By Jacob Stockinger
The Ear received the following information from Eric Miller to pass along:
Thanks for sharing my recital at the First Unitarian Society of Madison last week. I really appreciate what you do.
I’m repeating the program of unaccompanied music for viola da gamba at the Arts+Literature Lab (below) on this Saturday, March 25, at 8 p.m.
Doors open at 7:30 p.m.
Tickets are $10 in advance, $15 at the door.
I’ll be playing the first suite by Le Sieur de Machy and the Sonata VI by Johannes Schenk from his collection “L’echo du Danube,” (Echo of the Danube), as well as a few other smaller pieces. (Below is Eric Miller, who also performs a Prelude to a suite by Le Seiur de Machy in the YouTube video at bottom.)
In addition to my set, my idea was to juxtapose this music I love with music that is equally intricate and beautiful, but from different sound worlds and traditions.
Milwaukee cellist Patrick Reinholz (below top) will be playing modern pieces by Italian composer Luciano Berio (below middle) and Finnish composer Kaija Saariaho (below bottom) as well as one of his own compositions from a solo recording he is releasing.
Finally, cellist/composer/multi-instrumentalist Brian Grimm (below) will be presenting some of his own compositions and improvisations.
Advanced tickets are available here: http://ericmiller.bpt.me/
The Arts+Literature Lab (A+LL) is at 2021 Winnebago Street, on the east side of Madison. It is really doing exciting things for the community.
ALERT: Today at noon on Wisconsin Public Radio’s “The Midday,” host Norman Gilliland will interview artistic director David Ronis about the University Opera’s production of Benjamin Britten’s “The Turn of the Screw,” which will be performed this Friday night, Sunday afternoon and next Tuesday night.
By Jacob Stockinger
The mostly amateur Middleton Community Orchestra (below, in a photo by William Balhorn), under the baton of Steve Kurr, will perform the winter concert of its seventh season on this Wednesday night, March 1, at the Middleton Performing Arts Center at 7:30 p.m.
The Middleton PAC is attached to Middleton High School and is attached to Middleton High School.
General admission is $15. Students are admitted free of charge. The box office opens at 6:30 p.m. and the auditorium doors open at 7 p.m.
The program includes the “Turk in Italy” Overture by Gioachino Rossini; “Silent Woods” and Rondo in G minor, two rarely performed cello pieces by Antonin Dvorak; and the Symphony No. 5 (“Reformation”) by Felix Mendelssohn. (You can hear Dvorak’s “Silent Woods,” with cellist Yo-Yo Ma and Seiji Ozawa conducting the Boston Symphony, in the YouTube video at the bottom.)
Cello soloist Andrew Briggs (below), is returning to perform with the MCO for a second time.
Briggs (below) is completing his doctorate at the University of Wisconsin-Madison this spring, so this may be your last chance to hear him in Madison.
This concert will open with a special guest, Middleton Tribune writer, Matt Geiger who will read two short stories from his new book (below).
Here is a sample from the cover of this book collection: “His little sister joins the circus. His parents buy a nerdy horse. He’s surrounded by hundreds of men dressed up as Ernest Hemingway. He tries to order a monkey through the mail. And now his baby is eating dog food.”
Matt Geiger’s award-winning stories reveal the sublime in the mundane and the comical in the banal. There is existential dread. There is festivity amid detritus. There are moments of genuine introspection on what it means to be human. And it’s all laugh-out-loud funny when told by a humorist who is determined to live an examined life, even if he’s not always entirely sure what he’s looking at.
Matt Geiger (below) was born in Brunswick, Maine, in 1979. He studied philosophy and religion at Flagler College and went on to write for newspapers and magazines in Florida, Wisconsin and the United Kingdom. He is the winner of numerous journalism awards. He currently lives in Wisconsin with his wife, his daughter, two dogs, a cat and a flock of chickens.
As always, there will be a FREE reception for the musicians and the audience after the concert.
For more information about the Middleton Community Orchestra, including its upcoming concerts and review as well as how to join it and support it, go to: http://middletoncommunityorchestra.org
By Jacob Stockinger
The Ear has received the following public service announcement to post, and he is happy to do so because he believes there is no better investment you can make in the future of both classical music and adult success:
Wisconsin Youth Symphony Orchestras will hold its annual Art of Note Gala fundraiser, on Saturday, March 4, 2017 from 6 to 10 p.m., at Marriott West, 1313 John Q. Hammons Drive, in Middleton just off the Beltline on Madison’s far west side.
