The Well-Tempered Ear

Classical music: This weekend, prize-winning pianist Joyce Yang solos in Prokofiev’s most popular piano concerto with the Madison Symphony Orchestra. Works by Schumann and Aaron Jay Kernis round out the program

November 4, 2019
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By Jacob Stockinger

This weekend, prize-winning pianist Joyce Yang (below) will return to Madison to join the Madison Symphony Orchestra in her local concerto debut and perform Prokofiev’s brilliant, bravura and tuneful Piano Concerto No. 3 in C major, Op. 26.

The concert opens with Kernis’ Newly Drawn Sky and concludes with Schumann’s Symphony No. 2 in C Major, Op. 61.

Performances will be held in Overture Hall, 201 State Street, on Friday night, Nov. 8, at 7:30 p.m.; on Saturday night, Nov. 9, at 8 p.m.; and Sunday afternoon, Nov. 10, at 2:30 p.m.

Tickets are $19-$95 with discounts available. See below for details.

Speaking about the program, music director and maestro John DeMain (below, in a photo by Greg Anderson) says: “November brings us another Madison Symphony debut, that of the amazing pianist Joyce Yang. She will perform the Prokofiev’s dazzling Piano Concerto No. 3, one of the great and most popular concertos, and certainly a favorite of mine.”

Adds DeMain: “I can’t wait for audiences to experience the hauntingly beautiful Newly Drawn Sky by Aaron Jay Kernis. And of the four symphonies by Robert Schumann, many regard his second as the greatest of them all.”

According to Aaron Jay Kernis (below), who has won the Pulitzer Prize and a Grammy Award and who teaches at the Yale School of Music, Newly Drawn Sky” is “a lyrical, reflective piece for orchestra, a reminiscence of the first summer night by the ocean spent with my young twins, and of the summer sky at dusk.”

The chromatically shifting three-note chords that begin in the strings and transfer to the winds are a central element in the creation of this work. The works last approximately 17 minutes and was premiered at the Ravinia Festival in 2005 by the Chicago Symphony Orchestra.

To read more about Kernis and his successful career, go to: https://en.wikipedia.org/wiki/Aaron_Jay_Kernis

Sergei Prokofiev (below) himself played the solo part at the world premiere of his Piano Concerto No. 3 on Dec. 16, 1921 in Chicago with the Chicago Symphony Orchestra. Although he started work on the composition as early as 1913, the majority of it was completed in 1921 and the piece didn’t gain popularity until 1922 when it was confirmed in the 20th-century canon. (You can hear Prokofiev play the first movement in the YouTube video at the bottom.) The Ear thinks that the work has much Russian Romanticism in it and if you like Rachmaninoff, you will probably like this Prokofiev.

Originally a composer for keyboard, Robert Schumann (below with wife Clara) began writing symphonies around the time of his marriage to his virtuoso pianist and composer wife Clara Wieck, who encouraged his compositional expansions.

The uplifting Symphony in C major was created while the composer was troubled with depression and hearing loss; a Beethovenian triumph over pessimism and despair, the creation of this symphony served as a healing process for Schumann.

ABOUT JOYCE YANG 

Blessed with “poetic and sensitive pianism” (The Washington Post) and a “wondrous sense of color” (San Francisco Classical Voice), Grammy-nominated pianist Joyce Yang, who years ago played a recital at the Wisconsin Union Theater, captivates audiences with her virtuosity, lyricism and interpretive sensitivity.

Yang first came to international attention in 2005 when she won the silver medal at the 12th Van Cliburn International Piano Competition. The youngest contestant at 19 years old, she took home two additional awards: Best Performance of Chamber Music (with the Takacs Quartet), and Best Performance of a New Work.

In 2006 Yang (below) made her celebrated New York Philharmonic debut alongside conductor Lorin Maazel at Avery Fisher Hall in Lincoln Center along with the orchestra’s tour of Asia, making a triumphant return to her hometown of Seoul, South Korea.

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 MSO recommends concert attendees arrive early for each performance to make sure they have time to pass through Overture Center’s security stations, and so they can experience the Prelude Discussion.

Program notes for the concerts are available online: http://bit.ly/msonov19programnotes.

  • Single Tickets are $19-$95 each and are on sale now at: https://madisonsymphony.org/event/joyce-yang-plays-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.
  • 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 8-10 vouchers for 2019-20 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 for this concert is provided by Madison Magazine, Stephen D. Morton, National Guardian Life Insurance Company, Scott and Janet Cabot, and Peggy and Tom Pyle. Additional funding provided by Foley & Lardner LLP, Howard Kidd and Margaret Murphy, and the Wisconsin Arts Board with funds from the State of Wisconsin and the National Endowment for the Arts


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Classical music: UW Choral Director Beverly Taylor talks about her life with Bach’s “St. Matthew Passion,” which she will conduct this Sunday afternoon and night

April 20, 2018
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By Jacob Stockinger

Johann Sebastian Bach’s “St. Matthew Passion” always ranks high on the short list of the greatest choral works ever composed.

