The Well-Tempered Ear
Vivaldi turns 345 today. His irresistable music deserves more live performances
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By Jacob Stockinger
Today The Ear wishes Happy Birthday to composer Antonio Vivaldi (below), who was born on this day — March 4 — in 1678 in Venice. (He became famous but died in poverty at age 63 on July 28, 1741, also in Venice.)
The Ear likes Vivaldi and his music deserves many more live performances. Even local early music and modern music groups seems reluctant to program much Vivaldi besides “The Four Seasons,” despite the popularity of his other works. Vivaldi not only composed a lot but he did so for many instruments — strings, brass, winds — and in other genres than concertos including sonatas, choral works and operas.
Listen to Vivaldi in the morning. Who can resist him? The Italian style with its energetic rhythm, songful lyricism and major-key cheerfulness are caffeine for the ears.
There are so many fine groups and soloists who perform Vivaldi. Yet so much of his prolific output remains relatively unknown or unheard.
That’s too bad. Johann Sebastian Bach recognized a good thing when he heard it, so he “borrowed” and transcribed many of Vivaldi’s works. One imagines the Italian taste for transparency and tunes appealed to Bach and helped him leaven the often dense, even pedantic Germanic counterpoint and smothering religiosity. Vivaldi provided a model influence for Bach’s eclectic fusion of styles.
Here is a link to an extended Wikipedia biography of the “Red Priest” (below) — Vivaldi’s nickname, used during his teaching at an all-girls school in Venice and derived from his bright red hair. It holds some surprises including the political controversy that surrounded Vivaldi in his day:
https://en.wikipedia.org/wiki/Antonio_Vivaldi
A lot of modern musicians and music historians seem to hold Vivaldi’s popularity and listener-friendly music against him. Opinions seem divided over who made the snide remark — Igor Stravinsky, Luigi Dallapiccola or both — that Vivaldi rewrote the same concerto 500 times.
Here is an informative takedown of that putdown:
https://notanothermusichistorycliche.blogspot.com/2018/10/did-stravinsky-say-vivaldi-wrote-same.html
In the YouTube video at the bottom is a favorite Vivaldi movement of mine. It helped give me a lifelong unforgettable moment as an accompaniment to viewing NASA’s recently taken moon footage at 37,000 feet in a plane on my way to Hawaii. It is the slow movement of the lute concerto played on the guitar by Julian Bream — and it was perfect for expressing weightlessness and space flight.
That was long ago.
These days for period-instrument performances, I tend to favor The English Concert under Trevor Pinnock , The Academy of Ancient Music under Christopher Hogwood, and the Academy of Ancient Music Berlin — although there are others terrific ensembles including the modern instrument groups I Musici and the Academy of St. Martin in the Fields.
For period string soloists — try the double concertos — look to Simon Standage, Monica Huggett, Andrew Manze and Rachel Podger. For modern instrumentalists, check out Victoria Mullova and especially the Israeli violinist Shlomo Mintz, who uses his own ordering and groupings of concertos. I also like the period cellist Christophe Coin and the modern cellist Jean-Guihen Queyras.
Do you have an opinion about Vivaldi — a like or dislike of his music?
Do you have a favorite Vivaldi work?
Do you have favorite performers of Vivaldi?
The Ear wants to hear.
