The Well-Tempered Ear

Classical music: The Middleton Community Orchestra opens its season with polished viola playing from Vicki Powell and infectious enthusiasm from the entire orchestra in a Dvorak symphony.

October 25, 2014
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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 for 20 years hosted an early music show every other Sunday morning on WORT FM 89.9 FM. He serves on the Board of Advisors for the Madison Early Music Festival and frequently gives pre-concert lectures in Madison.

John Barker

By John W. Barker

The Middleton Community Orchestra (below) opened its fifth season on last Wednesday evening with a mix of novelties and old favorites.

Middleton Community Orchestra press photo1

The orchestra’s new concertmaster, Valerie Clare Sanders, a senior at the UW-Madison School of Music  who also plays with the Madison Symphony Orchestra, also made her debut with the MCO.

Valerie Clare Sanders MCO 2014

The starter was the ever-popular, ever-rousing Overture to the opera “William Tell” by Rossini. The playing seemed a little less fully digested, but the piece still came off with spirit.

The unfamiliar elements were two display pieces for the young but highly gifted, Madison-born violist, Vicki Powell (below). She offered a superbly warm, rich, clearly projected tone, presented in a thoroughly professional manner— reminding us, too, how underappreciated the viola is as a solo instrument.

Vicki Powell at MCO

Her first selection was a Fantasia on themes of Mozart, by Johann Nepomuk Hummel (1778-1837), a protégé of Mozart and rival to Beethoven. Originally a solo piano piece of 1833, if I am not mistaken, it was arranged for solo viola and chamber orchestra by the French musician Fernand Oubradous. It proved to be charming music, beautifully played.

The second piece was a Romance, Op. 85, of 1911, for viola and orchestra. Composed in lush late-Romantic style, it could have been a movement of a concerto, and was a handsome dialogue between soloist and orchestra, realized with particularly gorgeous tone by Powell. She is a musician to watch for.

Vicki Powell and Steve Kurr MCO finale

The grand finale was the Symphony No. 8 in G major by Antonin Dvorak.

Here I must ask the reader’s patience if I indulge in a strong personal memory about this work — and a very pertinent one.

When I was a graduate student in the late 1950s at Rutgers University, in New Brunswick N.J., I attended a concert by the New Brunswick Community Philharmonic (if I remember its name correctly). It consisted of semi-professionals and amateurs of the area, under the baton of the local high-school bandmaster, one Max Pecker. This has proven to be one of the most memorable concerts of my musical lifetime, and I still recall the program vividly.

Franz Schubert’s bouncy Overture to his opera “Alfonso und Estrella” immediately revealed that this orchestra was a pretty scrappy affair in terms of discipline. BUT: the players were having so much fun in their work that it was impossible not to share their enthusiasm.

The second work was the Piano Concerto No. 2 of Camille Saint-Saëns, featuring a local keyboard whiz just back from the Paris Conservatory. For him the orchestra had made its most careful preparation, and their playing came off as quite credible.

But the final work was this very same G major Symphony by Dvorak (below). Now, the orchestra’s concertmaster was also the local newspaper’s music critic (!), and in her review of the concert she revealed the profundity of her knowledge by observing that, though this symphony was not as well-known as Dvorak’s Symphony No 9 “The New World,” it was, she insisted, “not without moments of interest” (! again). (You can hear the entrancing and beautiful symphony in a YouTube video at the bottom.)

dvorak

The important thing was that, even though the work was rough going for this ensemble, the sheer joy of the players was simply contagious. The most honest kind of musical pleasure filled the hall. As I said, this is a concert I have never forgotten, always remembered affectionately.

I had that concert very much in mind in listening to the MCO performance.

Oh yes, there were some passing fluffs here and there. But this was an orchestra that could play with discipline and coherent unity of purpose, far beyond the New Brunswickers’ capacities. The parallel was, however, that the players seemed clearly to have caught the enthusiasm for the score conveyed to them by conductor Steve Kurr (below).

Steve Kurr and MCO 2014

Better than most performances I have heard, Kurr projected an intensity and even dramatic emphases that the orchestra took up and gave back to him gloriously.

One member told me afterwards: “We enjoyed playing it.” And I found myself at times transported with delight at how this magnificent score once again came alive for me, thanks to music-making that was more than just a matter of artistic efficiency.

My point is not just a matter of nostalgia revived. It is a reminder that one does not have to have a performance by one of the super-polished orchestras of our Big Cities, or of the international world, in order to have a memorable listening experience.

