyond the Score® presentation is a dramatic exploration of a composer’s music.
Through live actors, stunning visual projections and virtuosic fragments of live music performed by members of the orchestra, the compelling story of the composer’s life and art unfolds, illuminating the world that shaped the music’s creation. Beyond the Score presentations weave together theater, music and design to draw audiences into the concert hall and into a work’s spirit.
The popular program seeks to open the door to the symphonic repertoire for first-time concertgoers as well as to encourage an active, more fulfilling way of listening for seasoned audiences.
At its core is the live format of musical extracts, spoken clarification, theatrical narrative, and hand-paced projections on large central surfaces, performed in close synchrony.
After each program, audiences return from intermission to experience the resulting work performed in a regular concert setting, equipped with a new understanding of its style and genesis.
Beyond the Score® is a production of the Chicago Symphony Orchestra. Gerard McBurney, Creative Director for Beyond the Score®
Exclusive funding for this concert is provided by the Pleasant T. Rowland Foundation.
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Classical music: During global protests against racism, a longtime fan of the Madison Symphony Orchestra writes a letter to ask for more diversity and African-American composers
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By Jacob Stockinger
During the ongoing global protests and demonstrations against police brutality, racism and white privilege, the Madison Symphony Orchestra (below, in a photo by Peter Rodgers) will hold its annual meeting next Tuesday, June 16, at 3:30 p.m.
The meeting is NOT open to the public — as erroneously stated in an earlier version — but just to season subscribers (not single ticket buyers) and members of MSO boards. The meeting will be virtual and held online via Zoom.
During the meeting, a statement about diversity and inclusion will be read, according to the MSO.
If you have questions, you can call Alexis Carreon at (608) 257-3734.
With both the symphony and current events in mind, a longtime MSO subscriber has written the following letter to Manager of Individual Giving Jeff Breisach.
Please read the letter and then let us know what you think.
Do you agree or disagree?
What else would you like to say about the role of MSO in adapting to concerns about racism, injustice and privilege?
Do you have any suggestions?
“Dear J. Breisach:
“Please share my following concerns with those planning the annual meeting of the Madison Symphony Orchestra:
“In light of the recent historic events, I hope MSO will add an item or two to deal with the economic and racial injustice prevalent in Madison, as well as elsewhere in our nation.
“Specifically:
“It is time for MSO to acknowledge its history of white privilege and take some steps to more widely acknowledge the richness of a diverse local audience and classical music history.
Sincerely,
Carol Troyer-Shank
“PS: I have been a MSO ticket holder in the economically denigrated balcony for more than 20 years.
“PS2: The architect and designers clearly thought about making more money — not about safety of attendees — when they designed a balcony to squeeze in more people instead of to allow ease of movement for lower-cost ticket holders. Shame on them! So, of course, all those seats should be filled every time. Even at $5 a ticket, the MSO would gain enormous improvement in their local image.”
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