Tags: #AntonioVivaldi, #BlogPost, #BlogPosting, #FacebookPost, #FacebookPosting, #ItalianBaroque, #TheEar, #YouTubevideo, Academy of Ancient Music, Academy of Ancient Music Berlin, Academy of St Martin in the Fields, Andrew Manze, Antonio Vivaldi, Arts, Baroque, Berlin, birthday, blog, born, brass, British, caffeine, Cello, Chamber music, cheerfulness, choral music, Christophe Coin, Christopher Hogwood, clarity, Classical music, composer, Concert, concerto, counterpoint, Early music, ears, eclectic, energy, English, English Concert, ensemble, express, Facebook, favorite, Four Seasons, fusion, genre, Germany, girls, good, Great Britain, guitar, Happy Birthday, History, I Musici, Igor Stravinsky, influence, Israel, Israeli, Italian, Italy, Jacob Stockinger, Jean-Guihan Queyras, Johann Sebastian Bach, Julian Bream, link, listener-friendly, Luigi Dallapiccola, lute, lyricism, Madison, melody, modern, modernism, Monica Huggett, moon, morning, Music, NASA, opera, opinion, perform, poor, popularity, poverty, priest, program, prolific, putdown, Rachel Podger, Red Priest, Religion, school, share, Shlomo Mintz, Simon Standage, snide, soloist, Sonata, space, strings, style, symphony, tag, takedown, The Ear, The Four Seasons, thing, transparency, Trevor Pinnock, tune, UK, United States, Venice, Victoria Mullova, Viola, Violin, Vivaldi, vocal music, wind music, YouTube
Classical music: American music is in the spotlight this weekend as pianist Olga Kern returns in a concerto by Samuel Barber and the Madison Symphony Orchestra performs Dvorak’s “New World” Symphony
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By Jacob Stockinger
This weekend, the Madison Symphony Orchestra (MSO, below in a photo by Peter Rodgers), with music director John DeMain conducting, will present its second concert of the season, featuring music “From the New World.”
“From the New World” features the return of soloist Olga Kern in her take on an American classic — Samuel Barber’s only Piano Concerto — for her fourth appearance with the MSO. This piece is accompanied by Maurice Ravel’s Mother Goose Suite and is followed after intermission by Antonin Dvorak’s Symphony No. 9, know as the “New World Symphony,” inspired by the prairies of America.
The concerts take place in Overture Hall of the Overture Center, 201 State St., on Friday, Oct. 20, at 7:30 p.m.; Saturday, Oct. 21, at 8 p.m.; and Sunday, Oct. 22, at 2:30 p.m.
Ravel’s Mother Goose Suite was originally written as a suite of “Five Children’s Pieces for Piano Four Hands” and was later orchestrated by the composer and expanded into a ballet in 1911. The piece by Ravel (below) is comprised of 11 sections, many of which are based on five fairy tales of Charles Perrault, most specifically those of his Contes de ma Mère l’Oye (Mother Goose Tales).
The Piano Concerto was written in Samuel Barber’s mature years, and is characterized by a gain in depth of expression and technical mastery from his earlier lyrical style. The piece was met with great critical acclaim and led to Barber (below) winning his second Pulitzer Prize in 1963 and a Music Critics Circle Award in 1964. (You can hear the second and third movements in the YouTube video at the bottom.)
Russian-American Pianist Olga Kern (below) is recognized as one of her generation’s great pianists. She jumpstarted her U.S. career with her historic Gold Medal win at the Van Cliburn International Piano Competition in Fort Worth, Texas as the first woman to do so in more than 30 years.
Winner of the first prize at the Rachmaninoff International Piano Competition she was 17, Kern is a laureate of many international competitions. In 2016, she served as jury chairman of both the Seventh Cliburn International Amateur Piano Competition and first Olga Kern International Piano Competition, where she also holds the title of artistic director.
Kern has performed in famed concert halls throughout the world including Carnegie Hall, the Great Hall of the Moscow Conservatory, and the Theatre du Chatelet in Paris. She has appeared with the Madison Symphony Orchestra three times — in 2009, 2010 and 2014.
Composed in 1895 while Dvorak (below) was living in New York City, his Symphony No. 9 (often referred to as the “New World Symphony”) is said to have been inspired by the American “wide open spaces” of the prairies that he visited during a trip to Iowa in the summer of 1893.
The “New World Symphony” is considered to be one of the most popular symphonies ever written, and was even taken to the moon with Neil Armstrong during the Apollo 11 mission in 1969.