A deeply committed orchestra under inspired and inspiring leadership can offer as satisfying a musical experience as can be found anywhere.

Madison audiences should therefore listen up and pay attention to Middleton’s really splendid community orchestra, taking advantage of its offerings to discover the genuine rewards.

 

 

 

 

 


Classical music: Vicki Powell talks about why she took to the viola rather than the violin. She returns to Madison to solo next Wednesday night with the Middleton Community Orchestra. Plus, cellist Yo-Yo Ma’s SOLD-OUT recital Saturday night at the Wisconsin Union Theater will be WEBCAST LIVE and FOR FREE.

October 17, 2014
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REMINDER: This Saturday night, superstar cellist Yo-Yo Ma (below right) will make his seventh appearance at the Wisconsin Union Theater at 8 p.m. in Shannon Hall. His recital features works by Igor Stravinsky, Johannes Brahms, Olivier Messiaen, Heitor Villa-Lobos, Astor Piazzolla and others with piano accompanist Kathryn Stott (below left). The event is SOLD OUT to the general public, although some student tickets may remain. For more information, here is a link:

http://www.uniontheater.wisc.edu/season14-15/yoyoma-kathynstott.html

BUT: If you didn’t get a ticket to the sold-out Yo-Yo Ma and Kathryn Stott concert Saturday night, October 18, in Shannon Hall in the Wisconsin Union Theater, don’t fret. The concert will be webcast if you go to the page above at 8 p.m.

yo-yo ma and kathryn stott

By Jacob Stockinger

The Ear loves the sound of the viola, with its mellow mediating between the higher violin and the lower cello.

And he will have the chance to hear it in some unusual repertoire this coming Wednesday night, Oct. 22, when  the Madison-born violist Vicki Powell (below top) returns to solo with the Middleton Community Orchestra (below bottom, in a photo by William Ballhorn) under conductor Steve Kurr.

Vicki Powell, Viola

Middleton Community Orchestra by William Ballhorn

The MCO opens its fifth season at 7:30 p.m. on Wednesday in the Middleton Performing Arts Center, 2100 Bristol Street, that is attached to Middleton High School. Tickets are $10 general admission; students get in for FREE. Advance tickets can be bought at the Willy Street Coop West.

Middleton PAC1

The program includes the Overture to “William Tell” (which contains the brass fanfare theme to TV show “The Lone Ranger”) by Gioachino Rossini; the Fantasy for Viola and Orchestra by Johann Nepomuk Hummel; the Romance for Viola and Orchestra by Max Bruch; and the Symphony No. 8 by Antonin Dvorak.

For more information about the amateur but very accomplished ensemble, including how to join it and support it and find out what the coming season will bring, call (608) 212-8690 or visit: http://middletoncommunityorchestra.org

Violist Vicki Powell (below) recently gave an email interview to The Ear:

Vicki Powell 2

Could you briefly introduce yourself to readers and tell us a bit about yourself, including when you started music lessons, your early preparation and your life in Madison as well as your personal interests (hobbies, etc.) and professional career plans?

Greetings from New York City, the city that never sleeps and that is certainly never lacking in cultural events. I am a native Wisconsinite, raised in Madison, but for the past eight years I have been living on the East Coast.

After earning my Bachelor’s of Music at the Curtis Institute, where I studied with Roberto Diaz and Misha Amory, I moved to New York City to pursue my Master’s at the Juilliard School, and have lived in the city ever since.

My life consists of a potpourri of musical activities, from performing with the Jupiter Chamber Players, to playing with the New York Philharmonic, to collaborating with ballet companies alongside my new music group Ensemble39. I’ve traveled across the globe and collaborated with many incredible musicians, but my most fond memories are from my time back home, the formative years of my musical being.

I began taking violin lessons with Maria Rosa Germain at the age of four after hearing my brother, Derek, play the violin. I have such a vivid memory of the moment when I decided that I wanted to play the violin: It was dusk, and I was curled up on the green shag carpet of our basement floor, the last bits of daylight leaking in through the windows above. Derek was practicing the Waltz by Johannes Brahms from Suzuki, Book Two a few feet away.

I was exhausted after an afternoon of monkeying around on the jungle gym, and the waltz was the most soothing lullaby to my ears, transporting me to that surreal state of half sleep where time seems to stand still. I felt so peaceful, so warm, so content, the effects combining to make the moment so magical that the only logical thing to me upon waking was that I would some day be able to recapture that sensation and make music as beautiful.

My main violin studies were with Eugene Purdue (below, in a photo by Thomas C. Stringfellow), of the famed “Buddy” Conservatory of Music, with whom I studied for nine years. Mr. Purdue also introduced me to the wonderful world of chamber music, taking on the role of devoted coach to my string quartet, the Élève Arte (wannabes of the Pro Arte String Quartet).

Eugene Purdue 2 by Thomas C. Stringfellow

The challenge to my string quartet was that there were three of us violinists, and no violist to speak of, so we took it upon ourselves to switch around our roles in order for us each to have a turn at playing the viola. As the years rolled on, it became clear to us that in order to compete at competitions, it was not practical for us to be lugging so many instruments onstage (there exists some comical video footage of this phenomenon).

At this point, I decided that my role in life was not that of diva (ahem, First Violin). Although I find the role of Second Violin extremely vital to the ensemble, challenging, thrilling and full of guts, I was drawn to the uniquely dark tone of the Viola.

To me the viola (below) represented the real meat and soul of the string quartet, and the tone of the viola was the perfect vehicle for expressing all of the rage, pain and suffering that I felt (Bela Bartok’s works were the perfect outlet for those emotions).

viola

Most violists also play the violin. What attracted you to the viola? What would you like the public to know about the viola, which seems less well-known and more mysterious than, say, the violin or the cello?

Having now overcome my teenage angst, I still adore the viola and its role in music -– to be entrusted with the core of harmony, the real color within every texture, gives me such a sense of quiet power with which I can subtly control the direction of a phrase and the shape of an entire work.

Mr. Purdue once shared a piece of wisdom relating to his wife, Sally Chisholm (below), who teaches at the UW-Madison School of Music and performs with the Pro Arte Quartet. She was my first formal viola teacher and the person responsible for expanding my creative horizon beyond the physical realm of music-making.

Those words of wisdom were: “People feel at ease when playing with Sally, and they easily credit themselves for sounding so magnificent. However, it is Sally who, through her playing, acts as such a strong guiding force that the flow of musical intention is undeniable.” That is a powerful statement that has stayed with me to this day, and which I strive to achieve every single day.

Sally Chisholm

Was there an Aha! Moment – an individual piece or composer or performance or recording, when you knew you wanted to pursue music as a career and be a violist?

I can’t imagine pursuing a life in anything unrelated to music and the arts, but it was not always that way.

As a teenager, I refused even to dream of becoming a musician –- I’m a very realistic person, and the idea of fighting my way through a world that is so competitive and which is not quite so financially lucrative was not one that appealed to my sensibilities. During my early high school years, I focused my attentions on math and the sciences, preparing myself for a life as a dentist or pathologist.

Then my “Aha!” moment came with my 16th birthday when I gave my debut as a solo violist on the nationally syndicated radio show From the Top on NPR (National Public Radio). It was the first time I had ever played for an audience to which I had no connection — the show was taped in Dallas, Texas — and I suppose the whirlwind story behind my debut as a violist sans string quartet helped to convince me that a life in music would never be boring.

I had such a blast meeting new people, and the thrill that came with being onstage was unforgettable that from that point forward I was hooked.

Benjamin Solomonow playing cello on NPR's %22From the Top%22

How do you think classical music can attract more young people?

We so often hear that classical music is dying, a sentiment with which I strongly disagree. Times have changed, and the world has turned to an era of short attention spans and an addiction to social media. I myself am victim to a few of these [shortcomings], but because of them, I am also aware of the enormous amount of interest in the classical world.

I believe that in order to attract more young (and old) fans of classical music, we must be conscious of providing inviting points of entry.

I am very fortunate to be privy to several hip events around New York City that target young people looking to be cultured and have a great time doing so. A few examples are: Groupmuse, Wine by the Glass, NYC House Concerts, the Le Poisson Rouge (below) nightclub. They all introduce music in a social setting where it’s cool to explore, and where you don’t feel constrained by rules of concert-watching etiquette.

Le Poisson Rouge

What can you tell us about Hummel’s Fantasy for Viola and Orchestra?

Hummel (below) was a contemporary of Mozart and Haydn, both of whom played the role of mentor for their younger counterpart. Hummel is most well-known for his fantasies, which are said to be “the peak and keystone of virtuosic performance.” The Fantasy for Viola and Orchestra takes on different operatic themes, three of which appear in the version that I will be performing with the Middleton Community Orchestra. (You can hear the Hummel Fantasy for Viola and Orchestra performed in a YouTube video at the bottom.)

Hummelcolor

What can you tell us about the Bruch Romance for Viola and Orchestra

The Romance by Max Bruch (below top) holds a very special place in my heart. It was the very last work I performed — with the Wisconsin Chamber Orchestra (below) — before departing Madison to begin my studies at the Curtis Institute of Music eight years ago! The lush, tonal soundscape will draw in any sucker for Romantic music.

max bruch

WCO lobby

Is there something else you would like to say or add?

I’m very much looking forward to performing at home again, with people that are like family to me. Mindy Taranto, cofounder of the Middleton Community Orchestra, has been such a great friend and supporter to me throughout the years, and I am thrilled to finally have the opportunity to collaborate with her and the orchestra.


Classical music: Here are the final program and details about the FREE memorial on this Sunday at 3 p.m. in Mills Hall for University of Wisconsin-Madison pianist Howard Karp.

August 28, 2014
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By Jacob Stockinger

The Ear has received a request from the Karp Family.

It seems there is still some ignorance and some confusion about the memorial event -– a life celebration, really –- set for this Sunday afternoon for the late pianist Howard Karp, who died in June at 84 in Colorado and who had taught and performed at the University of Wisconsin-Madison School of Music from 1972 to 2000.

The event is FREE and OPEN to the public.

Here are the details:

“Dear Jake, 

“I hope all is well.

“Here is the program for Sunday.

“I am still hearing from people who want to go to the celebration, but don’t know when or where it will be.  

“My very best to you,

“Parry Karp”

A CELEBRATION OF THE LIFE OF HOWARD KARP (1929-2014, below in a 2000 photo by Katrin Talbot)

Howard Karp ca. 2000 by Katrin Talbot

The celebration will be held this Sunday, August 31, 2014, at 3 p.m. in Mills Concert Hall (below) in the Mosse Humanitites Building,  with a FREE and PUBLIC reception to follow.

MIllsHall2

FREE parking can be found in nearby Grainger Hall of the University of Wisconsin Business School.

“Performances” by Howard Karp come from recordings issued by Albany Records and the University of Wisconsin-Madison School of Music.

Welcome

Sonata in B-Flat Major, Op. 106 (“Hammerklavier) by Ludwig van Beethoven:  Movement I. Allegro, Howard Karp, pianist

Words from Bill Lutes (below, with his wife UW-Madison pianist Martha Fischer, and a former student and friend of Howard Karp)

martha fischer and bill lutes

Piano Quartet in E-flat Major, Op. 47, by Robert Schumann,   Movement III. Andante cantabile, performed by Frances Karp, pianist (wife of Howard Karp, below top with Howard); Leanne League (violinist, below bottom, who teaches at the University of Wisconsin-Whitewater and  is the assistant concertmaster of both the Madison Symphony Orchestra and the Wisconsin Chamber Orchestra as well as a member of the Ancora String Quartet); Katrin Talbot, violist (daughter-in-law and wife of Parry Karp); Parry Karp, cellist (eldest son of Howard Karp who teaches cello and chamber music at the UW-Madison and is a member of the Pro Arte Quartet.)

howard and frances karp

Leanne League profile

Readings from William Shakespeare by granddaughter actresses Isabel Karp (bel0w top) and Natasha Karp (below bottom).

isabel karp USE

Natasha Karp

“Fantasie” in C Major, Op. 17, by Robert Schumann, Movement I: Durchaus fantastisch und leidenschaftlich vorzutragen, Howard Karp, pianist

Words and music from Malcolm Bilson (below, a well-known teacher and keyboard performer with Howard Karp at the University of Illinois at Champaign-Urbana and a retired professor from Cornell University); Sonata in F-sharp Minor, D. 571, by Franz Schubert,  Movement I. Allegro moderato

Malcom Bilson 2

Words from pianist and friend Ira Goodkin

Concerto Per Due Pianoforte Soli by Igor Stravinsky, Movement 1. Con moto; Sergei Rachmaninoff, Fantasy-Tableaux: Suite No. 1 for Two Pianos, Op. 5: 1. Barcarolle: Allegretto; Howard and Frances Karp, duo-pianists

Words from actress granddaughter Ariana Karp (below), via video

ariana karp portrait

“Kol Nidre” by Max Bruch, Parry Karp, cellist (below top), and Christopher Karp (below bottom), pianist and  youngest son of Howard Karp who is a medical doctor with the Bill and Melinda Gates Foundation.)

Parry Karp

Christopher Karp

Words from Parry Karp

Sonata in B Minor, Op. 58, Frederic Chopin, Movement IV. Finale: Presto non tanto, Howard Karp, pianist

FREE PUBLIC RECEPTION TO FOLLOW

Here is a link to the posting on the new UW-School of Music blog A Tempo:

http://www.music.wisc.edu/2014/07/17/howard-karp/

And here is a link to another performance by Howard Karp on SoundCloud, a rarely heard work by Johann Sebastian Bach that features a Fugue on a Theme by Tomaso Aliboni as well as works by Chopin and Felix Mendelssohn:

https://soundcloud.com/uw-madisonsom/sets

Howard Karp's hands by Katrin Talbot

 

 

 


Classical music Q&A: Pianist Isabella Wu discusses Sergei Rachmaninov’s Piano Concerto No. 1, which she will perform tonight at the opening of the Wisconsin Chamber Orchestra’s 31st annual Concerts on the Square. Plus, the Madison Summer Choir sings Brahms and Bizet on Friday night.

June 25, 2014
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ALERT: Just a reminder that the Madison Summer Choir (below) will present the “Song of Destiny” by Johannes Brahms and the “Te Deum” by Georges Bizet with orchestra this Friday night at 7:30 p.m. in the First Congregational United Church of Christ, 1609 University Ave. The concert is entitled “Philosophically Speaking,” also features pieces exploring human reality, existence, and reason.  The first half includes works by Orlando Gibbons, Stephen Chatman, Cecil Effinger and Daniel Mulholland. Admission is $8 for adults, $5 for students. Here is a link with information about the concert and about how to join the choir:

http://madisonsummerchoir.org

Madison Summer Choir

By Jacob Stockinger

Tonight at 7 p.m. brings the opening of what has been billed in the past as “The Biggest Picnic of Summer”: The 31st annual FREE Concerts on the Square (below) by the Wisconsin Chamber Orchestra under the baton of WCO music director and conductor Andrew Sewell. Each of the six concerts draws upwards of 10,000 people.

(NOTE: The weather reports call for possible storms tonight. To find out about  possible cancellation of the concert, final word will be posted every Wednesday afternoon by 3 p.m. on www.wcoconcerts.org.)

Over the next six consecutive Wednesday nights (Thursdays are the rain date), all kinds of music -– from classical to rock, pop and blues -– will be featured on the King Street corner of the Capitol Square in downtown Madison.

ConcertsonSquaregroupshot

Of special note is the appearance tonight by Madison pianist Isabella Wu (bel0w), who won the annual young artist concerto competition this year. She will perform the first movement of the Piano Concerto No. 1 in F-sharp minor by the Romantic 20th-century Russian composer Sergei Rachmaninov.

Isabella Wu

Also on the “Midsommer Stars” program are: the “Swedish Festival Music” by Swedish composer August Soderman (1832-1876); Swedish Dance Nos. 1-7 by Max Bruch; the “Cossack Scherzo” from the Symph0ny No. 2 by Mily Balakirev; the Festival Overture on the American National Air by British composer Percy C. Buck (1871-1947); and “Midsommervaka” by Swedish Hugo Alfven (1872-1960).

Here is a link to an overview of this summer’s six Concerts on the Square.

http://wcoconcerts.org/performances/concerts-on-the-square/

Here is a link to rules and guidelines that are useful for attending the concerts:

http://wcoconcerts.org/performances/concerts-on-the-square/attendingtheconcerts/

And here is a link to vendor menus if you don’t bring your own food for dinner:

http://wcoconcerts.org/assets/files/153411_2014COSVendorMenus.pdf

Pianist Isabella Wu recently agreed to doing an email Q&A about her performance tonight:

Isabella Wu2

Can you briefly introduce yourself to readers.

I am Isabella Wu, age 15 and a freshman at Madison Memorial High. I began piano lessons at the age of 5. In third grade, I became interested in picking up a second instrument, the violin (below, Wu is seen soloing with WYSO’s Philharmonia Orchestra) and have been in the Wisconsin Youth Symphony Orchestras (below) for six years. (I will be on WYSO’s tour to Argentina in late July).

My other pursuits in music have been numerous. I am an avid singer, and recently finished a semester coaching choir at my middle school. Most recently, my interests have extended to playing percussion and composing.

Music has been the most essential part of my life for as long as I can remember, and I would consider it my first language and my first world. Where I would be without music or art, for that matter, would be most certainly a cataclysmic shift; hence, I expect to be in the music world in the future. Where, I don’t know. I have an interest in the back-stage business area of the artistic world, and being an impresario is a possibility.

Isabella Wu on violin with WYSO Philharmonia Soloist 3

Why did you choose the rarely played Piano Concerto No. 1 by Sergei Rachmaninov to study, play and perform?

When I heard the Rachmaninov 1, the work touched me as something soulful and heart-wrenching, yet fleeting at times, and touched with a bit of bravura. The soaring theme following the opening passage became an immediate favorite with my daily spontaneous outbursts of singing.

But the cadenza of the first movement is where I felt the heart of the first movement could be found. Around that time, I was deciding between this Rachmaninov 1, and his famous second concerto. I was a bit puzzled when I found I was reluctant to play the second, as I had always longed to play it. (The second concerto is much-loved and very popular).

Something didn’t quite seem so right. Months after I had chosen the first, I was still pondering why. I think I knew the Second Concerto by Rachmaninov (below) was too ingrained in the public’s mind, too well-known by onlookers and by me to search for my own voice. If I had chosen the second, I would have felt overwhelmed by the high stature placed on it, and been (as I already was) too influenced by the numerous recordings to call it my own.

But the first concerto — that was something different. The sparse recordings I found were none alike, and it was not well-known, but equally special. The concerto is not so spectacular at first glance, but has the capability of bringing tears to the most reticent of audience members.

rachmaninoffyoung

What do you most like about the concerto and what would you like the public to know about it?

Rachmaninov wrote this concerto, his Op. 1, at the age of 19, when he was still a student at the Moscow Conservatory. As was the custom for novitiates of the Conservatory, Rachmaninov based his work on that of another composer — in this case, the Piano Concerto in A Minor by Edvard Grieg (below).

“Based” is an understatement — Rachmaninov literally wrote his music into Grieg’s concerto, copying it form for form. If you compare the two concertos, you will see that they are very much alike in structure.

edvard grieg

Rachmaninov entered his concerto into the conservatory competition, and took first place. However, years later, after Rachmaniov had sought asylum in the United States, and even after he had edited his second and third concertos, Rachmaninov went back to redraft the first.

As the concerto was already published, there was not much structural change he could make to the piece. Instead, he filled in the lines, developing a much more mature work, and completely re-writing the cadenza.

Yet the public did not receive his work well, and Rachmaninov is said to have stated: “I have rewritten my First Concerto; it is really good now. All the youthful freshness is there, and yet it plays itself so much more easily. And nobody pays any attention. When I tell them in America that I will play the First Concerto, they do not protest, but I can see by their faces that they would prefer the Second or Third.”

Once when Rachmaninov was asked what inspired his music, he replied, “Love. Love -– this is a never fading source of inspiration. It inspires like nothing else. To love means to combine happiness and force of the mind. It becomes a stimulus for the flourishing of intellectual energy, and as such -– for creativity.”

One can only wonder what he meant. At the time of 19, he had already experienced a great number of tragedies, including the deaths of two of his sisters. He had also fallen in love with a neighbor, Verochka Skalon, but was forbidden to write letters to her. Later, after many years, his statement probably also included his love for his country, which he could never go back to.

Whatever the love might be, I hope you too find it in this piece.

Rachmaninoff

You are a competition veteran and winner. How do you cope with performance, especially before such a big crowd? Do you get nervous? How do you prepare? Are there “tricks” you would like to share with others?

Performance anxiety is a nasty deal. Experience usually helps, but isn’t the ultimate solution. For me, yes, I do get nervous, but the key is to channel the nervousness into a positive asset. Nervousness, if directed correctly, gives you the extra boost.

Another occasional problem is “Paralysis by Analysis,” which occurs when the analytical left brain tries to dominate the more natural right brain. However, if you manage to find the zone where your mind clicks, you will do fine.

I usually do stretching exercises and slow down my breathing. I also have some pieces I’ve designated as “warm-up” pieces that tend to click. Try to develop a routine; it will all feel natural in good time.

stage fright

What do you think we have to do to interest more young people in classical music? How did you get interested in it?

For me, music just always happened to be around, with the stereo playing Johann Sebastian Bach while I went to sleep. The big difference, say, between pop music and classical is the accessibility of pop music. Pop songs are generally around 5 minutes long and “catchier,” and can be easily simulated by voice. Classical music, however, requires — most unfortunately — money, and usually a good deal of it. Not to mention classical music’s centuries-old rules, whereas pop songs are more spontaneous and thriving.

The problem is that our liberal-minded age seeks the more libertarian values. However, we’ve been doing a good job introducing classical music to the young public. The high school music program, and to a lesser degree, the middle school program, does a good job of introducing students to an individual instrument and developing a passion for ensemble works. Even some of the elementary school programs are noteworthy, with the common recorder and occasional musicals.

Around here in Madison, Michelle Kaebisch (below, in a photo by Katrin Talbot), of both the Madison Symphony Orchestra and the Wisconsin Youth Symphony Orchestras, does an excellent job of bringing classical music to the schools through numerous programs — Link-Up, the Hunt Quartet and the Fall Youth Concerts, in  which I soloed twice — that are eye-openers to students.

Michelle Kaebisch WYSO cr Katrin Talbot

What else would you like to say or add?

Hope to see you Wednesday!


Classical music: Madison chamber music group Con Vivo! explains what it means to play at Carnegie Hall later this week – and how they got there.

December 11, 2012
2 Comments

By Jacob Stockinger

So, the old joke goes, an out-of-town stranger in New York City comes up to a native resident on the street  and asks directions: “How do you get to Carnegie Hall?”

And the city sly, unexpected answer comes: “Practice, practice, practice!”

Well, a number of Madison-based individuals and groups, including the Pro Arte String Quartet, have practiced, practiced, practiced and then played in Carnegie Hall (below).

carnegie-hall-address

But The Ear still felt that asking about getting to Carnegie Hall was a good question to put to the distinguished and talented local chamber music group con vivo! (With Life) , which is now in its 11th season and will perform in Carnegie Hall’s Weill Recital Hall this Thursday night.

So now that the practicing is over, I asked the group to provide a short essay to post, and the co-artistic director of con vivo! (below, in a photo by Katrin Talbot), Robert and Kathy Taylor, obliged my request.

Here is their essay:

Con Vivo 2012 Katrin Talbot

By Kathy and Robert Taylor

The con vivo! musicians were all sitting around chatting at a rehearsal last year when someone said wouldn’t it be awesome to perform at Carnegie Hall.

So our Artistic Director, Robert Taylor, investigated the possibility.  We applied and were accepted into Carnegie Hall’s Visiting Artist program. A mutually acceptable date was found which is now upon us: Thursday, Dec. 13, 2012 at 8 p.m.

To prepare for our appearance in Weill Recital Hall at Carnegie Hall, we have been fundraising and performing over the past year. Our last performance in Madison before going to New York was last Sunday, Dec. 9, at Capitol Lakes Retirement Center’s Great Hall.

The program for Carnegie is: “Overture on Hebrew Themes” by Prokofiev; Haydn’s Piano Trio in G Major, the “Gypsy Rondo”; selections from Eight Pieces for Clarinet, Viola and Piano by Max Bruch; and the beautiful Mozart Clarinet Quintet.

con vivo! is honored to have the opportunity to represent the Madison music community in New York City in Weill Recital Hall (below) at Carnegie Hall.

We are so very grateful to all those who have supported us to help make this event possible. It is probably every musician’s dream to perform at Carnegie Hall, so we are very excited about this performance!

Weill Recital Hall

Another motivating factor was that preparing for this event and performing in New York will make us better at what we do, both as individual musicians and as an ensemble.

It is also our hope that this opportunity will enhance our visibility in the Madison music scene.

In the future, in addition to our local performances, we dream about performing in some of the beautiful churches of Europe!

But for now, we’re off to New York’s Carnegie Hall!


Classical music: Edgewood College performs its 85th annual Christmas Concerts on Friday and Saturday nights in Madison. Plus, Con Vivo previews its concert at Carnegie Hall.

December 7, 2012
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ALERT: This Sunday night at 7:30 p.m. at the Capitol Lakes Retirement Center’s Great Hall, 333 West Henry Street in downtown Madison, the Madison-based chamber music group Con Vivo! (“With Life,” below) will offer a preview of its upcoming Carnegie Hall Concert. Admission is a free will offering. The concert features Prokofiev’s “Overture on a Hebrew Themes”; Haydn’s “Gypsy Rondo” Piano Trio; selections from Eight Pieces for Clarinet, Viola and Piano by Max Bruch; and Mozart’s sublime Clarinet Quintet. It is the same program that Con Vivo! Performed in September and will perform at Carnegie Hall’s Weill Recital Hall in New York City at 8 p.m. on Friday, Dec. 13, 2012. For more information, visit www.convivomusicwithlife.org or call (608) 277-8087.

Con Vivo group

By Jacob Stockinger

Edgewood College (below) will perform its 85th annual Christmas Concerts tonight and Saturday nights at 7 p.m. in the St. Joseph Chapel, 1000 Edgewood College Drive, in Madison.

Edgewood College 1000

The Edgewood College Guitar Ensemble, Concert Band, Chamber Singers (below), Women’s Choir and Jazz Ensemble will perform a variety of holiday works. A highlight each year is the invitation for audience members to join in singing traditional carols.

Edgewood Chamber Singers

Tickets are $7, and seating is limited for this very popular annual event

Tickets can be reserved in advance at www.edgewood.edu.

This event is presented as part of the Year of the Arts at Edgewood College, a celebration of music, theater and art for 2012-2013.

Supporters of our Year of the Arts programming include the Kohler Foundation, BMO Harris Bank, the Madison Arts Commission, with additional funds from the Wisconsin Arts Board, DANE Arts with additional funds from the Pleasant T. Rowland Foundation, Native Capital Investment, and the Ahrens-Washburn Community Fellows Program.

About Edgewood College: Located in Madison, Wisconsin, Edgewood College is a liberal arts Catholic college in the Dominican tradition, with 2,500 undergraduate and graduate students. It offers more than 40 academic and professional programs, including master’s degrees in business, education, nursing, and other fields, and a doctoral degree in educational leadership. For more information about Edgewood College, please visit www.edgewood.edu, or call Ed Taylor in Marketing & Communications at 608-663-2333.

 

 


Classical music education: Just a reminder that next Saturday afternoon and evening is the pared down Chamber Music Marathon – five hours, NOT 24 – by the Sound Ensemble Wisconsin to benefit music education and local food.

December 5, 2012
2 Comments

ALERT:  This Sunday, Dec. 9, at 3 p.m. in the Madison Children’s Museum, the Black Marigold Wind Quintet (below) will perform a family concert that is FREE with museum admission. For information, visit: Madison Children’s Museum. The program includes favorites such as Prokofiev’s “Peter and the Wolf” and Tchaikovsky’s “The Nutcracker.” The concert is free with museum admission. You can also visit the group’s website for more information. www.blackmarigold.com, where the spring concert series has been scheduled. 

Black Marigold

By Jacob Stockinger

Readers may recall that the recently organized and outstanding Madison-based chamber music group, Sound Ensemble Wisconsin (below), originally announced that it would hold an inaugural 24-hour chamber music marathon from next Saturday morning, Dec. 8, to Sunday morning, Dec. 9, from 9 a.m. to 9 a.m.

It was even presented as a possible alternative to Wisconsin Public Radio’s 4th annual Bach Around the Clock noon to midnight Bach marathon in mid-March, which has been canceled for 2013.

SEW group

The purpose was and remains to benefit the Wisconsin School Music Association and local food providers. A minimum $5 donation is suggested. The public is free to stop by and attend at any time for however long.

Here is a link to the original story:

https://welltempered.wordpress.com/?s=SEW

But SEW director and violinist Mary Theodore (below) has just told The Ear that the firsta annual event is being downsized from 24 hours to five hours: from 3 p.m. to 8 p.m. next Saturday.

Mary Theodore

The five-hour event will still be held at the Wisconsin Center for Music Education in Waunakee (below), not far from Waunakee High School.

Wisconsin School Music sign

The curtailed version might even be preferable.  Imagine it is very hard to line up both performers and audiences for, say, 11 p.m.  or 3 a.m. But maybe another year will allow for sufficient time to expand it to six or seven hours with some piano students and other amateurs and professionals on the roster.

Even in the scaled-down version this year some fine performers will perform some fine repertoire.

The performers include Con Vivo, SEW, Madison pianist and piano teacher Gloria Chuang and others. The repertoire includes a Haydn Piano Trio; Bartok’s Duos for Two Violins (at bottom); Prokofiev’s “Overture on Hebrew Themes”; two movements from Mozart’s Clarinet Quintet; rags by Scott Joplin; a string quartet by Margaret Brouwer; works for clarinet, viola and piano by Max Bruch; music for viola and piano by UW composer Joseph Koykkar (below) and a talk about musicianship through performance.

joseph koykkar

Here is a link with complete details of the marathon’s schedule.

http://sewmusic.org/chamber-music-marathon-schedule/


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