The Well-Tempered Ear

Classical music Q&A: Composer and violinist Andrew Waggoner talks about the importance of improvisation and his upcoming concerts at the Token Creek Chamber Music Festival on Sunday, and then next Tuesday and Wednesday.

August 21, 2013
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By Jacob Stockinger

You might think of it as a form of musical archaeology: Recovering, reclaiming and exhibiting the time-honored tradition of improvisation that for centuries was essential to composers and performers alike.

Improvisations on a Theme” is a watchword that shapes the programs of the 2013 Token Creek Chamber Music Festival. Nowhere is that more apparent than in the concert presented by guest ensemble from New York, Open End (below), three of whose members will be in residence for a week at this summer’s festival.

Open End Ensemble BW

Essential to the Open End mission is the reclaiming of improvisation as the central skill of all musicians. Audiences at Open End concerts come to think of spontaneous creation as being part of a natural, ongoing dialogue between performers creating in the moment and a written body of work that continues to expand, to transform.

At home in venues from galleries and living rooms to concert halls, Open End seeks nothing less than to engage audiences in an experience that is wonderful, intimate, challenging and beautiful.

On this coming Sunday, August 25, at 4 p.m. Open End members Andrew Waggoner (violin), Caroline Stinson, (cello), and Molly Morkoski (piano) will present a program of recent works and improvisations in a program including music of Charles Ives, Henry Cowell (below), Anna Weesner, Andrew Waggoner, and Bach, concluding with the premiere of a new work by Waggoner.

henry cowell

Waggoner has been characterized by The New Yorker magazine as “the gifted practitioner of a complex but dramatic and vividly colored style” His new piano quintet, inspired by the acclaimed Canadian short story writer Alice Munro, was written this summer for the 2013 Token Creek Festival and is dedicated to Co-Artistic Directors John and Rose Mary Harbison.

Then at 8 p.m. on Tuesday, August 27, and Wednesday, August 28, the Open End members will also participate in one of the Festival’s program of Shakespeare in scenes and songs. The program opens with the premiere of John Harbison’s “Invention on a Theme of Shakespeare” for solo cello and small ensemble, followed by scenes from Shakespeare plays accompanied by new incidental music, and songs and arias on texts from the same plays set by to music by composers from the Renaissance to the present day.

Songs will be offered by composers including Morley, Arne, and Henry Purcell; Franz Schubert, Robert Schumann, Johannes Brahms and Hugo Wolf; and Francis Poulenc, Frank Bridge, Michael Tippett and John Harbison.

Shakespeare color

All performances take place at the Festival Barn (below), on Highway 19 near the hamlet of Token Creek, with ample parking available. The venue, indoors and air-conditioned, is invitingly small, and early reservations are recommended. 

TokenCreekbarn interior

Concert tickets ($30, and $10 for students) may be reserved by phone at 608-241-2525, by email at, or by U.S. mail at P.O. Box 55142, Madison WI, 53705.

More information about the Token Creek Festival can be found at the website,

Violinist-composer Andrew Waggoner (below) recently granted an email interview to The Ear:

Andrew Waggoner

Could you briefly introduce yourself and your work to people who don’t know you or haven’t heard about you?

I think the best way for people to approach me and my music is to know going into it is that the two paramount values for me in any musical exchange are strangeness and beauty.

I say “strangeness” because the most arresting, durable encounters we have with creative work are marked by a level of confusion, or of the numinous, of something that immediately strikes us as “other,” but that, hopefully, the work itself gives us the tools to sort out over the course of the experience.

“Beauty” is perhaps a little more self-evident, but it can manifest in myriad ways, of course, including beauty of form, of shape or dramatic arc. Much of the music I love most (J.S. Bach, Beethoven, Stravinsky, Duke Ellington (below), Miles Davis, Harbison (really!), Elliott Carter, Pierre Boulez) moves me at the level of the big shape as much as at that of surface sensuality.

That said, sensuality is hugely important to me, and when I feel I’ve found a unity of shape and surface beauty that makes a listener want to stay with a piece long enough to figure out where its strangeness is coming from and what it means, I feel like I’ve hit the jackpot. This doesn’t happen all the time, of course.

Duke Ellington at piano

What are the guiding principles – improvisation — and the performance goals behind the Open End Ensemble? How do they reflect your opinion of the state of contemporary classical music today?

