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
ALERT: This week’s FREE Friday Noon Musicale, to take place from 12:15 to 1 p.m. at the First Unitarian Society of Madison Meeting House, 900 University Bay Drive, features classical guitarist Naeim Rahmani (below) who will perform music by Domenico Scarlatti, Johann Sebastian Bach, Heitor Villa-Lobos and more.
By Jacob Stockinger
You can celebrate Valentine’s Day this coming Sunday afternoon with “five musical conversations,” a collaborative faculty recital presented by six faculty members from the Music Department at Edgewood College.
The concert is at 2:30 p.m. in the St. Joseph Chapel, 1000 Edgewood College Drive.
Performers include mezzo-soprano Kathleen Otterson, guitarist Nathan Wysock, violinist Laura Burns, percussionist Todd Hammes, and pianists Susan Gaeddert and Jennifer Hedstrom.
Below in the Edgewood College photo are (from left): music department faculty and staff Jennifer Hedstrom (piano), Todd Hammes (percussion), Laura Burns (violin), Nathan Wysock (guitar), Susan Gaeddert, (piano) and Kathleen Otterson (mezzo-soprano).
The six performers will present five musical sets featuring a variety of styles and chamber combinations.
Included on the program are a set of lute songs by John Dowland, performed by Otterson and Wysock; three works by Santiago de Murcia, performed by Wysock and Hammes, a set of modern works by Chick Corea and Todd Hammes, performed by Hammes on vibraphone with Jennifer Hedstrom on piano; Maurice Ravel’s Mother Goose Suite (heard at the bottom in a popular YouTube video that features Argentinean Martha Argerich and Chinese Lang Lang in a subtle and colorful performance) for piano, four hands, performed by Hedstrom and Susan Gaeddert; a set of Lieder or art songs by Louis Spohr, sung by Kathleen Otterson with Susan Gaeddert on piano and Laura Burns on violin.
Tickets are available at the door.
Admission is $7, or free with Edgewood College ID.
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
The Middleton Community Orchestra (below), made up of mostly amateur musicians, opened its sixth season with a challenging program on Wednesday night.
Again replacing regular conductor Steve Kurr was Kyle Knox, expanding his podium apprenticeship as he continues his graduate studies at the University of Wisconsin-Madison School of Music.
The opening selection was Aaron Copland’s glitzy El Salon Mexico, bursting with shifting rhythms and exploitations of Mexican musical elements. It got off to a tentative start, with some rather blurred work from the lower winds and brass. But even as the players settled into it, the suspicion remained that this piece had been under-rehearsed. If so, it was a bad decision for this fledgling ensemble.
Her bold choice for a solo vehicle was the Violin Concerto of Igor Stravinsky. This is a curious work, cast in the four-movement structure usual for a traditional symphony.
Stravinsky had already said all he had to say about his idea of solo violin writing in his brilliant music for L’Histoire du soldat (The Soldier’s Tale), and really had little to add to it in this concerto. You find spiky figurations in the fast movements, quasi-melodic efforts in the slow parts. This is, quite simply, not a major contribution to the violin concerto literature—a lesser effort by one of the giants of 20th-century music.
It was clear, too, that Greenhotlz (below top left, in a photo by Margaret Barker) was deeply involved in mastering the piece, playing from the score. Nevertheless, her devotion and the sensitivity she poured into it along with her stunning technique, was most impressive, and I had to admire her for taking on this work so off the beaten path.
Knox clearly gave her loving and precise support.
After the intermission, it was all the turn of Maurice Ravel (below, in 1910). His suite, Ma Mère l’Oye (“Mother Goose”) was an orchestration of much of a set of piano pieces. One of the supreme orchestrators of all time, Ravel showed just how many tricks and coloristic combinations he could pack into a relatively short space. This is supple music, and the Middleton players made a very credible account of its subtleties.
And then came the crowd-pleaser, Bolero. Ravel himself described this work as 15 minutes of sound without music. In that quip he was pointing out that the piece was a simplistic one, consisting only of a rather banal melody, repeated endlessly so that, one by one or in groupings, each instrument or combinations of them could play it as a display of a wide range of colors. For much of the piece, that meant the winds, so it was a set of calling cards for these players. They really did themselves quite proud.
Let’s face it, this is a pretty vulgar piece but it works, and the audience gobbled it up. (You can hear why — and see why — by listening to and watching a performance by Gustavo Dudamel and the Vienna Philharmonic in a YouTube video, which has more than 3 million hits, at the bottom.)
Not only did the winds come off well in their displays there, but through the whole concert I had the impression that the string band was making good progress towards a unity and warmth of sound.
One can only admire, cheer and urge onward.
ALERT: This afternoon at 2:30 p.m. in Overture Hall is your last chance to hear the Madison Symphony Orchestra and violinist soloist James Ehnes in music by Max Bruch, Franz Joseph Haydn and Sergei Rachmaninoff.
Critics were unanimous in their praise of the performance.
Here are links:
Greg Hettmansberger // Madison Magazine
John W. Barker // Isthmus
Jessica Courtier // The Capital Times
By Jacob Stockinger
The Middleton Community Orchestra (below) will give the first concert of its new season – marking MCO’s fifth anniversary – this Wednesday night, Oct. 21.
The concert will take place at 7:30 p.m. at the Middleton Performing Arts Center (below top and bottom) that is attached to Middleton High School, 2100 Bristol Street.
Opening MCO’s fifth anniversary season is an all-20th century program under the baton of guest conductor and UW-Madison graduate student Kyle Knox (below top), with Madison Symphony Orchestra concertmaster Naha Greenholz (below bottom), as violin soloist. The MCO is made up of amateur and some professional musicians.
The program features the catchy “El Salon Mexico” by American composer Aaron Copland; the neo-Classical Violin Concerto by Russian composer Igor Stravinsky; and the lyrical “Mother Goose” Suite and the wildly popular “Bolero,” both by French composer Maurice Ravel. (You can hear Ravel’s “Bolero” performed by Gustavo Dudamel and the Vienna Philharmonic Orchestra at the bottom in a YouTube video that has more than 3 million hits.)
A free meet-and-greet reception for the public and the musicians will follow the concert.
Tickets are $10 general admission. Students are admitted free of charge. Tickets are available at Willy St. Coop West and at the door. The box office opens at 6:30 p.m. Hall doors open at 7 p.m.
For more information, call 608-212-8690.
To find out about the entire MCO season as well as how to join the orchestra or to support it, visit: