The Well-Tempered Ear
What classical piano music is played in Season 3 of ‘Bridgerton’?
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By Jacob Stockinger
The television series “Bridgerton” — which seems to have attracted the kind of loyal following that “Downton Abbey,”“Game of Thrones” and “The Crown” inspired — has been a huge hit.
The first part of Season 3 of the popular and steamy romance set in the Regency-era (1795-1837) about a powerful English family is now available on Netflix. (The second part will be available on June 13.) You can view the season trailer — which has almost 8 million views —in the YouTube video at the bottom.
As usual, the soundtrack uses string quartet covers of pop music. But during the opening of the new season, Francesca Bridgerton (below, played by Hannah Dodd) is revealed to be an accomplished pianist.
But what music does she like?
And what music does she play?
Here is a story — with related links — about those questions from ClassicFM, the British radio station:
Here is the official website, where you can also catch up on the first two seasons as well as episodes of the third season:
https://www.netflix.com/title/80232398
And here is the Wikipedia entry for background and a key to the many characters:
https://en.wikipedia.org/wiki/Bridgerton
Happy watching — and listening!
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Classical music: Acclaimed native son Kenneth Woods returns this weekend to conduct the Madison Symphony Orchestra. He talks to The Ear about what Madison meant to him and his international career
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By Jacob Stockinger
This weekend, native Madisonian Kenneth Woods (below) returns from his home in the UK to conduct three performances of the Madison Symphony Orchestra.
The concerts feature two MSO debuts: the prize-winning young Canadian violinist Blake Pouliot performing Mendelssohn’s Violin Concerto in E minor; and the acclaimed guest conductor, Kenneth Woods, leading the orchestra for the MSO premiere of Haydn’s Symphony No. 96, “Miracle” plus Richard Strauss’ tone poem Ein Heldenleben (A Hero’s Life).
Performances will be held in Overture Hall on Friday night, March 6, at 7:30 p.m.; Saturday night, March 7, at 8 p.m.; and Sunday afternoon, March 8, at 2:30 p.m.
Single tickets are $19-$95 each and are on sale now, along with discounted tickets, at: https://madisonsymphony.org/event/the-miracle/; through the Overture Center Box Office at 201 State Street; or by calling the Box Office at (608) 258-4141. Fees apply to online and phone sales.
You can view program notes for this concert online at http://bit.ly/msomar2020programnotes
A Prelude Discussion by Randal Swiggum will take place one hour before each concert.
Guest conductor Kenneth Woods is a busy and versatile musician. He is the Principal Conductor of the English Symphony Orchestra and the artistic director of both the Colorado MahlerFest and the Elgar Festival in England. (You can hear Woods conducting Carl Maria von Weber’s “Oberon” Overture in the YouTube video at the bottom.)
Woods has won accolades for rediscovering and recording the music of the Austrian-British composer Hans Gàl. Woods, who has played guitar in a rock band, is also a professional cellist who solos with orchestras and plays chamber music. He writes a respected blog. And he currently plays and records in the Briggs Piano Trio for Avie Records.
For much more information about Kenneth Woods, including his blog “A View From the Podium,” go to: https://kennethwoods.net/blog1/
Woods recently spoke via email to The Ear about what Madison has meant to him and to his international career.
How did living in Madison play a role in your decision to become a professional musician?
Madison offered me a chance to hear music at an early age. I was taken to watch a rehearsal of the Wisconsin Youth Symphony Orchestra as a very young kid, maybe three or four years old. That made a huge impression on me, especially seeing the rehearsal process. Later, my parents took us to all the UW Symphony Orchestra concerts for years.
There’s really no reason not to take young kids to concerts! For me, a love of live music led to a love of recorded music, listening to records at home, and from there, to an interest in playing music as a kid.
We were lucky to have a very strong music program in the Madison public schools when I was growing up here. The orchestras at Memorial High School played some really impressive repertoire under Tom Buchhauser (below top, in a photo by Jon Harlow). The UW Summer Music Clinic made being a musician social – it was a great immersion with one’s peers.