One hour before each performance, Anders Yocom (below, in a photo by James Gill), Wisconsin Public Radio host of “Sunday Brunch,” will lead a 30-minute Prelude Discussion in Overture Hall to enhance concertgoers’ understanding and listening experience.
For more background on the music, please read the Program Notes by MSO trombonist and UW-Whitewater professor J. Michael Allsen (below), at:
http://www.allsenmusic.com/NOTES/1718/2.Oct17.html
The Madison Symphony Orchestra recommends that concert attendees arrive early for each performance to make sure they have time to pass through Overture Center’s security stations, and so they can experience the pre-concert Prelude Discussion (free for all ticket-holders) one hour before the performance.
The October concerts also coincide with UW-Madison’s Homecoming Weekend celebration — another reason that MSO patrons are advised to arrive early for the concerts this weekend, especially on Friday.
Single Tickets are $18-$90 and are on sale now at https://www.madisonsymphony.org/singletickets, through the Overture Center Box Office at 201 State Street, or by calling the Box Office at (608) 258-4141.
Groups of 15 or more can save 25% by calling the MSO office at (608) 257-3734. For more information, got to: https://www.madisonsymphony.org/groups.
Student rush tickets can be purchased in person on the day of the concert at the Overture Center Box Office at 201 State Street. Students must show a valid student ID and can receive up to two $12 or $18 tickets.
You can find more information at: https://www.madisonsymphony.org/studentrush
Seniors age 62 and up receive 20% savings on advance and day-of-concert ticket purchases in select areas of the hall.
The first “Club 201 Concert and After-Party” of the season takes place on Friday, Oct. 20. The $35 ticket price includes one concert ticket ($68-$90 value), plus the after-party with hors d’oeuvres, cash bar, and one drink ticket. Club 201 Events are an opportunity for music enthusiasts 21 and over to connect with each other, and meet MSO musicians, Maestro John DeMain, and special guests.
Discounted seats are subject to availability, and discounts may not be combined.
Here is a direct link to find more information and to purchase tickets online: https://www.madisonsymphony.org/kern
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Classical music: Listen to live “eclipse music” during today’s solar eclipse
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By Jacob Stockinger
Today is the day a lot of people have been waiting for for a long time.
The United States will experience a solar eclipse (below).
By now you’ve heard enough about not looking directly at the sun because of the severe damage you risk doing to your eyes.
But indirectly you can watch and also hear it unfold from about 11:15 a.m. CDT for three hours. And you can see it and hear about through any number of media, including television, radio and the Internet. Just Google it and take your choice.
What you may not know is that the entire eclipse in the U.S, will be accompanied by the famed and always adventurous Kronos Quartet (below top) playing an ingenious score – which uses the energy from the sun during the eclipse to create notes — written especially for this occasion by the contemporary San Francisco composer Wayne Grim (below bottom) especially for this occasion.
You can hear a sample of Grim’s music for another scientific project at the Exploratorium in the YouTube video at the bottom.
Here are links to the stories on National Public Radio (NPR) and the web, which feature a link to the live-streamed performance from the Exploratorium in San Francisco:
https://www.space.com/37845-kronos-quartet-serenades-total-solar-eclipse.html
And for good measure, here is a link to a story about the first photograph ever taken of a solar eclipse – the one that appears above. The daguerreotype dates from July 28, 1851 and was taken by Johann Julius Friedrich Berkowski.
https://www.forbes.com/sites/kionasmith/2017/08/20/behold-the-first-photograph-of-a-solar-eclipse/
Tags: airship, America, Arts, Berkowski, Cello, Chamber music, Classical music, contemporary music, create, Creation, daguerrotype, damage, day, eclipse, energy, Exploratorium, eye, eyes, float, Google, Internet, Jacob Stockinger, Kronos Quartet, live-stream, Madison, NASA, National Public Radio, note, notes, NPR, photograph, Radio, San Francisco, science, scientific, score, solar, solar eclipse, String quartet, sun, Television, time, today, TV, U.S., United States, University of Wisconsin-Madison School of Music, University of Wisconsin–Madison, Viola, Violin, wait, Wayne Grim, Wisconsin, Zeppelin
Classical music: The Madison Symphony Orchestra opens its new season with superb playing, hypnotizing space photos by NASA and close to three full houses
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By Jacob Stockinger
Several years ago, artistic director and conductor John DeMain (below, in a photo by Prasad) decided to use the season-opening concerts of the Madison Symphony Orchestra to spotlight the symphony and its first-chair players as soloists.
No big-name imported guest soloists were to be booked.
In addition, this year Maestro DeMain chose to open the season with a multimedia show that combined Jumbotron-like space images from NASA (below is Jupiter) with Gustav Holst’s “The Planets.”
Such multimedia events increasingly seem to work as a way to build audiences and boost attendance by new people and young people. After all, a music director has to sell tickets and fill seats as well as wave a baton.
And it seems that, on both counts, DeMain’s strategy proved spectacularly successful.
All sections of the orchestra (below, in a photo by Greg Anderson) — strings, brass, winds, percussion — played with energy, precision and subtlety. The MSO proved a very tight ensemble. Each year, you can hear how the MSO improves and grows increasingly impressive after 23 years of DeMain’s direction.
The public seemed to agree. It came very close to filling the 2,200-seat Overture Hall for all three performances with more than 6,100 audience members, according to Peter Rodgers, the new marketing director for the MSO. Especially noteworthy, he said, was the number of children, students and young people who attended.
In fact, so many students showed up for student rush tickets on Friday night that the performance was delayed by around 10 minutes – because of long lines at the box office, NOT because of the new security measures at the Overture Center, which Rodgers said worked smoothly and quickly.
But not everything was ideal, at least not for The Ear.
On the first half, the playing largely outweighed the music.
True, the Romanian Rhapsody No. 1 by a very young George Enescu (below) received a sizzling and infectious performance. With its catchy folk tunes, dance rhythms and Gypsy harmonies, the fun work proved an irresistible opener – much like a starting with an encore, which is rather like eating a rich and tasty dessert before tackling the more nutritious but less snazzy main course.
The music itself is captivating and frequently played – although this was its surprising premiere performance by the MSO. Little wonder the Enescu got a rousing standing ovation. Still, it is hardly great music.
Then came the Chaconne for violin and orchestra by the American composer John Corigliano (below), who based the work on his Oscar-winning film score for “The Red Violin.”
Concertmaster Naha Greenholtz (below) impressed The Ear and most others with her mastery of what appeared to be a very difficult score. The ovation was for her, not for the music.
That music also has some fine moments. But overall it seems a dull and tedious work, an exercise in virtuosity with some of the same flaws you find in certain overblown piano etudes by Franz Liszt. Once again the playing trumped the music.
Then came The Big Event: Gustav Holst’s “The Planets” coupled with clear, high-definition photos of the planets taken by NASA that were projected on a huge screen above the orchestra. Saturn’s rings, Jupiter’s and Venus’ clouds and Mars’ landscape (below) have never looked so impressive.
The orchestra again struck one with its exotic and “spacey” sound effects and with what must have been the difficulty of timing simultaneously the music and the images.
Yet ultimately Holst’s work became a sound track — music accompanying images rather than images accompanying the music. The Ear heard several listeners compare the admittedly impressive result to the movies “Fantasia” and “2001: A Space Odyssey.” That says something.
At some moments the sound and images really matched and reinforced each other, especially in the dramatic opening section, “Mars, the Bringer of War.” Holst’s score also succeeds nicely with “Jupiter, the Bringer of Jollity” and to a lesser degree with “Venus, the Bringer of Peace.”
But overall “The Planets” reminds The Ear of colorful and dramatic programmatic showpieces such as Ottorino Respighi‘s “The Pines of Rome” and “The Fountains of Rome.” (Earth, curiously, is not included in “The Planets.” Makes you wonder: What would Earth bring?) Enjoyable music, to be sure, but not profound fare.