You can join dozens of major corporate underwriters and small business sponsors as well as individual attendees in helping WYSO to meet its goal of raising $85,000.
Study after study confirms that music education reaps lifelong benefits in academic and career success that go far beyond making music.
No single music educational organization in Wisconsin reaches more students or listeners than the Wisconsin Youth Symphony Orchestras (WYSO), which is based at the University of Wisconsin-Madison Mead Witter School of Music.
WYSO has served nearly 5,000 talented young musicians from more than 100 communities throughout south central Wisconsin over the past 51 years.
WYSO provides over $50,000 in scholarships for students in need.
WYSO performs through the community and undertakes local concerts and TV appearances as well as international tours. International tours have included Vienna, Prague (below), Budapest, Argentina and Italy.
The Art of Note Gala garners community-wide support from those who are passionate about music education, ensuring that WYSO remains one of the top youth orchestra programs in the country.
The evening will feature live music performed by several WYSO student groups including the Brass Choir (below), Percussion Ensemble and Youth Advanced String Ensemble.
The event will have an Italian theme to food, drinks and decor to bring back memories of WYSO’s most recent tour of Italy.
Fundraising events include silent and live auctions of more than 100 items that include everything from fine wine and restaurant gift certificates to holiday getaways, jewelry and tickets to major sporting and arts events.
To see the auction items, go to: http://www.wysomusic.org/artofnote/the-live-and-silent-auction-2017/
Of special note are the recycled violins that have been hand-painted and transformed into works of art by local artists. They are currently on display at Goodman Jewelers, 220 State Street. (Below top is the violin by Ellie Taylor, and below bottom by Margaret Andrews.)
Individual admission is $125 in advance, $135 at the door ($85 tax-deductible as a charitable donation per person). You can also purchase a table of four for $450, a table of 8 for $900 and a table of 10 for $1,100.
For reservations and more information about attending or sponsoring the gala, donating auction items as well as WYSO’s overall program and upcoming concerts, visit WYSO’s home website for the fundraising event at www.wysomusic.org/artofnote. You can also call (608) 263-3320, ext. 2.
For more general information about WYSO and its programs, go to: www.wysomusic.org
NOTE: If you are a WYSO student, a WYSO parent or a WYSO donor or supporter and have encouraging words to help others decide about attending the WYSO “Art of Note” fundraiser, please leave them in the COMMENT section.
ALERT: This week’s FREE Friday Noon Musicale at the First Unitarian Society of Madison, 900 University Bay Drive, features violinist Paran Amirinazari in music by Johann Sebastian Bach, Wolfgang Amadeus Mozart, Johannes Brahms, Camille Saint-Saens and Dmitri Shostakovich. Amirinazari, a graduate of the UW-Madison, is a member of the Willy Street Chamber Players. The concert runs from 12:15 to 1 p.m.
By Jacob Stockinger
The Edgewood College Chamber Orchestra will perform a concert of music by Domenico Cimarosa, Ludwig van Beethoven and Gioachino Rossini this Sunday afternoon, Feb. 26, at 2:30 p.m. in the St. Joseph Chapel, 1000 Edgewood College Drive.
Admission is $5, and free with an Edgewood College ID.
The program features the rarely performed Concerto for Oboe by the 18th-century Italian composer Domenico Cimarosa. Oboist Malia Huntsman will be the soloist. The orchestra will perform under the baton of its music director, Edgewood College professor Blake Walter (below).
You can sample the Oboe Concerto by Cimarosa in the YouTube video at the bottom.
The program opens with music by Rossini and also features Beethoven’s Symphony No. 1, one of the early symphonic masterpieces of the German composer.
Originally from Los Angeles, Malia Huntsman (below) has been playing oboe since the age of 14. She holds an undergraduate degree in Oboe Performance from the Oberlin Conservatory of Music, and a Master of Arts degree in Oboe Performance from Rice University.
Founded in 1993 via an endowment established by benefactors William O. Hart and the late Edgewood College music professor Vernon Sell, the Edgewood Chamber Orchestra provides performances and unique educational opportunities. The ensemble is the permanent, in-house chamber orchestra at Edgewood College.
By Jacob Stockinger
Jazz and classical music are not so different, says Swiss-born composer Daniel Schnyder.
For Schnyder, it is more than an academic matter. He puts his point of view into action in his acclaimed chamber opera “Charlie Parker’s Yardbird,” which deals with the life of the bebop saxophone player and jazz giant. (You can see the YouTube trailer for the productions by Opera Philadelphia and the Apollo Theater in Harlem at the bottom.)