The thing we most wanted with Open End was to have a group that played like a group — always the same players — and that could move easily between written-out music and free improvisation and not miss a beat.

We wanted the audience to hear the improvisations as pieces, and to hear the pieces as having the same level of listening and spontaneous response as the improvs. We make an issue of improv, in part, in order to get the audience to the point where they no longer hear it as unusual.

With regard to the state of things today, I’d just say that the only criterion we bring to programming a piece is whether or not we like it. If we believe in it, we play it. We have the luxury of not taking things on for any purpose other than what we want a program to sound like, how we want it to move, to flow.

If there are specific contemporary currents that seem not to flow through our programs, it’s most likely because we’re not interested in them.

What would you like the general public to know about your performances and specific programs (Ives, Cowell, Weesner, Waggoner’ world premiere and Bach; also Harbison’s Shakespeare music) and works at the Token Creek Chamber Music Festival?

We like programs that mix contemporary works with 20th-century classics, along with different instrumental combinations that provide relief and perspective on each other.

In this way we’re no different from anyone else, it must be said, except that, again, there are no “isms” guiding our programming, so we can be very free about the kinds of combinations we find.

So the works by Charles Ives and Henry Cowell make a natural pair (culturally and temperamentally, and in their dogged sense of exploration), and they provide a nice come-down from the energy of the work by Anna Weesner (below), which is volcanic.

anna weesner

The improvs will work in some way yet to be discovered to bridge these different expressive worlds, with John and Rosie’s Bach offering both a stylistic distance and expressive weight specific to it — though listeners will recognize Cowell’s affectionate nod to Bach in his little pieces, so to some degree we go in widening gyres here.

The premiere of my own work, “Floating Bridge,” is a very personal homage to John and Rosie, to John and my (and Carrie’s) shared love of the award-wining Canadian short story writer Alice Munro, to the festival’s rural setting, and to Ellen Singer, a dear friend at our own rural festival, Weekend of Chamber Music, whom we lost this past spring. All these threads were evoked for me and somehow float together in Munro’s story, also called “Floating Bridge.”

The Shakespeare program will mash-up an astonishingly diverse group of Shakespeare songs with dramatic monologues, acted by Madison native Allison Shaffer (below), with Carrie and me improvising, joined by John at the piano. We’ve done this kind of thing a lot, and we love it. We have no idea how the musical environment for the texts will take shape. We’ll find that in the moment.

Allison Schaffer

How would you characterize the style and interest of your own compositions and particularly the work that you will premiere here in Madison?

My own work, as I mentioned earlier, hopefully offers the listener something strange and compelling that is made comprehensible through a surface that is beautiful, and often sensual.

One person’s beauty is another’s caterwauling, of course, so not everyone will hear this music in the same way I do. But I am working to make the music as powerful and communicative as possible, not by trying to anticipate everyone’s varied tastes and levels of musical experience, but simply by responding to my own work as a listener.

The old modernist dichotomy of composer vs. listener bores me, in part because it always was mostly, and has now become entirely, meaningless, and because it overlooks the obvious fact that composers are listeners too.

So that’s where I start with any piece: what do I want to hear, where do I want to go with this, how do I want this to make me feel? I can only really respond to those questions as a listener, as someone who will hear the piece in performance and judge it in those terms, not as the product of a wonderfully complex compositional process.

In terms of style, the composers referenced above have all had a profound effect on me. To that list, I’d add Copland and Messiaen; if one morphs all of those different characters (Bach, Beethoven, Stravinsky, Copland, Messiaen, Miles Davis, Carter, Boulez, Harbison (below)) one might actually come up with something like Waggoner!


What else would you like to say about yourself and the ensemble, about your programs and work, and about the festival?

We’re crazy excited to come out to Token Creek. For us it’s both an extension of our relationships to John and Rosie Harbison (below, in a photo by Katrin Talbot)and to John’s music, and an expression of how we most love to work as a group: in intimate, imaginative settings, close to the audience, able to work with the energy they give us, to shape an experience that is site-specific. For us it’s really the ideal, and we get to do only a few times a year under very special circumstances. So this is a rare privilege.

John and Rose Mary Harbison Katrin Talbot

Classical music: This weekend will bring the conclusion of the exciting and intriguing Bard Music Festival that this year is exploring the music and world of Igor Stravinsky. Which music festivals do you recommend?