The Ear’s extensive library of CDs has none of the three works on the program. And it will probably remain that way.
While Holst’s work does have great moments, it grows long, repetitive and finally uninteresting as it ends not with a bang but with an underwhelming whimper – which was beautifully enhanced by the atmospheric singing of the MSO Women’s Chorus. There are just too many planets!
Listen to the YouTube video at the bottom, played by James Levine conducting the Chicago Symphony Orchestra, and you will see: Mars rules!
Add it all up and despite three standing ovations, in the end The Ear found the concert less than fully satisfying. The music, however likable and appealing, was not, for the most part, great music. Moreover, it was mostly trumped first by the performances and then by the visuals.
So on a personal note, here is The Ear’s request to the MSO, which scored an undeniably brilliant success with this program: Keep the same all-orchestra and first-chair format for season-openers and use multimedia shows whenever appropriate. But please also include at least one really first-rate piece of music with more substance.
Is that asking for too much?
Is The Ear alone and unfair in his assessment?
Other critics had their own takes and some strongly disagree with The Ear.
Here is a link to three other reviews:
By John W. Barker (below) for Isthmus:
http://isthmus.com/music/beautiful-music-distracting-backdrop/
By Jessica Courtier for The Capital Times:
And by Greg Hettmansberger (below), who writes for WISC-TV Channel 3 and his Classically Speaking blog for Madison Magazine, and on his own blog, What Greg Says:
https://whatgregsays.wordpress.com/tag/john-corigliano/
What did you think of the music, the performances and the visual show?
How well did they mix?
What did you like most and least?
The Ear wants to hear.
Tags: 2001: A Space Odyssey, Academy Award, Academy Awards, Arts, blog, brass, CD, Cello, chaconne, Chamber music, Chicago, Chicago Symphony Orchestra, choral music, chorus, Classical music, Classically Speaking, concertmaster, critic, Earth, Enescu, etude, Fantasia, Film score, Fountains of Rome, Greg Hettmansberger, Gustav Holst, Holst, Isthmus, James Levine, Jessica Courtier, John Corigliano, John DeMain, John W. Barker, Jupiter, landscape, library, Liszt, Madison, Madison Magazine, Madison Symphony Orchestra, Mars, movie music, movie score, Music, Naha Greenholtz, NASA, Orchestra, Oscar, Overture Center, percussion, Piano, Pines of Rome, program music, Respighi, review, rhapsody, Saturn, space, strings, symphony, The Capital Times, The Planets, The Red Violin, United States, University of Wisconsin-Madison School of Music, University of Wisconsin–Madison, Venus, Viola, Violin, war, What Greg Says, winds, WISC-TV, Wisconsin, women, YouTube
Classical music: Read the reviews. This afternoon is your last chance to hear — and, thanks to NASA, to see — Holst’s “The Planets.” But ARRIVE EARLY! The Madison Symphony Orchestra has alerted its audiences about new security measures at the Overture Center
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By Jacob Stockinger The Madison Symphony Orchestra has sent out the following note, via email and regular mail, about new security measures at the Overture Center. They will be in effect for the three MSO concerts this weekend, including the performance today, Sunday, Sept. 25, at 2:30 p.m. For more information about the program, visit this link:
“Due to changes in the Overture Center’s security procedures, there will be only THREE main entry points into the building (below) as you come for your concert. When you arrive, please enter at: • The main Overture Center entrance on State Street • An entrance on Fairchild Street (one door only) • The “back” entrance on Henry Street Security stations will be placed at each entrance where Overture staff will conduct a bag search on bags larger than a small purse, including backpacks.
We anticipate that the process will be smooth and proceed quickly, although we do recommend you come early for peace of mind so you can enjoy the concert from start to finish! For more information on the Overture Center’s security measures, please visit the website at overturecenter.org/about/security |
The Ear wonders what effect these new security measures will have on attendance at the symphony, the Wisconsin Chamber Orchestra concerts, the Madison Opera, the Bach Dancing and Dynamite Society and other non-musical events.