The Madison Opera will offer the work’s Midwest premiere when it stages the chamber opera this Friday night (NOT Saturday night, as first mistakenly posted here) at 8 p.m. and Sunday afternoon at 2:30 p.m. Both performances are in the Capitol Theater of the Overture Center. (Performances photos below are from the world premiere at Opera Philadelphia.)
Here is a link to more general information about the opera, tickets, the cast and the production:
Daniel Schnyder (below) — who will perform a FREE concert of the music of Charlie Parker and do a question-and-answer session on this Thursday night at 7:30 p.m. (NOT 7 p.m. as mistakenly first stated here) in Morphy Hall on the UW-Madison campus — also agreed to an email interview with The Ear:
What was the work’s genesis and what gave you the idea for “Charlie Parker’s Yardbird”? Are you a big jazz fan and did you see the work as a way to meld the jazz and classical styles of music?
I am a jazz fan. I am also a jazz musician and I love to compose, play and improvise in the jazz idiom. I have recorded more than 30 jazz CDs.
I love to combine jazz and classical music. I just finished a symphony for orchestra and big band, a commission by the Temple University in Philadelphia.
The idea from the very beginning was to write an opera for Lawrence Brownlee, the great African-American tenor. Opera Philadelphia asked me to write a work for him and we tried several libretto options. After hearing a recital by Larry singing gospel songs, I came up with the idea to write an opera about Charlie Parker’s life.
How would you describe the musical style of the opera in terms of tonality and melody, and its accessibility to the general public? What were the audience reactions in Philadelphia and New York City?
In both places, the audiences were very moved by the story and the music. The topic hit a nerve, something our society has to reflect upon, a general issue that concerns us all as a nation.
The music itself is not hard to listen to and moves swiftly. For the orchestra and singers, the opera is rather challenging, since Charlie Parker (below) was a virtuoso. The music moves fast and often in off-beat rhythms that are unusual for classical musicians. There are also a lot of odd meters and tricky patterns that sometimes connect to Parker’s music and sometimes relate to the music that came after him.
The audience will have a ball. There are 12-tone music passages reflecting on new music and opera — mostly in Nica’s parts — but there are a lot of R&B influences and jazz and Latin music grooves.
It would be false to see the opera as a patchwork of different musical sequences and styles. It is my music that is based on all these influences. The opera can be described as a modern music carpet with lots of colors of today’s music, rather than a quilt.
In what ways do you see the characters and the story as offering lessons and being relevant to today?
I guess this is obvious: Our society has to understand that different cultures and different ethnic backgrounds enrich America and are fundamental to its culture and success.
If we go down the path of segregation, divisiveness and disrespect, we all will lose. Jazz is the great coming together of different heritages, the roots of America, and it conquered the world.
We still erect barriers in society and music that are detrimental to growth and innovation. Other contemporary issues are also important in the opera, such as being a single parent, drug addiction and faith.
The opera also highlights that jazz musicians at the time could not earn money from recorded music, something that is true again today. The stealing of royalties from Parker and Dizzie Gillespie were different from today’s issues of streaming, but the problem of jazz musicians not receiving money for their creative works stays the same.
In the opera, Parker discusses the very nature of music, its volatility and the fact that you cannot physically possess it. This is one of the reasons why he wants to write the music down on paper. He wants to make it abstract, but realizes that he loses some of the essence of what he wants to say. That is the dilemma of the composer.
He also reflects on the notation system, which was not designed for jazz. He sings: “How can I put down these black dots on white paper, how can I capture these sheets of sound?”
The opera reflects on American history, but it simultaneously relates to today’s world. This is not just some nice story about the past; it is about us.
Quite a few other productions have been planned. What do you think explains the work’s popularity? Do you think it attracts new audiences to opera?
There might be many different reasons for that:
1) There are very few operas using the modern jazz idiom.
2) There are very few operas in which the leading roles are African-American.
3) The opera is flexible; it can be produced with a moderate budget in a lot of different venues. It is mobile, which is similar to L’Histoire du Soldat (The Soldier’s Tale) by Igor Stravinsky. It also has a length of just over 100 minutes.
4) As mentioned above, the opera hits a nerve; it is about our time and about us.
5) Charlie Parker is a legend, but very few people really know about him and his music. People are intrigued.
6) The music is very accessible; it can be played on the radio without getting boring or incomprehensible. Some modern operas rely a lot on light, staging and special visual effects. This opera works more like Carmen or a Verdi opera, told through the music.