August 17, 2013

By Jacob Stockinger

Many classical music festivals, in the summer and throughout the year, interest me and I would be happy to attend them. But only a relatively few really call me or beckon me or tempt me to attend.

One is the Van Cliburn competition for AMATEURS, not the professional one. Another is the Gilmore Festival, which chooses winners not really by individual competition – or at least conscious competition – but rather by judges who follow the careers of various pianists and then hand out the awards.

Another festival I would like to attend is the Oregon Bach Festival because Johann Sebastian Bach’s body of work is so rich. A fourth is the annual summer International Keyboard Festival at Mannes School of Music in New York City because it includes relatively unknown performers, intriguing programs and very intriguing master classes.

But a  major orchestral festival that calls me strongly is the annual summer music festival at Bard College in New York State’s Hudson River Valley, whose president Leon Botstein plans and leads the events, (Below is Leon Botstein in conducting the American Symphony Orchestra last Saturday in a photo by Hiroko Masuike for The New York Times. At bottom, in a YouTube video, you can hear him discussing his “Classics Declassified” series.)

Leon Botstein and the American Symphony Orchestra at the 2013 Bard Music Festival devoted to Stravinsky CR Hiroko Masuike NYT

Critic Zachary Woolfe of The New York Times this past week gave a terrific account of the opening weekend of the festival, which this year is devoted to Igor Stravinsky (below). It will finish up this weekend and I expect to post something about its conclusion.

Igor Stravinsky young with score 2

Woolfe (below) makes all the right points about why I find the festival at Bard so tempting, from the quality and importance of the music and often unusual repertoire to the fine performances and performers as well as the unusual angle or focal point that is often adopted.

Zachary Woolfe NYTIMES

Here is a link to Woolfe’s readable and detailed account. See if it doesn’t make you, like me, want to attend the festival:

Which music festivals have you most enjoyed and would recommend?

Which ones would you most like to attend?

The Ear wants to hear.

Classical music: Want to hear great live music during your summer travels and vacations? Here are links to the Minnesota Beethoven Festival in Winona; and to the Green Lake Festival and Door County’s Peninsula Music Festival in Wisconsin. Also, Wisconsin Public Radio starts weekly broadcasts of concerts by the Milwaukee Symphony Orchestra this afternoon at 2 p.m.

July 7, 2013

TWO REMINDERS: The 14th Madison Early Music Festival, with the theme “Renaissance Germany,”   tonight features a performance by the viola consort Parthenia (below) at 7:30 p.m. in Mills Hall on the UW-Madison campus. It will be preceded at 6:30 p.m. by a FREE lecture by Madison Symphony Orchestra trombonist and program note writer as well as UW-Whitewater music professor J. Michael Allsen on “More Than a ‘Theater of Instruments’: The Syntagma Musicum of Michael Praetorius.”  The FREE and public lecture is in basement Room L-160 of the Elvehjem Building of the nearby Chazen Museum of Art. For more information, visit:

Parthenia viol consort

ALSO: Wisconsin Public Radio recently announced programming changes. One of them is that WPR will begin broadcasting concerts by the Milwaukee Symphony Orchestra today and every Sunday at 2 p.m. The MSO has always been terrific, but its current music director Edo de Waart (below) has taken the orchestra to new heights. In the Madison area, tune in to WERN 88.7 FM.

edo de waart conducting

By Jacob Stockinger

It is high summer and that means traveling and festivals.

Should you be on the way from Madison, Wisconsin, to the Twin Cities, or vice-versa, you might want to take in something at the seventh Minnesota Beethoven Festival (below), which got started with a free concert by the Empire Brass on July 4 and runs through July 23.

Others artists in the impressive lineup include the Orpheus Chamber Orchestra, pianists Garrick Ohlsson and Mischa Dichter; the American String Quartet, the Shanghai String Quartet and the Ariel String Quartet; guitarist Sharon Isbin; the Russian National Orchestra; and Dale Warland and the Festival Chorale.

Minnesota Beethoven Festival 7 2013

Here is a link, with information about artist, tickets, concerts and background, to the seventh Minnesota Beethoven Festival under the direction of pianist Ned Kirk:

Beethoven big

Also the Green Lake Festival in Green Lake, Wisconsin is fully under way and runs until Aug. 31. Here is a link to concert and events:

Green Lake Festival of Music logo

Then there are festivals in Door County including the 61st Peninsula Music Festival, under the direction of conductor Victor Yampolsky (below) and featuring a lot of great orchestral programs, which gets started on Aug. 6 with Beethoven’s  famed Symphony No. 3 “Eroica” (the irresistibly dramatic opening is in a YouTube video at the bottom with Leonard Bernstein conducting the Vienna Philharmonic Orchestra) and “Creatures of Prometheus” Overture (which shares a theme with the Eroica) and Benjamin Britten’s Violin Concerto No. 1.

victor yampolsky and Peninsula Music Festival

A lot of Bach, Handel, Mozart, Tchaikovsky, Mahler and Shostakovich will also be featured on the programs. Take a look.

Here is a link:

Classical music: The Madison Early Music Festival sees its reputation continue to expand. It is the only Madison-area event listed in NPR’s latest guide to classical music festivals for this summer. Check out other music festivals all around the U.S. And if you can, help WYSO meet its fundraising goal at the end of its fiscal year today.

June 30, 2013

ALERT: It has been a good year for the Wisconsin Youth Symphony Orchestras (WYSO), both artistically and financially. But with the fiscal year deadline of June 30 looming, WYSO is nonetheless falling short of its $97,000 funding goal by $6,655, according to WYSO executive director Bridget Fraser.  This exceptionally worthy organization that builds both musicians (below) and audiences through lifelong learning needs your help. If you can help, in whatever amount, WYSO to meet its goal, please visit the following link and make an on-line donation by the end of Sunday:

wyso horns

By Jacob Stockinger

The past two weeks, I have written various posts about how the summer season is now almost as busy as the regular concert season in Madison.

Here is yet another proof.

One summer festival made it into NPR’s nationwide round-up of summer classical music festivals for 2013.

It wasn’t the three-weekend run in June of the Bach Dancing and Dynamite Society. And it wasn’t the two-week Token Creek Chamber Music Festival in late August.

This year, what NRP included is the six-day 14th annual Madison Early Music Festival (MEMF), which will be held from Saturday, July 6, through Friday, July 12. It has the theme of the “German Renaissance.”

 memf 14 logo

The MEMF features some outstanding groups including the Renaissance band Piffaro (below top), the Calmus Ensemble of Leipzig (below middle), the Dark Horse Consort and the viol-consort Parthenia (below bottom).

Piffaro oudoors

Calmus Ensemble Leipzig

Parthenia viol consort

Here is a link to the festival homepage with links to specific concerts, workshops and lectures including the inaugural Handel aria competition on Monday, June 8.  (At bottom s a YouTube video with countertenor Andreas Scholl singing the most frequently heard video of a Handel aria on YouTube. Can you guess which one? Do you think it will be sung in the MEMF competition?)

Of course you can also get to the MEMF site by clicking on the name in the NPR listing. Here is a link to that round-up, which might prove especially helpful if you plan on traveling this summer and want to hear some love classical music in the East (Mostly Mozart Festival), Midwest, South, Southwest and West:

Classical music: Summer fun and classical music mix well! The Midsummer’s Music Festival in Door County opens this Friday night and runs through July 17. It will feature music by Mozart, Beethoven, Mendelssohn, Brahms and others. Performers include Madison’s Pro Arte String Quartet.

June 4, 2013
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By Jacob Stockinger

Attention all visitors and vacationers to Wisconsin’s famous Door County.

Summer isn’t officially here, but summer vacation is. And classical music can mix very well with summertime fun and warm weather diversions –- especially in a state like Wisconsin where so many summer music festivals take place.

door county

The Midsummer’s Music Festival in Door County kicks off this Friday night off with a Gala Opening Night. It includes champagne and chocolate, guest speakers, a concert and post-concert reception. Guests will be whisked away to an English Garden for the opening night premiere, featuring works of Vaughan Williams and Charles Villiers Sanford, where taste buds will be dazzled with chocolate and champagne.

Special guests will join in toasting the opening of the Door County arts season. World-class musicians will deliver a delightfully balanced and elegantly executed performance. The evening will end on a relaxed note when patrons can meet the Midsummer’s Music Festival musicians and chat with fellow concertgoers at the post premiere party where food and wine will be served.