Most important, however, was probably the Wisconsin Youth Symphony Orchestras (WYSO). Playing under Jim Smith (below bottom) was the most fantastic education in orchestral playing one could hope for. He and Tom are a big part of why I became a conductor.
Madison in those days wasn’t a super-pressurized scene, like one might encounter around the big pre-college programs in New York or LA. But what I might have missed in terms of conservatory-level instrumentalists in every corridor, one made up in terms of feeling like you could find your own path. By the time I was in high school, I pretty much knew music was that path.
How did your experiences in Madison help prepare you for that career?
I learned so much about rehearsing from Jim Smith. In his first year, we worked on Dvorak’s 8th Symphony pretty much all year. Every week, he opened our ears to new facets of the music. I’ve never forgotten that.
I went off to Indiana University to do my Bachelor’s degree, but returned to Madison for a Master’s, when I studied cello with UW-Madison professor Parry Karp (below top).
Those were wonderful years for me. I learned an enormous amount from Parry as both a cello teacher and chamber music coach (and especially as a person).
I played in fantastic chamber groups, did lots of wacky new music and had solo opportunities. UW Symphony Orchestra conductor David Becker (below bottom) even gave me my first meaningful chance to rehearse an orchestra when he had me take a couple of rehearsals on the Copland Clarinet Concerto.
And I played in both the Madison Symphony Orchestra and the Wisconsin Chamber Orchestra. I came away from that time with both new skills and new confidence.
What does returning to your hometown to conduct the Madison Symphony Orchestra mean to you?
It’s both very exciting and a little surreal. Under the leadership of John DeMain (below top, in a photo by Greg Anderson), the MSO (below bottom, in a photo by Peter Rodgers) has come so far since the time I was in it. And the new hall is such a treasure for all of Wisconsin – it’s practically a different orchestra.
I still have many friends and former mentors in the orchestra and it’s going to be wonderful to see them all and make music together again after so long.
But it’s more than a homecoming. It’s a chance to celebrate where we’ve all been and what we’ve all done the last 20 years or so. My musical life has mostly been in the UK for a long time, so to re-connect with my musical roots here is rather magical.
What are your major current and upcoming projects?
The English Symphony Orchestra (below) represents the biggest chunk of my musical life. This year we’re celebrating Beethoven’s 250th birthday and the orchestra’s 40th anniversary.
The ESO has a special commitment to new and unknown music, and right now we’re in the midst of something called the 21st Century Symphony Project, which involves commissioning, premiering and recording nine new symphonies by diverse composers. It’s one of the most ambitious commissioning projects I’ve ever heard of, let alone been involved in.
I’m also excited about this year’s Colorado MahlerFest in Boulder, where we’re focusing on Mahler’s Symphony No. 2 “Resurrection” this May, which will crown a week of music exploring themes of color and visual art with music by Wagner, Messiaen and British composer Philip Sawyers.
Is the MSO program special to you?
I must say that it was incredibly generous of John DeMain to offer me such a fantastic program. Not every music director is gentleman enough to let a guest have Ein Heldenleben.
What would you like the public to know about your approach to music and about the specific works by Haydn, Mendelssohn and Richard Strauss?
Haydn’s music is maybe the richest discovery of my adult life. I didn’t get it as a kid, largely because most performances I heard were so dull.
His music is so varied, and his personality so complex, one mustn’t try to reduce him down to a simplistic figure. The late symphonies, of which this is one of the finest, are inexhaustible sources of wisdom, beauty, humor and sanity.
The Mendelssohn is really an astonishing piece. I’ve probably conducted it as much as any piece of music, with so many different soloists, all of whom had hugely different temperaments, personalities, sounds and approaches.
I’ve played it with some of the greatest violinists in the world and with young students. Somehow, whoever is playing, it always leaves me, and the audience, smiling. I’m pretty sure we can continue that streak with Blake Pouliot (below, in a photo by Jeff Fasano).
The Strauss is a rich, personal, wise, funny and moving work. It’s always a challenge, particularly bringing out all the astonishing detail in the score, but it’s also a real joy to perform. If the Mendelssohn always leaves me smiling, the Strauss always leaves me smiling with a tear in my eye.
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Classical music: Steve Kurr talks about his new work celebrating Middleton that will be premiered Wednesday night by the Middleton Community Orchestra alongside Mozart and Dvorak
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By Jacob Stockinger
This Wednesday night, Oct. 9, the mostly amateur but highly praised Middleton Community Orchestra (below) will open its 10th anniversary season, which is dedicated to retired critic John W. Barker for his help in championing the ensemble.
The concert is at 7:30 p.m. in the comfortable and acoustically excellent Middleton Performing Arts Center (below, in a photo by Brian Ruppert), which is attached to Middleton High School, 2100 Bristol Street.
Admission is $15 for the public, free for students. Tickets are available from the Willy Street Coop West and at the door. The box office opens at 6:30 p.m. Auditorium doors open at 7 p.m.
The appealing program features J.J. Koh (below), principal clarinet of the Madison Symphony Orchestra, as guest soloist in the beautiful and poignant Clarinet Concerto in A Major, K. 622. (In the YouTube video at the bottom, you can hear the sublime slow movement, which may sound familiar from when it was used in the soundtrack to the film “Out of Africa.”)
Also on the program is the popular Symphony No. 9 – “From the New World” – by Antonin Dvorak.
But raising the curtain will be the world premiere of a work that was written specifically for this orchestra on this occasion in its own city.
The piece was composed by Steve Kurr, who teaches at Middleton High School and who is the resident conductor of the MCO.
For more information about the MCO’s season along with critical reviews and information about how to join it or support it and how to enter its new youth concerto competition, go to:
http://middletoncommunityorchestra.org
Kurr, below, will conduct the premiere of his own work, which he recently discussed via email with The Ear:
How much do you compose and why do you compose?
When I do compose, which is not often, it is usually with a specific event in mind. I have written several things for the musicians at Middleton High School, including a four-movement string symphony, a piece for a retiring colleague, and several works we have taken on tour.
In this case, the 10th season of the Middleton Community Orchestra provided a great reason to write. I always enjoy the process, but it can be time-consuming, so I don’t do it as often as I might like.
How does composing fit in with your teaching and conducting?
Most of the composing I do comes in the summer because it is when I can devote larger chunks of time. This new work was germinating in some form for several years, but almost all of the notes-on-the-page work came this past June.
How do you compose?
I approach composition in an analytical way, which will come as no surprise to anyone who knows me. I think about structure early on in the process, both at the full work scale and in the smaller sections.
Most of my work comes on the computer in the notation software Finale, and some comes on the piano or on a string instrument.
I run ideas past my wife Nancy for her input and for this piece I also got a huge amount of advice and help from composer and MCO violist Neb Macura (below). (Thanks, Neb! You were invaluable!) Most of the melodic material came to me in the car on the way to school.
How would you describe your musical or tonal style?
I would say that my style is mostly tonal and not all that adventurous in terms of harmony. The fact that I have spent much of my musical career studying the works of the Classical and Romantic periods shows through. And yet you might find some moments that hint at more recent styles.
Can you briefly tell the public about the new piece to be premiered?
“Good Neighbors” is subtitled “Episodes for Orchestra” and the connected episodes describe various aspects of the Middleton community.
Episode 1 depicts the city of Middleton and its bustling energy within a small town feel. Episode 2 is about all of the water around, including the creeks, ponds and Lake Mendota. Episode 3 is the Good Neighbor Festival, appearing at the end of summer for so many years. Episode 4 describes the land around, including the rolling farmland, the driftless area, and the Ice Age Trail.
The final episode brings together tunes from the previous four, combining them to demonstrate that the Good Neighbor City is more than the sum of its parts. The opening theme shows up in several different versions throughout, including most notably the theme from Episode 4.
