By Jacob Stockinger
Here is the official announcement of the 2017-18 season by the Madison Symphony Orchestra:
The 2017-18 season of the Madison Symphony Orchestra (MSO, below, in a photo by Greg Anderson) presents nine programs that invite audiences to “listen with all your heart” and “feel the emotion, power and majesty” of great classical music.
Subscriptions are available now, and single tickets for all concerts go on sale to the public Saturday, Aug. 12, 2017.
For more information about tickets and ticket prices plus discounts for new subscribers and renewing subscribers, go to:
MSO music director John DeMain, who will be marking his 24th season with the MSO, has created an exciting season that features favorites combined with firsts.
Says DeMain (below, in a photo by Prasad): “I must point out two monumental firsts: the MSO debut of the great violinist Gil Shaham, renowned and sought after the world over, whose appearance Madison has waited for for many years; and the Madison premiere of the Glagolitic Mass by Czech composer Leos Janacek, a gargantuan work for chorus and orchestra with a prominent role for our “Colossal Klais,” the Overture Concert Organ.”
Performances are in Overture Hall of the Overture Center at 7:30 p.m. on Fridays; 8 p.m. on Saturdays; and 2:30 p.m. on Sundays.
The 2017-2018 subscription series concerts begin on Sept. 15, 16 and 17 with “Orchestral Brilliance”—proudly presenting the Madison Symphony Orchestra performing the Johann Sebastian Bach/Leopold Stokowski version of the organ Toccata and Fugue in D minor; Felix Mendelssohn’s Reformation Symphony and Hector Berlioz’s “Harold in Italy” with MSO principal viola Christopher Dozoryst (below, in a photo by Katrin Talbot) as soloist. (You can hear Leopold Stokowski conduct his own transcription of the work by Bach, which was used in Walt Disney’s film “Fantasia,” in the YouTube video at the bottom.)
“From the New World” on Oct. 20, 21 and 22 features the return of beloved pianist Olga Kern (below), a gold medalist in the Van Cliburn competition, performing Samuel Barber’s Piano Concerto, and the MSO performing Antonin Dvorak’s Symphony No. 9 “From the New World” and Maurice Ravel’s Mother Goose Suite.
On Nov. 17, 18, and 19 “Troubadour: Two Faces of the Classical Guitar” features sensational guitar virtuoso Sharon Isbin (below) playing two works, one by American composer Chris Brubeck, and the other by the Spaniard Joaquin Rodrigo, with the MSO performing two Suites—Manuel DeFalla’s The Three-Cornered Hat and Aaron Copland’s Billy the Kid.
The cherished kickoff to the holiday season, “A Madison Symphony Christmas,” returns on the first weekend in December — the 1, 2, and 3. Guest artists Emily Pogorelc, soprano, and Eric Barry, tenor, join John DeMain, the MSO, the Madison Symphony Chorus (below), Madison Youth Choirs and Mount Zion Gospel Choir on stage for the family-friendly celebration.
The MSO season subscription continues in 2018 with the long awaited appearance of violinist Gil Shaham (below) with the MSO—“Gil Shaham Plays Tchaikovsky” on Jan. 19, 20 and 21. This program features works by three of the most popular Russian composers of all time— Sergei Prokofiev’s The Love for Three Oranges Suite, Sergei Rachmaninoff’s Symphony No. 3 and Peter Tchaikovsky’s Violin Concerto.
“Richly Romantic” concerts take place on Feb. 16, 17 and 18 when one of MSO’s favorite cellists, Alban Gerhardt (below), returns performing the lyrical William Walton’s Cello Concerto, and the MSO presents Johannes Brahms’ Symphony No. 1 and Gioachino Rossini’s Overture to Semiramide.
Spring arrives April 13, 14, and 15 with “String Fever” featuring Robert Schumann’s Symphony No. 1, Spring, Benjamin Britten’s Sinfonia da Requiem and Grammy Award-winning violinist Augustin Hadelich (below) performing the Antonin Dvorak’s Violin Concerto.
The season finale, “Mass Appeal,” takes place on May 4, 5 and 6. Star of NPR’s From the Top, pianist Christopher O’Riley (below), will open the program with Mozart’s Piano Concerto No. 22. The MSO premiere of the monumental Glagolitic Mass by Czech composer Leos Janacek features the Overture Concert Organ and the Madison Symphony Chorus, along with soloists Rebecca Wilson, soprano, Julie Miller, mezzo-Soprano, Roger Honeywell, tenor, and Benjamin Sieverding, bass.
The MSO’s 17-18 season includes the popular multimedia production of Beyond the Score®, “Edward Elgar: Enigma Variations,” featuring live actors and visuals in the first half, with the entire work performed in the second half. Joining the orchestra are American Players Theatre actors James Ridge (below), Colleen Madden and Brian Mani, along with Wisconsin Public Radio’s Norman Gilliland of Wisconsin Public Radio as the Narrator. This single performance takes place on Sunday, March 18, 2018*.
NOTE: *Advance tickets for Beyond the Score® are available only to MSO 17-18 season subscribers prior to single tickets going on sale to the general public on Saturday, Aug. 12, 2017. Beyond the Score® is a production of the Chicago Symphony Orchestra. Gerard McBurney, Creative Director for Beyond the Beyond the Score®
ABOUT THE MADISON SYMPHONY ORCHESTRA
The Madison Symphony Orchestra celebrates its 92nd season in 2017-2018 and its 24th season under the leadership of music director John DeMain.
The MSO has grown to be one of America’s leading regional orchestras, providing Madison and south central Wisconsin with cultural and educational opportunities to interact with great masterworks and top-tier guest artists from around the world.
Find more information at madisonsymphony.org
By Jacob Stockinger
But that’s not how The Ear sees them.
The Ear sees symphony orchestras and chamber orchestras not as competitors but as complements.
The two can serve as role models for each other. A symphony orchestra can aim to achieve the transparency and clarity of the smaller group; the chamber orchestra can aim to achieve the richness and bigger sound of the larger ensemble.
Almost two weeks ago, that is exactly what the Madison Symphony Orchestra (below) and conductor John DeMain did with the “Leonore” Overture No. 3 by Ludwig van Beethoven, the Clarinet Concerto by Aaron Copland and especially the big, loud and brassy Ethel Merman-like Symphony No. 4 by Peter Ilych Tchaikovsky.
Here is how The Ear heard that performance:
So how did the Wisconsin Chamber Orchestra do in meeting the challenge?
In a word — superbly.
The WCO did so last Friday night in the Overture Center’s Capitol Theater under its longtime music director Andrew Sewell.
The program started with one of those welcome rarities that Sewell has a knack for unearthing. This time the native New Zealander played the piece “Landfall in Unknown Seas” by Douglas Lilburn (below), whom Sewell described as the Kiwi Copland.
Well, maybe, though The Ear finds Aaron Copland’s music more interesting and emotionally moving than the clearly modern but tonal and accessible music by Lilburn, whose centennial is this year.
The piece — written to commemorate the tricentennial of the discovery of New Zealand — was hobbled with one of those puffily pretentious and over-the-top occasional celebratory poems, which was recited by actor James Ridge (below) of American Players Theatre in Spring Green. It treated navigation and discovery as metaphors of something much bigger than the discovery of New Zealand.
All in all, it proved an interesting but not arresting piece, a curiosity worth hearing but not repeating.
Then came the rarely played Symphony No. 2 in A minor by Camille Saint-Saens. It is a kind of Late Romantic pastiche that reminds one of the “Classical” Symphony by Sergei Prokofiev. One could hear strains of earlier composers such as Robert Schumann and Felix Mendelssohn in this charming work that once again is worth hearing but maybe not repeating or at least not soon.
To be fair, critic John W. Barker disagreed in his review for Isthmus:
In both cases, Sewell (below) and the various sections of the WCO brought not only the kind of transparency or clarity that one expects from the WCO but also a robustness that made the orchestra seem bigger than it looked.
Yet it was in the second half where the WCO really showed its stuff.
The piece was the formidable Violin Concerto by Ludwig van Beethoven.
The soloist was the 25-year-old Benjamin Beilman (below), making his Madison debut.
Together, Beilman and Sewell delivered what is the finest and most exciting live performance of the famous and famously difficult concerto that The Ear has ever heard. It possessed intimacy as well as heroics. (You can hear Itzhak Perlman and Daniel Barenboim conducting the Berlin Philharmonic in the last movement in a YouTube video at the bottom.)
Sewell shaded the piece and brought both chamber orchestra transparency and symphony orchestra heft to the work. He also emphasized Beethoven’s mastery of counterpoint, a legacy from his days as a student of Franz Joseph Haydn. This time the often thorny Beethoven score seemed smoother and more decipherable.
Beilman, for his part, is already a master of the kind of small details that make a huge difference. He is also not afraid to play softly.
Beethoven (below) was a master crafter but not a great melody writer, and often the opening movement can often seem little more than a patchwork of scales and runs, chords and arpeggios.
But not this time. Beilman made this often flat-sounding violin part exciting with the subtleties he brought to it. He found hidden melodies and camouflaged suggestions of a theme, all delivered with a great tone from his modern 2004 violin.
One unusual touch was the cadenzas. Beethoven didn’t write any for the violin. When he transcribed this work for the piano he composed piano cadenzas. And those were the basis of what Beilman, the top winner of the Montreal International Violin Competition and the recipient of an Avery Fisher Career Grant, used for his exciting cadenzas.
Tempi mattered too. This long, dense concerto moved right along, and when it was done, the performance drew an immediate standing ovation from the audience of 900 or so.
And here’s the thing: At no point did the chamber orchestra seem to lack the horsepower needed to drive this big and iconic piece of music. Sewell and Beilman were well matched in projecting a big, rich sound and intense interpretation that engaged and excited you from beginning to end.
The audience even drew two encores from Beilman, both solo pieces by Johann Sebastian Bach (below), the ultimate test of a violinist. One was the songful slow movement from the Solo Sonata in C Major; the other was the lively Gavotte from the Solo Partita in E Major that almost seems a mirror image of the last movement of the Beethoven concerto.(ATTENTION ALL SOLOISTS: Please announce your encores!)
The first Bach movement, by the way, was also the piece that Beilman played at the wedding this summer where his sister married Joe Morris, the gifted principal clarinet of the Madison Symphony Orchestra who so stood out in the Copland concerto two weeks ago.
Plus, Beilman’s parents and grandparents hail from Madison.
So young Benjamin Beilman has roots in and ties to Madison.
Could that mean he will return soon?
The Ear sure hopes so.