Midsummer's Labor Day Concerts from 2010

Now in its 23rd year, Midsummer Music features world-class musicians from organizations such as the Lyric Opera of Chicago, the University of Wisconsin-Madison’s Pro Arte Quartet (below), Aspen Music Festival, and artist faculties from major universities.


The festival will offer a series of 30 classical music concerts in a host of unique venues ranging from a 120-year old lakeside warehouse, to a quaint community church from the 1850s, to the grand hall of a palatial mansion overlooking Green Bay.

Door County Midsummers Music Festival lo

One event features a dinner cruise through Death’s Door Strait aboard the Island Clipper and then a concert on Washington Island at the Historic Island Dairy, now a concert facility, museum, and gallery.  Each venue exudes character and offers a distinct musical experience for the listener.

The theme of this year’s festival is “Bursting with Passion” with works by Beethoven, Mendelssohn, Mozart, Brahms, and more.

The main concert series featuring the full complement of 16 musicians runs from June 7 through July 17.

Midsummer's David Perry, Stephanie Preucil, Jim Berkenstock

Tickets range from $25-$50 for most events.  Midsummer’s Music Festival, PO Box 1004, 10568 Country Walk Lane, Suite 109, Sister Bay, WI 54234.

For more information about times, dates, performers programs and tickets, visit or call (920) 854-7088.


Classical music: This summer’s Token Creek Chamber Music Festival will feature Shakespeare readings, reconstructed violin sonatas by Mozart and a new violin sonata composed by John Harbison for his wife Rose Mary Harbison.

January 16, 2013
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By Jacob Stockinger

During the dark cold days of deep winter, it is always welcome to be reminded of the warm weather and the summer season of music that awaits us.

So far we have heard about the Madison Early Music Festival and the Bach Dancing and Dynamite Society.

Now comes the latest update on the Token Creek Chamber Music Festival, which will be held Aug. 20 through Sept. 1 in the refurbished barn (below) and surrounding fields near Madison where last summer’s theme of the environment proved especially popular.

TokenCreekbarn interior

Here are the largest themes.

Drama is the main theme—and where drama intersects with music.

Specifically, Shakespeare (below) will be highlighted with dramatic readings and musical accompaniment. No details yet about specific texts or plays.


An improvisational ensemble, a piano quintet called the Open End Ensemble, based at Syracuse University, will be a major player and will provide classical improvisations by Andy Waggoner (see the YouTube video at bottom).

Open End Ensemble BW

Shakespeare monologues will be interpreted by Madison-born Ali Schaffer and guest artists.

Robert Levin (below top), the Harvard professor who specializes in completing Mozart’s unfinished manuscripts, will reveal his latest discoveries and reconstructions:  completions of violin sonatas with John Harbison (below bottom).

robert levin mug BIG USE


A world premiere will also be featured: A violin sonata that composer and festival co-direction has long promised for his violinist wife and festival co-director Rose Mary Harbison (below).


Much more is in store, including the usually sold-out jazz cabarets, but often the detailed planning comes later and closer to the actual festival.

“The rest we leave to our imaginations, with the thought that the Token Creek Festival is likely to continue in an experimental, free-thinking way,” write John and Rose Mary Harbison in the brief winter update preview that also seeks donations and support.

Classical music: This year’s Token Creek Chamber Music Festival runs Aug. 25-Sept. 2 will focus on the land and ecology and also include music by George Gershwin, J.S. Bach, Mozart and John Harbison.

August 21, 2012
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By Jacob Stockinger

Each summer the acclaimed Token Creek Chamber Music Festival – which was founded by and remains co-directed by composer John Harbison and his wife violinist Rose Mary Harbison (below) — focuses on beautiful music performed in a beautiful setting.

This year, the setting will be explored more in-depth as the link between music and ecology – specifically the land the festival takes place on — is emphasized by the festival, which runs Aug. 25-Sept 2.

Here is a press release with landscape photos by former Isthmus music critic and festival  board member Jess Anderson:

TOKEN CREEK, WIS. – For just one day, the public is invited to an exclusive guided walking tour of a pristine private farm adjacent to the Token Creek County Park.

With its segment and tributary of Token Creek – an important fishery and major source of water for the Madison lakes – this 100-acre tract is a strategically located green space in a rapidly developing area. Originally purchased by Alice and Dan Pedersen in the 1930s, passed on to their daughter Rose Mary Harbison, this property has been lovingly stewarded by a single family for most of the last century.