The Ear would like to know if the new security measures come in response to an actual terrorist threat or are simply a new standard operating procedure. The published explanation leans to the latter and says the Overture Center was to take the same precautions that big presenters in, say New York City and Washington, D.C., do.
But The Ear wonders: Will similar measures now be adopted by the Wisconsin Union Theater, the University of Wisconsin School of Music and other major local venues?
Does anyone have more information or an opinion?
What do you think about the necessity or desirability of such measures ?
And what was your experience like with the new procedures?
Stay tuned.
The Ear wants to hear.
In the meantime, this afternoon is your last chance to hear the program that generally gets very positive reviews.
Here is the review that John W. Barker (below) wrote for Isthmus:
http://isthmus.com/music/beautiful-music-distracting-backdrop/
And here is the review that Jessica Courtier wrote for The Capital Times:
Tags: alert, Arts, attack, Bach Dancing and Dynamite Society, backpack, Classical music, critic, D.C., DC, High definition, Isthmus, Jacob Stockinger, John W. Barker, Jupiter, Madison, Madison Opera, Madison Symphony Orchestra, Mars, Music, NASA, New York City, Orchestra, Overture Center, photograph, planet, precaution, purse, safety, security, September 11 attacks, symphony, terrorism, terrorist, United States, University of Wisconsin-Madison School of Music, University of Wisconsin–Madison, Venus, Washington, Wisconsin, Wisconsin Chamber Orchestra, Wisconsin Union Theater
Classical music: The Madison Symphony Orchestra opens its new season this weekend with music by Holst and photographs by NASA in “The Planets: An HD Odyssey”
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By Jacob Stockinger
The Ear has received the following announcement from the Madison Symphony Orchestra:
The Madison Symphony Orchestra (MSO, below), with Music Director John DeMain conducting, opens its 91st season – and its 23rd season under Maestro DeMain — with three works by 20th-century composers.
Science, music and stunning visuals come together with Gustav Holst’s The Planets accompanied by a spectacular, high-definition film featuring NASA imagery. (Below is a photo of Jupiter, “The Bringer of Jollity” to Holst. The musical depiction of Jupiter — performed by James Levine conducting the Chicago Symphony Orchestra — is in the YouTube video at the bottom.
MSO’s Concertmaster Naha Greenholtz is featured in the Chaconne, a dramatic theme by John Corigliano, from The Red Violin film. The concert begins with George Enescu’s Romanian Rhapsody No. 1.
The concerts are in Overture Hall on this Friday., Sept. 23, at 7:30 p.m.; Saturday, Sept. 24, at 8 p.m.; and Sunday, Sept. 25, at 2:30 p.m.
A national hero in his homeland, Enescu rarely included hints of his Romanian heritage in his music, except when he composed the Romanian Rhapsodies as a teenager. Romanian Rhapsody No. 1 captures a series of Romanian folk songs, including melodies of increasingly wild Gypsy dances. This is MSO’s first performance of this work.
In the Chaconne, American composer John Corigliano (below) draws the audience in with a foreboding and haunting signature tune, which he wrote for the powerful film about music, The Red Violin. His film score for the movie earned him an Academy Award in 1999 for his original music. This will be the first time MSO has performed this Oscar-winning work, and features MSO Concertmaster Naha Greenholtz.
Greenholtz (below) has captivated audiences as Concertmaster of the MSO and the Quad City Symphony Orchestra. A Canadian violinist, Greenholtz was born in Kyoto, Japan, where she began her violin studies at age three.
Since her solo debut at 14, she continues to perform internationally, most notably with: the Oregon Symphony, Calgary Philharmonic, National Ballet of Canada, Omaha Symphony, and Memphis Symphony.
