ALERT: Tonight’s concert of African-American spirituals and songs has been CANCELLED because guest scholar and singer Emery Stephens is ill. The UW-Madison School of Music hopes to reschedule the event later this spring.
By Jacob Stockinger
Guess who turns 332 on March 21?
This coming Saturday will bring a 12-hour, noon to midnight, marathon party for the Birthday Boy – Johann Sebastian Bach (1685-1750, seen below in a humorous poster for a similar event held several years ago).
The local event – now part of the nationwide “Early Music Month” — is being revived, thanks to Madison violist Marika Fischer Hoyt (below), who performs with the Madison Bach Musicians, the Ancora String Quartet and the Madison Symphony Orchestra, and to many sponsors.
The party will take place at St. Andrew’s Episcopal Church (below) on Regent Street. (Several years ago, the event, when it was sponsored by Wisconsin Public Radio, was held at the Pres House.) There will be live audio-visual streaming and free wi-fi, and the event will be recorded.
Here is a link to the updated schedule of performances:
Here is a link to an earlier post about the upcoming event:
If you love the music of Bach (below) – and The Ear doesn’t know anyone who is into classical music who doesn’t revere Bach — there will be a lot to love and to listen to at this FREE and OPEN TO THE PUBLIC celebration.
The event is modeled after a longtime similar event in New Orleans and those who attend it can come and go and come back again.
Local performers include groups and individuals who are professionals (Madison Bach Musicians and Wisconsin Chamber Choir), amateurs and students (Suzuki Strings of Madison).
The impressive program includes lots of variety.
There will be preludes and fugues.
Cantatas and concertos.
Sonatas and suites.
Obscure works will be performed.
But there will also be popular works such as two Brandenburg Concertos (Nos. 3 and 5), The Well-Tempered Clavier (Books I and II), the Magnificat, a Violin Concerto, “Jesu, Joy of Man’s Desiring” and some of The Art of Fugue. (You can hear Fugue No. 1 from “The Art of Fugue,” which will be performed at BATC, in the YouTube video at the bottom.)
There will be music played on period instruments and on modern instruments, including the harpsichord and the piano; the baroque violin and the modern violin; older recorders and newer flutes, the viola da gamba and the cello. And of course there will be lots and lots of singing and organ music.
Given such a marathon undertaking, you should know that there will be refreshments (coffee, tea, bottled water and snacks), comfortable seating and special birthday cakes — served at midnight — provided by Clausen’s Eurpean Bakery in Middleton.
NOTE: You can find out more when several organizers and performers from Bach Around the Clock are Norman Gilliland’s guests on Wisconsin Public Radio’s “The Midday” this coming Thursday from noon to 12:30 p.m.
For more information –including how to support the event with a donation and how to participate in it as a performer – go to the event’s homepage:
Here are some links to previous posts on this blog about attending earlier versions of Bach Around the Clock. Read them and look at the pictures, and you will see how enjoyable they are and how informative they are.
See you there!
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.
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 89.9 FM. For many years, he served on the Board of Advisors for the Madison Early Music Festival and frequently gives pre-concert lectures in Madison.
By John W. Barker
Last Wednesday night, in the Middleton Performing Arts Center, the mostly amateur Middleton Community Orchestra (below) gave what was billed as its “Holiday 2016 Concert.” Fortunately, it had no seasonal connection whatsoever—just a lot of good music.
Opening the program was a sequence of three Slavonic Dances (Nos. 1,4 and 8) by Antonin Dvorak. (You can hear the zesty and energetic first Slavonic Dance, performed by Seiji Ozawa and the Vienna Philharmonic, in the YouTube video at the bottom.)
The conductor this time, UW-Madison graduate student Kyle Knox (below), was able to point up lots of instrumental details that could be easily lost, and the orchestra played with a lusty vigor appropriate to the folk flavor of this music.
After that, Knox’s wife, Naha Greenholtz (below) — who happens to be the concertmaster of the Madison Symphony Orchestra, among other things—joined the MCO in Felix Mendelssohn’s beautiful and very popular Violin Concerto in E minor.
Greenholtz played from the score, and some occasional technical blurrings suggested that she does not yet have the piece securely in her fingers.
Still, she clearly understands the work’s shape and contours, and I particularly appreciated her flowing tempo for the middle movement, not as slow as we too often hear it. Her overall effect with this concerto was handsome and colorful.
The main work was the Second Symphony by Brahms, which you can hear n the YouTube video at the bottom. This is a challenging work, especially when the important exposition repeat in the long first movement is honored, as Knox did.
Knox showed a thorough grasp of the score, and brought out its structures superbly. I found myself appreciating anew the wondrous way the composer is able to make his themes evolve to reveal unexpected beauties.
Well done, this is a richly satisfying work, and Knox drew out of his players (below, in a photo by Brian Ruppert) a truly satisfying performance.
The Middleton Community Orchestra continues to develop and progress. Just now, it is rather violin-heavy with 14 firsts and 18 seconds against only 9 violas and 13 cellos. These fiddlers need to blend better, and experience in working together will doubtless move them in that direction.
In general, the orchestra sounded quite healthy, fully supportive in the concerto and really accomplished in the symphony. All that is clearly the result of hard work, and Knox deserves a good deal of the credit for it.
Notable also was the large audience turnout. Middletonians can clearly be proud of their orchestra, and more and more of the Madison public is learning that a trip to the west side can be most rewarding.
The MCO is by now, in its seventh season, a valuable and appreciated component of our area’s musical life.
By Jacob Stockinger
The Ear has received the following announcement from the mostly amateur Middleton Community Orchestra:
The Middleton Community Orchestra (below top) is excited to open its sixth season and present its Fall Concert on Thursday, Oct. 13, at 7:30 p.m. at the Middleton Performing Arts Center (below bottom), which is located at 2100 Bristol Street and is attached to Middleton High School.
The program includes: Overture to “Candide” by Leonard Bernstein, who conducts his own work in the YouTube video at the bottom; and songs by Stephen Sondheim and George Gershwin, with mezzo-soprano Jessica Kasinski (below top) and baritone Gavin Waid (below middle). Both singers study at the UW-Madison.
Also featured is the Concerto in F by George Gershwin with piano soloist Thomas Kasdorf (below bottom). Kasdorf, a native of Middleton who graduated from the University of Wisconsin-Madison School of Music, frequently performs with the MCO .
Tickets are $10. All students are admitted free of charge.
Tickets are available at the door on the night of the concert, and in advance at the Willy St. Coop West. The box office opens at 7 p.m.
There will be an informal meet-and-greet reception after the concert.
For more information about how to support or join the MCO, go to www.middletoncommunityorchestra.org or call (608) 212-8690.
We hope to see you there!
Co-founders Mindy Taranto and Larry Bevic
By Jacob Stockinger
The Ear has received the following note of public interest about an event that deserves widespread support:
Suzuki Strings of Madison (below) will presents its 25th anniversary spring concert at 2:30 p.m. this Sunday, May 15.
Suzuki students served as the pre-concert “warm-up band” for violinist Hilary Hahn at her recent recital at the Wisconsin Union Theater. Hahn, herself a Suzuki alumna, credited the method with her early start on her career.
The concert will take place at the Middleton Performing Arts Center (below), 2100 Bristol Street, which is attached to Middleton High School.
The music will include selections from the Suzuki repertoire as well as several classical ensemble pieces.
ALL FORMER SUZUKI STRINGS OF MADISON STUDENTS ARE INVITED TO JOIN ON STAGE TO PLAY IN THE CONCERT.
Everyone is invited to a reception after the concert.
The program offers private lessons, music reading and theory training, a mixed string ensemble and two touring ensembles.
The Suzuki approach deals with much more than teaching a child how to play an instrument. It seeks to develop the whole child, to help unfold his or her natural potential to learn, and to find the joy that comes through making music. (The Suzuki Method is explained in the YouTube video at the bottom.)
For more information visit www.suzukistringsofmadison.org.
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 12 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.
By John W. Barker
It was a short program — lasting under an hour — but an outstanding one, that the Middleton Community Orchestra (below) gave on Wednesday evening.
There were only two works, but profoundly challenging ones, and associate conductor Kyle Knox (below) really put his amateur players’ feet to the fire.
That creates a uniquely etherial sound, but one that takes great effort to bring off. The MSO has been developing a surprisingly fine string band. Its violinists met the demands of tone and balance beautifully, producing a performance of transcendent beauty.
The other, longer, work was a symphony heard far too rarely. This was the Symphony No. 3 of Finnish composer Jean Sibelius (below).
I say quite frankly that it is my favorite among the symphonies of Sibelius. After the post-Tchaikovsky bombast of the First and Second, it was in this Third that the composer first found his own orchestral voice, establishing how to make his instruments and their ensembles work in ways that were totally his.
In its use of variations, and especially of thematic evolution, the Third also drafted the blueprint for the Fifth Symphony, which conductors and audiences adore, but to the cruel eclipse of the Third.
This Third– which you can hear in the YouTube video at the bottom– is not an easy work to bring off. Its orchestral textures are full of tricky intricacies. No surprise that, here and there, one might hear quick moments in which the tension slackened. But Knox drew the players through a performance of beauty and power, finely honed and sonorously rendered.
The players clearly relish working under Knox. (The orchestra’s founding father, Steve Kurr, was sitting modestly in the viola section for this concert.) Knox’s own growth as a conductor is paired with his guiding of the orchestra to higher and higher achievements. Just for programming the Sibelius Third, I award him strong praise, but for bringing it off so well I must multiply my accolades.
I take this as a landmark event for the MCO—a genuine achievement. It is sad that the audience was not larger. Madison music-lovers, where are you when music and artistry like this is available to you?
I anticipate ranking this as my “concert of the year” when the final returns are in!
By Jacob Stockinger
Conductor Andrew Sewell – who will also be busy leading performances of the Madison Ballet’s production of “The Nutcracker” this weekend — will again lead the combined forces of the Wisconsin Chamber Orchestra along with the WCO Chorus and the Festival Choir of Madison.
There will also be four guest soloists:
Soprano Sarah Lawrence:
Mezzo-soprano Jamie Van Eyck:
Tenor Calland Metts:
The two performances will be in different locations and have different ticket prices:
The first performance is this Friday night, Dec. 11, at 7 p.m. at the Blackhawk Church, at 9620 Brader Way, in Middleton.
The second performance is on this Sunday night, Dec. 13, at 7 p.m. at the Westbrook Church, at 1100 Highway 83, in Hartland, about an hour from Madison and near Milwaukee. It is about 1-2 hours from Madison.
For more information, here are two links:
Andrew Sewell recently talked via email to The Ear about “Messiah”:
What keeps “Messiah” by George Frideric Handel so perennially popular with the public, especially at holiday time? In your mind, does it have to do more with the music or the text? And is it as popular with the performers as with the audiences?
I think the meaning of the text, the recounting of the story of the life of Christ particularly in the first part, which is always recounted at Christmas, makes this work so enduring. It gives people pause to stop and think.
It has become a tradition, not unlike the Nine Lessons and Carols, although one can perform it at any time.
It is both the text and the genius of Handel to set the text so beautifully to music. Especially when you realize he was not a native English speaker, yet wrote it for an English-speaking audience.
Back in the day when I was a violinist, we would perform the full “Messiah” (all 3 hours and 15 minutes) twice on two successive days. Yes, it became hard work after a while, just the sheer physicality of holding your instrument up with very few breaks. However, the score never became old, and there is always something new to be found whether a different soloist, or the way the choir is prepared.
How many times have you conducted “Messiah”? As a conductor, how do you keep it fresh for yourself and not boring or predictable? How do you find new things to say or new ways to say them?
Well this is our seventh season since performing it at Blackhawk Church, and before then we performed it twice a year for the “sing-out” Messiah from 2000 to 2008. I have conducted it also in Syracuse. So, I’ve conducted it probably around 30 times.