Now for the first time, the Token Creek Chamber Music Festival has organized, as part of its annual summer music series, a special program to introduce visitors to the property and to share some ideas about prospects for its future as a green space.

On Saturday, Aug. 25, a panel of restoration ecologists knowledgeable about this site will talk about its water and land resources, natural features, anthropological and cultural history, and its prospects for the future.

Interested participants will be invited on a 50-minute guided walking tour of the property, which will include surprise encounters with art along the way — visual, literary and musical. The program culminates in a brief performance, with a reception and continuing informal discussion with presenters.

Speakers include James T. Addis, fisheries and hydrology expert from the Wisconsin Department of Natural Resources; Stephen Glass, founder of the Restoration Ecology Lab and formerly at the UW Arboretum; and William Jordan, the leading intellectual visionary of “restoration ecology” and director of the New Academy for Nature and Culture.

Topics to be covered include the ecology of the Token Creek property, possibilities for restoration efforts, its role as part of Wisconsin’s important water resources, our essential role in the stewardship of this land, and a chance to imagine its future.

The natural and cultural histories of the Token Creek property form a rich legacy that includes two generations of experiments in organic farming, nearly a quarter century of music festivals and forums, an ever-expanding community of participants, and the land itself.
All of this presents a unique opportunity for serious conservation efforts that will enhance the local environment while exploring the role the arts have to play in the urgent task of reconnecting with nature.

The Token Creek Chamber Music Festival continues through the week with the concerts that are typical of the Festival’s main fare.

The annual jazz club this year offers a 75th anniversary tribute to George Gershwin, and the Festival concludes with a program of serenades by Bach, Harbison and Mozart, music that addresses the season themes of place, conservation and restoration. Galleries this year will exhibit the people and places of Token Creek.

All events will be held inside the Festival Barn (below), 4037 Highway 19, near the hamlet of Token Creek, just west of Sun Prairie. Ample parking is available, and (except for the walking tour on Aug. 25) the venue is indoors and air-conditioned.

Tickets range from $30-40, with a limited number of $10 student tickets available for each event. The venue is invitingly small, and reservations are recommended. For more information: Call 608-241-2525; visit; or write to P.O. Box 55142, Madison, WI 53705.

The season also features the release of a new CD: “Jazz 2011: Burton Lane and Jule Styne,” a live recording of last season’s jazz session. This new title, and all other Token Creek CDs, will be available at Festival concerts and also via the website.


“Listen to the Land: Encounters with Nature and Art” (A Token Creek Special Event)
A forum on restoration ecology with guest lecturers, walking tour, performance and reception Saturday Aug. 25, 3 p.m. (rain date is Sunday, Aug. 26).
Jim Addis, Wisconsin DNR (retired)
Steve Glass, Restoration Ecology Lab, UW Arboretum (retired) William Jordan, III, New Academy for Nature and Culture

Jazz Club: “Gershwin (below) — No Sad Songs” is on
Wednesday, Aug. 29, at 5 p.m. and 8:30 p.m.; and
Thursday Aug. 30, at 5 p.m. and 8:30 p.m. (both are sold out). Performers include
Ricky Richardson, vocals; Tom Artin, trombone;
Rose Mary Harbison, violin; John Harbison, piano; 
John Schaffer, bass; and Todd Steward, drums.

“Outside In: Music About Place” feaures
Bach arias, “Crane Sightings” by John Harbison (below) and Mozart’s Divertimento, K. 334, on Saturday, Sept. 1, at 8 p.m.
and Sunday, Sept. 2, at 4 p.m. 
Performers include Anna Slate, soprano;
Rose Mary Harbison, Heidi Braun Hill and Laura Burns, violin; Jennifer Paulson and John Harbison, viola;
Karl Lavine, cello; Elizabeth Foulser, bass; and
 John Harbison, conductor.

The concert venue is the
 Token Creek Festival Barn 
(indoors and air-conditioned), 
4037 Highway 19, just west of Sun Prairie. Ample parking is available.

Tickets cost 
$30-$40 ($10 for students, limited availability) and reservations are recommended.

For more information: 
 PHONE: (608) 241-2525; 
ADDRESS: P.O. Box 55142, Madison, WI 53705.

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