Is there anything else you would like to say?
At first I considered the endeavor almost self-indulgent as I set a piece of my own in front of the ensemble. Then I started to feel presumptuous. It is a humbling experience to see my name on a program with Mozart and Dvorak, two of my favorite composers.
It has been a terrific experience working with these fine musicians as we realize this new work together. My thanks go to them for their willingness to help me present this gift to the Middleton community.
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Classical music: This Sunday afternoon, the annual Opera Props Showcase features well-known alumna Ariana Douglas and current UW students singing arias from great operas and musicals
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By Jacob Stockinger
The annual University Opera’s Student Showcase will take place this coming Sunday afternoon, Sept. 22, at 3 p.m. at the Madison Christian Community, 7118 Old Sauk Road, on the far west side.
Tickets are $30 if purchased in advance or $35 if purchased at the door; and $10 for students. Additional ticket information is provided at the website UWOperaProps.org
The event is sponsored by UW Opera Props, the friends group that helps support the opera program at University of Wisconsin-Madison.
The benefit opera program, the concert will feature guest artist and soprano alumna Ariana Douglas (below). In addition, eight current voice students will join Douglas in a program assembled by David Ronis, the Karen K. Bishop Director of Opera at UW’s Mead Witter School of Music.
UW-Madison piano graduate student Thomas Kasdorf, who coaches the singers, will provide the piano accompaniment.
The concert will include arias and duets by Puccini, Offenbach, Rodgers and Hammerstein, Wagner, Mozart, Gounod, Verdi and others.
Ariana Douglas is well known for her “clarion sound and striking stage presence” in performances at Milwaukee’s Florentine Opera (Zerlina in “Don Giovanni,” Mrs. Vance in Aldridge’s “Sister Carrie,” and, upcoming in October, Susanna in “The Marriage of Figaro”).
Next April, she will sing Diana in Jacques Offenbach’s “Orpheus in the Underworld” for the Madison Opera.
And after two summers in the Glimmerglass Festival’s Young Artists program, she was invited last year to return to help workshop J. Tesori’s highly anticipated opera “Blue,” which premiered there this July.
In the YouTube video at the bottom, you can hear Ariana Douglas perform while still a UW student. She sings the famous Puccini aria “O mio bambino caro” with the UW Varsity Band under now-retired director Mike Leckrone, who admired Douglas’ big, expressive voice and invited her to perform at the band’s huge annual concerts in 2013.
In short, says one OperaProps organizer, “Douglas seems to getting fine reviews everywhere. And student recruiting seems to be successful, with the students getting more impressive every year lately.” (Below is the group of Showcase students in 2018 with director David Ronis on the far right.)
Here is the program, with performers and pieces, that is subject to change:
Lindsey Meekhof – “C’est l’amour vainqueur” from (Offenbach: Les contes d’Hoffmann)
Benjamin Galvin – “Amorosi miei giorni” (Donaudy)
Ariana Douglas – “Quando m’en vò” (Puccini: La bohème)
Benjamin Hopkins – “A mes amis” (Donizetti: La fille du régiment)
Shelby Zang – “If I Loved You” (Rodgers and Hammerstein: Carousel)
DaSean Stokes – “Winterstürme” (Wagner: Die Walküre)
Julia Urbank – “Parto, parto” (Mozart: La clemenza di Tito)
Ariana Douglas – “Till There Was You” (Meredith Wilson: The Music Man)
Cayla Rosché – “Nun eilt herbei” (Nicolai: Die lustigen Weiber von Windsor)
Benjamin Galvin – “If Ever I Would Leave You” (Lerner and Lowe: Camelot)
Carly Ochoa – “Je veux vivre” (Gounod: Roméo et Juliette)
DaSean Stokes – “Deep River” (Spiritual)
Ariana Douglas and Benjamin Hopkins – “Libiamo” (Verdi: La traviata)
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Classical music: YOU MUST HEAR THIS – the “Meditation” for solo piano by Mexican composer Carlos Chavez
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By Jacob Stockinger
The solo piano repertoire is huge, but The Ear knows quite a lot of it.