The Planets is known as Holst’s most popular work. The musical movements were inspired by characteristics connected with astrology’s seven planets. For instance, ominous sounding Mars, the Bringer of War, is followed by the calmly flowing Venus, the Bringer of Peace. (Below top is Mars and below bottom is Venus.)
The performances will be accompanied by a high-definition film projecting celestial images above the main stage.
According to New York Times senior critic Anthony Tommasini, the film shows “photographs from rovers and satellites, radar images and computer-generated graphics … combining to give the audience the impression of circling individual planets and sometimes flying over their awesomely barren landscapes.” (Below is a close-up of the surface of Mars.)
The Madison Symphony Women’s Chorus (below top, in a photo by Greg Anderson), under the direction of Beverly Taylor, will be part of the final movement of The Planets, and the Overture Concert Organ (below bottom) is featured at several moments in the piece.
This is the first time MSO’s performance of The Planets will be accompanied by the high-definition film.
One hour before each performance, Randal Swiggum, the artistic director of the Elgin Youth Symphony Orchestra Artistic, will lead a 30-minute Prelude Discussion in Overture Hall to enhance concertgoers’ understanding and listening experience.
For more background on the music, please view the Program Notes at: http://www.allsenmusic.com/NOTES/1617/1.Sep16.html or madisonsymphony.org/planets.
Before all of the concerts and at intermission, Friends of University of Wisconsin–Madison Astronomy will have an interactive display in the lobby concertgoers can experience.
The Symphony recommends that concert attendees arrive early for each performance to make sure they have time to pass through Overture Center’s security stations, and so they can experience the pre-concert talk and the astronomy exhibit (free for all ticket-holders).
Single Tickets are $16 to $87 each and are on sale now at madisonsymphony.org/planets, through the Overture Center Box Office at 201 State Street, or by calling the Box Office at (608) 258-4141.
Groups of 15 or more can save 25% by calling the MSO office at (608) 257-3734. For more information visit, madisonsymphony.org/groups.
Student rush tickets can be purchased in person on the day of the concert at the Overture Box Center Office at 201 State Street. Students must show a valid student ID and can receive up to two $12 or $15 tickets. More information is at: madisonsymphony.org/studentrush.
Seniors age 62 and up receive 20% savings on advance and day-of-concert ticket purchases in select areas of the hall.
Discounted seats are subject to availability, and discounts may not be combined.
Major funding for the September concerts is provided by: NBC15, Diane Ballweg, Capitol Lakes, Friends of University of Wisconsin–Madison Astronomy, The Gialamas Company, Inc., and Nicholas and Elaine Mischler. Additional funding is provided by: Analucia and Mark Allie, for their beloved “Doc” Richard Greiner; Judith and Nick Topitzes, and the Wisconsin Arts Board with funds from the State of Wisconsin and the National Endowment for the Arts.
Tags: 20th-century, Academy Award, America, Anthony Tommasini, Arts, astrology, astronomy, ballet, Calgary, Canada, Cello, chaconne, Chicago, Chicago Symphony Orchestra, choral music, chorus, Classical music, composer, computer, concertmaster, conductor, dance, Elgin, Enescu, film, Film score, Gustav Holst, gypsy, HD, High definition, Holst, imagery, Jacob Stockinger, James Levine, Japan, John Corigliano, John DeMain, Jupiter, Kyoto, landscape, Madison, Madison Symphony Orchestra, Maestro, Mars, melody, Memphis, movie, movie score, Music, NASA, National Endowment for the Arts, NEA, New York Times, Omaha, Orchestra, Oregon, organ, Oscar, Overture Center, photograph, planet, Prelude, program notes, Quad City, radar, Randal Swiggum, Red Violin, rhapsody, Romania, Roumania, Rumania, satellite, science, senior, Student, symphony, The Planets, United States, University of Wisconsin-Madison School of Music, University of Wisconsin–Madison, US, Venus, Viola, Violin, visual, vocal music, Wisconsin, Wisconsin Arts Board, women, Youth, YouTube
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