And for good reason.

It represents a peak of Bach’s sacred music and his choral compositions.

This Sunday afternoon and night in Mills Hall, Beverly Taylor, director of choral activities at the University of Wisconsin-Madison’s Mead Witter School of Music and the assistant music director of the Madison Symphony Orchestra, will conduct the UW Choral Union (below) — comprised of university and community singers — plus soloists and an orchestra, in a performance of the complete work.

At 4 p.m. they will do Part 1 and then at 7:30 p.m., Part 2.

Tickets (one ticket is good for both parts) are $15, $8 for students and seniors. To purchase tickets, go to: https://www.music.wisc.edu/about-us/tickets/

Tickets will also be available at the door.

The Ear is always curious to learn more about the relationship between a professional musician and a towering masterpiece.

He found out more when Taylor (below) recently answered an email Q&A about her past and current experiences with the “St. Matthew Passion”:

When did you first hear the “St. Matthew Passion” and what was your reaction?

I never heard it until my late 20s, would you believe? I’d been through grad school and all its training, and learned German, knew a lot of Bach; and when Seiji Ozawa and the Boston Symphony did it on Good Friday, I sat spellbound for over three hours.

I was shaken to the core by its beauty, and even though it was hardly an early music performance, it was well handled, and one of my favorite British singers, Robert Tear, was the Evangelist. I’ve never forgotten it!

Where do you place the “St. Matthew Passion” among Bach’s works and especially among his many choral works?

As with all masterpieces, it’s hard to choose. It’s the longest work, and its size and scope alone make it a frequent choice of many for favorite work.

It’s more dramatic than the breath-taking B Minor Mass and more meditative than the St. John Passion, but I also love the unbelievable variety of cantatas that Bach (below) produced.

Don’t make me choose!

What role has the “St. Matthew Passion” played in your personal and professional life?

I’d say it’s a pinnacle work. This is only my second time performing it, and I’m unlikely to have the chance again, although one hopes. So I’m invested in its beauty and in its core message of hope in the face of tragedy.

Are there things you would like audiences to know about your upcoming performance?

There are several things.

We have a wonderful cast of soloists, and the orchestra is not the usual student orchestra, since the UW Symphony Orchestra is committed to another program in the near future, but is instead a mixture of students, semi-pros and pros.

The work is set for the two choruses and two orchestras that play with them. Many of the choral movements are set for both orchestras, but Bach varies the texture of each movement by varying who plays in what.

If a listener hasn’t been to a Passion performance before, then you might want to know that:

The character of the Evangelist (sung superbly in this case by Wesley Dunnagan, below) is the narrator of the drama. He is accompanied by the continuo part—which is made up of a keyboard (usually organ with sacred works) and a low melody instrument, usually cello.

The chorus members sing sometimes in the character of Greek chorus commentary, sometimes as characters in the roles of Mob, Roman soldiers, Pharisees, and disciples. Most of this text comes from the book of St. Matthew. However, German theologians wrote commentary that is used for the beautiful Chorales-which basically are hymn-style settings of well-known Lutheran tunes. These chorales turn personal—for instance when Judas betrays Jesus, the chorus, after being a mob, turns around and says in repentance—It is I, I’m the one that killed you. (You can hear the final chorus in the YouTube video at the bottom.)

The text is so important, and Bach uses myriad details to bring it out. It is typical that when the text is about death, or evil, or sin, the writing is chromatic, or full of augmented fourth intervals (once nicknamed the devil’s interval). When Jesus has died and been buried, the chorus sings what feels like a lullaby, with the rocking cradle motion. When an earthquake follows Jesus’ death and the curtain of the temple is torn, the continuo cello breaks out of accompaniment mode and tears down the scale like lightning

Although this work presents Bach’s Christian view in the heart of the church year, the scope and issues of faithfulness and disloyalty, trust and fear, should resonate with listeners of all faiths.

We’ve chosen, as some other presenters have, to have a dinner/snack break between the two parts of the three-hour work. One ticket will get you into either or both halves. We do this to give singers and players a little rest, and a little movement to our listeners. Part I runs from 4 p.m. to about 5:15 p.m., and Part II runs from 7:30 p.m. to about 9:15 p.m.


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