7) It is an opera, not a musical. It only uses a song format in a few instances. The opera is composed in an open and evolving format, connected by leitmotifs similar to Wagner’s operas.
The music definitely has a lot of jazz influences, but the format is mostly one not used in jazz music. That creates a new experience. It does not fit into one of the known “drawers” of music, so it can be tempting to try to compare it to their pieces but it sticks out as musically different.
8) The opera is composed very close to the sound and rhythms of the words. Hence you can understand a lot. The language is very direct and clear, close to spoken language. That helps. You can actually understand a lot of the lyrics without reading the supertitles.
I tried to avoid the Strauss or Wagner effect of creating something where the mix of complex language and complex music creates something beautiful but often incomprehensible. French and Italian operas are better in this regard. “Yardbird” has a message that needs to be understood.
9) There are many riddles in the opera – musical riddles, but also hidden messages and references in the text – that can be explored. The opera plays in a twilight zone between death and life. This is also intriguing.
Is there something else you would like to say about yourself and the opera?
I enjoyed writing the opera very much. It was a great pleasure and an honor to reflect on one of the great music geniuses in American history.
By Jacob Stockinger
Vienna has been called “The Paris of the Reich.”
The urbane Prêtre – who specialized in French music but also was much in demand for a lot of German and Italian repertoire — studied karate and judo. But he also enjoyed the good life and by all accounts had a terrific sense of humor coupled to a “joie de vivre.”
He often said he preferred being a guest conductor to being a music director because the former was like a love affair and the latter was like a commitment. Yet Prêtre was committed: He is survived by his wife of more than 50 years.
His conducting career spanned 70 years. He was known for his association with the Vienna Philharmonic and the Vienna Symphony. But he also conducted 101 performances of seven operas at the famed Metropolitan Opera in New York City. He also frequently conducted in Milan, Philadelphia and Chicago.
Here is a good summary obituary, with sound clips of orchestral and operatic music, from National Public Radio (NPR):
And here is a longer obituary, which gives you the French flavor of the man and the musician, from The New York Times:
And here is George Prêtre’s most popular video on YouTube, which also serves as a fine memorial in sound:
ALERT: There will NOT be a Noon Musicale this Friday at the First Unitarian Society of Madison. The weekly series resumes next week.
By Jacob Stockinger
The Wisconsin Baroque Ensemble will perform a very varied concert of baroque chamber music on this coming Sunday, Nov. 27, at 3 p.m. at Saint Andrew’s Episcopal Church (below), 1833 Regent Street, on the near west side of Madison.
Members of the ensemble include Eric Miller, viola da gamba; Sigrun Paust, recorder; Consuelo Sañudo, mezzo-soprano; Monica Steger, traverso flute, harpsichord; Anton TenWolde, baroque cello; and Max Yount, harpsichord.
Tickets at the door only are $20 for the public, $10 for students.
For more information, visit www.wisconsinbaroque.org
A reception will be held at 2422 Kendall Ave, second floor after the concert.
The program includes:
Francesco Maria Veracini (below) – Sonata No. 1 for recorder and basso continuo in F major
Jan Peterszoon Sweelinck, Toccata in C
Johann Jakob Froberger, Fantasie
Giovanni Bononcini, “Vorrei pure pianger”
Joseph de Bodin de Boismortier – Sonata for flute and harpsichord, Opus 91, No. 2
Francois Couperin – “Le Dodo ou l’Amour au Berceau”
Evaristo Felice Dall’Abaco – Capriccio for solo violoncello No.
Louis-Nicholas Clerembault – Hymne des Anges
By Jacob Stockinger
It will be sung in French with English subtitles and will last about three hours with one intermission.
Tickets are $18-$130.
With soaring arias, impassioned scenes and plenty of sword fights, Gounod’s gorgeous opera brings the famous tragic tale of young love to vivid life.
Set in 14th century Verona, Italy, the opera follows the story of Shakespeare’s legendary star-crossed lovers. The Montague and Capulet families are caught in a centuries-old feud.
One evening, Romeo Montague and his friends attend a Capulet ball in disguise. The moment Romeo spots Juliet Capulet, he falls in love, and she returns his feelings. Believing they are meant for one another, they proclaim their love, setting in motion a chain of events that will change both their families.
“Romeo and Juliet is one of the most famous love stories in Western literature,” says Kathryn Smith (below, in a photo by James Gill), the general director of Madison Opera. “Gounod’s operatic version of it is equally beloved, and it’s exciting to present an amazing cast that brings such vocal and dramatic depth to their story.
“I’m also delighted that we are performing the opera the same weekend that Shakespeare’s First Folio goes on display at the University of Wisconsin-Madison‘s Chazen Museum of Art, enabling our community to enjoy a very Shakespearean weekend.”
Gounod’s operatic adaption of the tragedy of “Romeo & Juliet” premiered in 1867 at the Théâtre Lyrique in Paris. While Gounod is now better known for “Faust,” “Romeo and Juliet” was a bigger success at its premiere, and has stayed in the repertoire for 150 years due to its beautiful music, genuine passion mingled with wit, and exciting fight scenes.
“Having conducted Gounod’s Faust so often, I’m thrilled to finally have the opportunity to conduct his romantic masterpiece,” says John DeMain (below, in a photo by Prasad), the artistic director of Madison Opera who will conduct the two performances.
“The vocal and orchestral writing is lyrical and downright gorgeous,” DeMain adds. “We have a glorious cast, the Madison Opera Chorus and the Madison Symphony. What more could a conductor ask for!” (You can hear Anna Netrebko sing Juliet’s famous aria “Je veux vivre” — “I want to live” – in the popular YouTube video at the bottom.)
Madison Opera’s cast features both returning artists and debuts.
John Irvin (below top) and Emily Birsan (below bottom) return to sing the title roles of Romeo and Juliet. Irvin sang Count Almaviva in the 2015 production of The Barber of Seville, while Birsan returns from singing at Opera in the Park 2016 and Musetta in last season’s La Bohème.
Sidney Outlaw, who sang at this past summer’s Opera in the Park, makes his mainstage debut as Romeo’s friend, Mercutio. Liam Moran, who sang Colline in last season’s La Bohème, sings Frère Laurent, who unites the two lovers in the hope of uniting their families. Madisonian Allisanne Apple (below) returns as Gertrude, Juliet’s nurse.
Making their debuts are Stephanie Lauricella as Romeo’s page, Stephano; Chris Carr as Tybalt, Juliet’s cousin; Philip Skinner as Lord Capulet; and Benjamin Sieverding as the Duke of Verona. Former Madison Opera Studio Artist Nathaniel Hill returns as Gregorio, while current Studio Artist James Held sings the role of Paris.
Directing this traditional staging is Doug Scholz-Carlson (below), who directed Gioaccchino Rossini’s “The Barber of Seville,” Aaron Copland’s “The Tender Land” and Benjamin Britten‘s “The Turn of the Screw” for Madison Opera. Scholz-Carlson is the artistic director of the Great River Shakespeare Festival and has directed the original “Romeo and Juliet,” among many Shakespeare plays.
He will discuss the differences between staging “Romeo and Juliet” as a play and as an opera in another posting tomorrow.
For more information about the production, the cast and tickets, go to:
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 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. He also provided the performance photos.
By John W. Barker
The Salon Piano Series offered by Farley’s House of Pianos on Madison’s far west side continues to be a project of imagination and inspiration, with concerts offering a range of visiting performers and unusual repertoire.
It was quality and quantity in the program offered on Friday night, which was then repeated the following evening. A team of four—count ‘em, four— highly accomplished pianists, who are used to performing together as a team, gave a remarkable concert of multi-piano splendor.
The four (below, from left) are: Spaniard Daniel del Pino, Canadian Lucille Chung, Israeli Alon Goldstein and Italian Roberto Plano. Their collaborative facility is linked to utter enthusiasm in their work.
For this program, Farley’s assembled four superlative instruments. Three are vintage Mason & Hamlin pianos, one made in 1907, the other two dating from 1914; plus a Steinway grand made in 1940. The array of these instruments—all four in the center of the salon, with circles of chairs all around for the audience—was itself an inspiration, and a fine success.
The opening piece was Wolfgang Amadeus Mozart’s Sonata in D Major, K. 381, for piano four hands, a kind of “miniature” introduction, and beautifully played by Chung and Goldstein at the Steinway.
“All hands,” as it were, then turned out for the remainder of the program.
A four-piano arrangement of the Dance Macabre by Camille Saint-Saëns was knowingly made in 1874 by Ernest Giraud, a contemporary and colleague of the composer.
This was followed by a more recent effort, a Fantasy on Themes from Bizet’s “Carmen” (1994) contrived by the distinguished Mormon musician Mack Wilbert. Both of those works built up spectacular effects of sound and color, in music certainly familiar in their original forms.
Also familiar, of course, is Maurice Ravel’s Boléro, played in this program in a four-piano arrangement by Jacques Drillon (1992). Here, I felt that such an arrangement was a bit forced. All those hands made the repeated rhythmic foundation that much more pounding and more relentless than in the orchestral original, while the colors available from the pianos could not quite match the wonderful varieties that Ravel could draw from his wider range of orchestral instruments.
Particularly disappointing, I found, was a four-piano expansion (1886) by Richard Kleinmichel of Franz Liszt’s Hungarian Rhapsody No. 2. While the single-piano original is dense, its division among four players was mainly a matter of doubling up the players on the same parts: more analytic than the original, this treatment does not really improve anything.
As an encore, the four delivered a Horowitzian transcription of John Philip Sousa’s Stars and Stripes Forever. (You can hear Vladimir Horowitz perform it in the YouTube video at the bottom.)
Responding to endless audience enthusiasm, the four then sat down together at the Steinway to play a Galopp by one Albert Lavignac, written for one piano, eight hands. The four players had a ball climbing all over each other to do this novelty piece as intended.
One interesting feature of the program was the opportunity to hear and compare these four fine pianos against each other. And the four performers added to the experience by constantly rotating who played which instrument.
To my ears, the Mason & Hamlin instruments could deliver a marvelous richness and power. But the Steinway could combine those qualities with an added brilliance and coloristic range.
But, then, that was to my ears.
Whatever, a dazzling keyboard evening was had by all.
ALERT 1: The UW-Madison‘s Pro Arte Quartet will give a FREE concert TONIGHT at 7:30 p.m. in Mills Hall. The program is the “Italian Serenade” (1887) by Hugo Wolf (1860-1903); the String Quartet No. 3 in F Major, Op. 73, (1946) by Dmitri Shostakovich (1906-1975); and the String Quartet in A-flat Major, Op. 105 (1895) by Antonin Dvorak (1841-1904).
ALERT 2: Tickets to the piano recital of Johann Sebastian Bach‘s “Goldberg” Variations by Christopher Taylor this Friday night are SOLD OUT as of Monday morning.
By Jacob Stockinger
The Ear has received the following announcement to post about a set of unusual piano concerts this coming weekend:
In their only North American appearance, world-renowned pianists Daniel del Pino, Lucille Chung, Alon Goldstein and Roberto Plano will be heard this Friday and Saturday nights in the opening program of the third season of the Salon Piano Series.
Hosted by Tim and Renee Farley at Farley’s House of Pianos, the Salon Piano Series has quickly gained a reputation for unique and stimulating programs in the intimate and historic setting of the Farley showroom.
But never have four pianists been heard at once on four restored instruments.
“It’s an honor knowing the pianists chose our location for their only North American performance,” says Renée Farley, co-founder of the Salon Piano Series. “We thought of no better way to open our third season.”
The repertoire for the “Four on the Floor” concerts could hardly be more entertaining or appropriate for Halloween weekend: arrangements of the “Danse Macabre” by Camille Saint-Saens; the “Carmen Fantasy” based on the beloved opera by Georges Bizet; Maurice Ravel’s own transcription for four keyboards of his “Bolero” (heard in the YouTube video at the bottom); and an arrangement of the “Hungarian Rhapsody No. 2” by Franz Liszt.
For the first time, an SPS program will be heard twice, on Friday, Oct. 28, and Saturday, Oct. 29, with both events beginning at 7:30 p.m. at the Farley’s House of Pianos Showroom, 6522 Seybold Road, Madison. That is on Madison’s far west side near the West Towne Mall.
Tickets are $45.
For more information about tickets, the concerts and the artists, plus other artists and concerts in the Salon Piano Series this season, visit:
For information about Farley’s House of Pianos, go to:
Daniel del Pino (below) is a leading Spanish concert pianist juggling an international recital career with teaching in the Basque Country in Donostia-San Sebastian, Spain.
The reputation of Lucille Chung (below), who often performs with her husband Alessio Bax, has grown steadily since her debut at the age of 10 with the Montreal Symphony Orchestra. To date she has performed with more than 60 orchestras.
Alon Goldstein (below, in a photo by Meagan Cignoli) is particularly admired for his artistic vision and innovative programming. The New York Times described a recent performance as “exemplary throughout, with his pearly touch and sparkling runs.”
Roberto Plano lives in Travedona Monate, Italy and teaches there at Accademia Musicale Varesina, which he founded.