Yet here is a piece he had never heard, live or recorded, until he finally did hear it this week on Wisconsin Public Radio.
It is the five-minute ”Meditacion” – or Meditation – by the 20th-century Mexican composer Carlos Chavez (below, in a photo by Paul Strand).
It is played beautifully and sensitively in a live performance by the unjustly neglected Mexican virtuoso pianist Jorge Federico Osorio (below), and was recorded — perhaps as an encore, given the applause at the end — with the Piano Concerto by Chavez for the nonprofit Cedille Records in Chicago and distributed by Naxos Records.
Listen to it and let The Ear know what you think.
Does anyone else hear echoes of the eccentric French composer Erik Satie in the music? Shades of other pieces or composers?
Do you like the Chavez piece?
The Ear wants to hear.
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Classical music: This weekend, the Madison Symphony Orchestra and other individuals and groups join forces to celebrate John DeMain’s 25th season with Mahler’s monumental “Symphony of a Thousand”
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By Jacob Stockinger
By any standard, it is epic music.
The stage in Overture Hall will have more than 500 participants on it this coming weekend when the Madison Symphony Orchestra (below, in a photo by Peter Rodgers) partners with the Madison Symphony Chorus, the Madison Youth Choirs, the UW–Madison Choral Union and eight critically acclaimed vocal soloists to bring a performance of Gustav Mahler’s massive Symphony No. 8 — or “Symphony of a Thousand.”
For the first time since 2005, MSO music director and conductor John DeMain will conduct one of the largest undertakings in the classical music repertoire as the final concert marking his Silver Anniversary Season.
Performances will be held in Overture Hall of the Overture Center, 201 State St., on Friday night, May 3, at 7:30 p.m.; Saturday night, May 4, at 8 p.m.; and Sunday afternoon, May 5, at 2:30 p.m.
Information about tickets ($18-$93) is below.
Says DeMain (below, in a photo by Greg Anderson): “I have spent 25 years with this orchestra and chorus. In that time, our collaboration on Gustav Mahler’s monumental Symphony No. 8 in 2005 stands out as perhaps the most memorable. I feel a magnetic affinity with Mahler, and began my career 25 years ago with his first symphony. I am honored and moved to conduct this work and feel it is the perfect conclusion to my 25th season.”
Composed in December 1906, Symphony No. 8 is the last work by Mahler (below) to be premiered in his lifetime. It is one of the largest-scale choral works in the classical concert repertoire, and because it requires huge instrumental and vocal forces, it is frequently called the “Symphony of a Thousand.” (Below is a photo of the final rehearsal for the world premiere performance in Munich in 1910.)
The structure of the work is unconventional; instead of the normal framework of several movements, the piece is in two parts.
Part I is based on the Latin text of a 9th-century Christian hymn for Pentecost, and Part II is a setting of the words from the closing scene of Goethe’s Faust.
The two parts are unified by a common idea: redemption through the power of love, a unity conveyed through shared musical themes.
Symphony No. 8 is revered as one of the greatest achievements of classical concert repertoire and expresses the composer’s confidence in the eternal human spirit. (You can hear Sir Simon Rattle conduct the Berlin Philharmonic in the famous finale of the Symphony No. 8 in the YouTube video at the bottom.)
ABOUT THE PERFORMERS
The distinguished solo singers are: soprano Alexandra LoBianco; soprano Emily Birsan (below), who just last weekend sang the title role in the Madison Opera’s production of Antonin Dvorak’s “Rusalka”; soprano Emily Pogorelc; mezzo-soprano Milena Kitic; mezzo-soprano Julie Miller; tenor Clay Hilley; baritone Michael Redding; and bass-baritone Morris Robinson.
For photos and impressive biographical information about the soloists, go to:
https://madisonsymphony.org/event/symphony-of-a-thousand/
The Madison Symphony Chorus (below top, in a photo by Greg Anderson) gave its first public performance on Feb. 23, 1928 and has performed regularly with the Madison Symphony Orchestra ever since.
The chorus is comprised of more than 150 volunteer musicians who come from all walks of life and enjoy combining their artistic talent under the direction of Beverly Taylor (below bottom), who is the director of Choral Activities at the UW-Madison’s Mead Witter School of Music.
Inclusive of members of all skill levels, the Madison Youth Choirs (below), Michael Ross director, incorporate singers from ages 7-18 into their orchestration.
The choirs aim to introduce youths interested in musical performance to collaborative forms of self-confidence and responsibility in the atmosphere of musical training. Randal Swiggum is conducting rehearsals preparing members of the choir for the MSO’s May Symphony of a Thousand concerts.
With 150 members, the UW-Madison Choral Union (below) fuses university and non-university members. Under the direction of Beverly Taylor, former associate conductor of the MSO who also teaches at the UW-Madison, the Choral Union is another testament to the musical outreach in the Madison arts.
CONCERT, TICKET and EVENT DETAILS
The lobby opens 90 minutes prior to each concert. One hour before each performance, Wisconsin Public Radio host Anders Yocom (below, in a photo by James Gill) will lead a 30-minute Prelude Discussion in Overture Hall to enhance concertgoers’ understanding and listening experience. It is free to ticket-holders.
The Symphony recommends concert attendees arrive early for each performance to make sure they have time to pass through Overture Center’s security stations so they can experience the Prelude Discussion.
Program notes for the concerts are available online: http://bit.ly/msomay19programnotes
- Single Tickets are $18-$93 each and are on sale now at: https://madisonsymphony.org/event/symphony-of-a-thousandthrough 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 10 vouchers for 19-20 symphony subscription concerts are available. Learn more at: https://madisonsymphony.org/flex
- Subscriptions for 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.
Major funding provided by NBC15, Larry and Jan Phelps, Diane Ballweg, Carla and Fernando Alvarado, Johnson Financial Group, and University Research Park. Additional funding provided by DeWitt LLP, Kennedy Gilchrist and Heidi Wilde, Thomas E. Terry, Fred A. Wileman, Helen L. Wineke, and the Wisconsin Arts Board with funds from the State of Wisconsin and the National Endowment for the Arts.
Tags: #AlexandraLoBianco, #AndersYocom, #AntoninDvorak, #BerlinGermany, #BerlinPhilharmonic, #BeverlyTaylor, #BlogPost, #BlogPosting, #ChoralMusic, #ChristianHymn, #ClayHilley, #CommunityChorus, #CriticallyAcclaimed, #DianeBallweg, #EmilyBirsan, #EmilyPogorelc, #FacebookPost, #FacebookPosting, #GustavMahler, #HumanSpiirt, #InstrumentalMusic, #JohnDeMain, #JulieMiller, #LawFirm, #MadisonOpera, #MadisonSymphonyChorus, #MadisonSymphonyOrchestra, #MadisonYouthChoirs, #MeadWitterSchoolofMusic, #Mezzo-sopranoSinger, #MichaelRedding, #MichaelRoss, #MilenaKitic, #MorrisRobinson, #MunichGermany, #MusicDirector, #NationalEndowmentfortheArts, #OperaMusic, #OvertureCenter, #OvertureHall, #ProgramNotes, #RadioHost, #RadioShow, #RandalSwiggum, #SeasonSubscriber, #SeniorCitizen, #SilverAnniversary, #SimonRattle, #SopranoSinger, #StateOfWisconsin, #SymphonyofaThousand, #UniversityofWisconsin-Madison, #UniversityResearchPark, #UWChoralUnion, #VocalMusic, #WisconsinArtsBoard, #WisconsinPublic Radio, #WorldPremiere, #YouTubevideo, achievement, affinity, Alexandra LoBianco, Anders Yocom, Antonín Dvořák, Arts, audience, baritone, bass, bass-baritone, Berlin, Berlin Philharmonic, Beverly Taylor, biographical, blog, Campus, career, choral music, chorus, Christian hymn, Classical music, classicalmusic, Clay Hilley, closing, collaboration, community, composer, Concert, conclusion, conduct, conductor, confidence, Diane Ballweg, director, discount, discussion, donor, Dvorak, Emily Birsan, Emily Pogorelc, epic, Facebook, famous, Faust, finale, first, forward, framework, free, funding, Germany, Goethe, great, group, Gustav Mahler, honored, huge, human, human spirit, impressive, information, instrumental, instrumental music, Jacob Stockinger, John DeMain, Julie Miller, last work, Latin, law firm, like, link, Love, Madison, Madison Opera, Madison Symphony Chorus, Madison Symphony Orchestra, Madison Youth Choirs, magnetic, massive, Mead Witter School of Music, memorable, Mezzo-soprano, Michael Redding, Michael Ross, Milena Kitic, Morris Robinson, moved, MSO, Munich, Music, Music director, National Endowment for the Arts, NBC15, NEA, normal, online, opera, Orchestra, outreach, Overture Center, Overture Hall, Part 1, Part 2, participant, Pentecost, performance, performer, photo, power, Prelude, program notes, public, Radio, Randal Swiggum, redemption, rehearsal, repertoire, repetory, Research Park, Rusalka, scale, scene, Season, security, seniors, share, silver anniversary, Simon Rattle, solo, soloist, soprano, spirit, State of Wisconsin, structure, Student, subscriber, symphony, Symphony of a Thousand, tag, testament, text, theme, ticket, unconventional, United States, unity, University of Wisconsin-Madison School of Music, University of Wisconsin–Madison, University Research Park, UW Choral Union, vocal soloists, weekend, Wisconsin, Wisconsin Arts Board, wisconsin public radio, world premiere, YouTube
Classical music: Celebrate Commencement Day 2018 with Brahms and Elgar
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By Jacob Stockinger
Today is The Big Day – Graduation or Commencement Day 2018 — at the University of Wisconsin-Madison.
The weather may be too rainy and too cold, but there is little choice as an alternative to the huge outdoor ceremony for thousands of graduates, plus friends and family, at Camp Randall Stadium (below) unless there is lightning or dangerous weather that could delay and cancel the ceremony.
Still, there is some great music to celebrate with and perhaps warm up with.
If you have a favorite suggestion for graduation music, leave the name of the composer and work, along with a link to a YouTube video if possible, in the COMMENT section below.
In the mean time, here are the two most famous works that will perhaps stir you or even warm you.
First is the Academic Festival Overture, which uses a student drinking song, that was composed by Johannes Brahms when he received an honorary degree.
And what would any graduation be without the traditional old standby that still never fails to touch most of those who hear it: the stately Pomp and Circumstance No. 1 — one of five composed and then used for a royal coronation –by Sir Edward Elgar
Congratulations to the Class of 2018.
This post is for you.
Tags: #AcademicFestivalOverture, #BritishComposers, #CampRandall, #CampRandallStadium, #CommencementDay, #EdwardElgar, #EnglishMusic, #GraduationDay, #JohannesBrahms, #LeonardBernstein, #MarchMusic, #RoyalCoronation, #TheRoyals, #TraditionalMusic, #UnitedKingdom, #UniversityofWisconsin, #UniversityofWisconsin-Madison, 2018, Arts, Camp Randall Stadium, Cello, Classical music, cold, commencement, composer, coronation, danger, dangerous, drink, drinking, Elgar, Family, favorite, friend, graduation, honorary degree, huge, Jacob Stockinger, Johannes Brahms, lightning, Madison, march, Music, name, Pomp and Circumstance, rain, rainy, royal, sing, song, Student, symphony, tradition, traditional, UK, United Kingdom, United States, University of Wisconsin-Madison School of Music, University of Wisconsin–Madison, weather, work, YouTube
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