I think it’s the same with any piece of great music that is often repeated year after year: you find ways to keep it fresh. Perhaps you try new things — new articulations, different repeats, adding or subtracting movements, using different “cuts” since we have the challenge of bringing a 3 hour and 15 minute work in under 2-1/2 hours.
How have your conception of the work and your performances of it evolved over the years?
I have found that the tradition in the United States was different to the one I had been accustomed to in New Zealand. Again, I found that for the most part, for local performances of “Messiah,” church choir directors usually cut it down to be about 2 to 2-1/2 hours in length.
I had never heard of the Christmas portion or the Easter portion before moving to the United States. My experience had always been to play the work in its entirety — merely a different tradition.
Nowadays, I enjoy including as many choruses and arias as we have time for, that both challenge the chorus and make sense of the text in some chronological capacity. And of course, there are those arias you cannot omit -– “The Trumpet Shall Sound,” for instance.
What would you like the public to know about Handel and “Messiah” that they may not already know or need to be reminded of?
That it ostensibly started out life as a secular work in a secular environment; and that, over the years, it has become to be considered more as a sacred work and performed in a church. In either venue it is okay and a great masterpiece, whatever your religious or non-religious affiliations may be.
Is there something else you would like to say?
I think as you pay attention to the ebb and flow of the arias and choruses, they should tell a compelling story that reaches its climax in the most positive way. It is a story of great redemption for humanity and is what Handel achieves with his setting of “Worthy Is the Lamb” and the “Amen.” (You can hear the glorious “Amen” in the YouTube video below.)
REMINDER: The Middleton Community Orchestra plays tonight at 7:30 p.m. in the Middleton Performing Arts Center that is attached to Middleton High School. Admission is $10; students get in FREE.
The terrific program includes concertmaster Valerie Sanders in the Adagio from the Violin Concerto by Max Bruch and guest pianist Thomas Kasdorf in the ever-popular Piano Concerto No. 1 in B-flat minor by Peter Ilyich Tchaikovsky (AKA the “Van Cliburn Concerto”). Here is a link to a fuller posting with more information:
By Jacob Stockinger
The Ear has received the following important and impressive news about Kenneth Woods. Woods, you may recall, attended Memorial High School in Madison, played in the Wisconsin Youth Symphony Orchestra (WYSO) and attended graduate school at the University of Wisconsin-Madison School of Music, where he work with Pro Arte Quartet cellist Parry Karp. We can all say Congratulations, Maestro!
Here is the press release:
Kenneth Woods has been appointed Artistic Director of the Colorado MahlerFest. He is only the second Artistic Director in the festival’s 28-year history and succeeds Founding Artistic Director Robert Olson. Woods will oversee his first festival, MahlerFest XXIX, in May 2016.
Of his appointment, Woods remarks: “I’m thrilled and humbled to be invited to steer the festival’s ongoing exploration of one of the greatest composers of all time. I’ve always been impressed by the sophistication of MahlerFest’s programming and presentation, not to mention the musical standards attained by its participants. I must extend enormous congratulations to Bob Olson for everything he has achieved.”
Woods continues: “The complexity and scale of some tasks can only be fully appreciated once you’ve done them yourself, and as someone who has put together a few crazy Mahler projects of my own over the years, I know something about the kind of heroic effort Bob has made to build and sustain this festival. I take very seriously my responsibility to keep the torch he has lit blazing brightly for many years to come.”
Founded by conductor Robert Olson (below in 1988, the Boulder-based Colorado MahlerFest is an annual celebration of the life and music of Gustav Mahler.
Throughout one week every May, the festival explores Mahler through symposia, exhibits, films and the performance of a major symphonic work by the composer. MahlerFest is currently in the midst of its third cycle of Mahler’s symphonic compositions.
In 2005, MahlerFest received the Gold Medal (below) of the Vienna-based International Gustav Mahler Society, an honor so far bestowed on only one other American organization, the New York Philharmonic.
Gustav Mahler’s music has been a lifelong source of inspiration for Kenneth Woods, and has played an important part in his career. He has conducted acclaimed performances of the symphonies and songs across the Americas and Europe.
His first recording of Mahler’s music, Schoenberg’s chamber ensemble versions of Das Lied von der Erde (Song of the Earth) and Lieder eines fahrenden Gesellen (Songs of a Wayfarer) (Somm Records, 2011), received an IRR Outstanding rosette from International Record Review.
Off the podium, Woods (below) is in demand as an essayist and speaker on Mahler’s life and music. He has given talks and participated in panel discussions on Mahler for the BBC and NPR, and was the official blogger of The Bridgewater Hall’s Mahler in Manchester series in 2010-11.
In his native U.S., Woods achieved national media recognition as conductor of the Pendleton-based Oregon East Symphony for staging Redneck Mahler, an event that galvanized the community of a small, western Rodeo town.
With its combination of conducting, symposia, pre-concert lectures, films, community engagement and blog posts, MahlerFest’s format plays perfectly into Woods’ multifarious hands.
“For me,” Woods says, “Mahler has a singular creative voice. His music should be experienced as an immersive, transformative experience.”
PRAISE FOR KENNETH WOODS’ MAHLER
“This is a most important issue, and all Mahlerians should make its acquisition an urgent necessity.” International Record Review
“a richly balanced performance that easily stands out” Gramophone Magazine
“gives Mahler the ride of his life.” The Oregonian
“something that every lover of Mahler should hear.” MusicWeb International
* * * * *
For more information about Kenneth Woods please visit http://kennethwoods.net/blog1/
For more information about the Colorado MahlerFest please visit http://www.mahlerfest.org
About Kenneth Woods
Kenneth Woods is Artistic Director and Principal Conductor of the English Symphony Orchestra, a post he assumed in 2013, succeeding Vernon Handley.
Hailed by the Washington Post as a “true star” of the podium, Woods has worked with many orchestras of international distinction, and has appeared on the stages of some of the world’s leading music festivals. His work on the concert platform and in the recording studio has led to numerous broadcasts on BBC Radio 3, National Public Radio, and the Canadian Broadcasting Corporation.
As Principal Guest Conductor of Stratford-upon-Avon-based Orchestra of the Swan (2010-2014), Woods made numerous acclaimed recordings, including the first-ever cycle of the Symphonies of Hans Gál (AVIE).
Woods’ unique gifts have been widely acknowledged by some of today’s leading conductors. In 2001, he was selected by Leonard Slatkin to be one of four participants in the National Conducting Institute at the Kennedy Center, where he made his National Symphony debut.
Toronto Symphony Music Director Peter Oundjian has praised Woods as “a conductor with true vision and purpose. He has a most fluid and clear style and an excellent command on the podium … a most complete musician.”
A widely read writer and frequent broadcaster, Woods’ blog, “A View from the Podium,” is one of the 25 most popular classical music blogs in the world. He has provided commentary for the BBC Proms, and has spoken on Mahler on NPR’s “All Things Considered” and BBC Radio 4’s “Today” Programme.
By Jacob Stockinger
Well, the University of Wisconsin-Madison is back in session.
That means that many people who were gone – students, staff and faculty – are back in town.
While gone, they may have missed The Ear’s annual choice of “Musician of the Year.”
It appeared on New Year’s Eve.
This year’s honor went to the Middleton Community Orchestra (below) and to amateur music-makers.
Here is a link to that post:
But then the award-winning reporter, editor and columnist Matt Geiger from the Middleton newspaper the Middleton Times-Tribune picked up on the blog’s story and did his own terrific story about the honor that included an interview with The Ear. (Check it out if you want to learn more about The Ear and his blog.)
It first appeared only in print, but is now available online:
This is not the first time this blog has sparked some coverage of the arts scene by the local media. But it is one of the best times.
You can follow the link and learn about both this blog and the MCO.
And in the year-end post you will find links to other stories and posts from the past about the Middleton Community Orchestra. You can use the search engine on the blog’s home page.
Here is one special review I did:
Finally, here is a link to the Middleton Community Orchestra’s home page. You can learn how to play in it, how to support it and what concerts are coming up this spring: