The Well-Tempered Ear

Classical music: This weekend guest violinist Rachel Barton Pine solos with the Madison Symphony Orchestra in an all-Russian program

October 17, 2019
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By Jacob Stockinger

This weekend the acclaimed Chicago violinist Rachel Barton Pine (below) makes her debut with the Madison Symphony Orchestra playing Khachaturian’s Violin Concerto in D minor.

The concert by the orchestra (below, in a photo by Peter Rodgers) opens with Prokofiev’s Suite from Lieutenant Kijé and concludes with Shostakovich’s Symphony No. 9.

Performances will be held in Overture Hall, 201 State St., on Friday night, Oct. 18, at 7:30 p.m.; Saturday night, Oct. 19, at 8 p.m.; and Sunday afternoon, Oct. 20, at 2:30 p.m. in Overture Hall. Tickets are $19-$95. See below for details.

“There will be great discoveries in our all-Russian concert, starting with the MSO debut of virtuoso violinist Rachel Barton Pine playing the Khachaturian Violin Concerto, a big, bold and beautiful work in its MSO premiere,” said MSO music director and conductor John DeMain (below, in a photo by Greg Anderson). Lieutenant Kijé is sure to delight you with its wonderful melodies and infectious rhythms. Shostakovich has become a favorite with our audiences, and his ninth symphony is delightfully upbeat.”

Lieutenant Kijé is the fictional protagonist of an anecdote about the reign of Emperor Paul I of Russia. The story was used as the basis of a novella by Yury Tynyanov published in 1928 and filmed in 1934, with music by Sergei Prokofiev (below). The plot is a satire on bureaucracy and is often parodied in fictional works making fun of bureaucracies, most famously in the form of the M*A*S*H television episode “Tuttle,” featuring a fictional captain of similar provenance. (You can hear the popular “Troika” episode in the YouTube video at the bottom.)

Many of the themes in Violin Concerto in D minor are evocative of the native Armenia of Aram Khachaturian (below). Although the folk melodies aren’t played explicitly, one can hear the Armenian roots through the oriental essence of the scales and the rhythmic range of the featured dances. The piece won the Stalin Prize in 1941, becoming one of Khachaturian’s favorites.

Shostakovich’s Symphony No. 9 is entirely unlike his other symphonies. In fact, it completely disregards the expectations for its programmatic elements. Shostakovich’s prior two symphonies are thematically tied to the ongoing war, therefore the public presumed that the ninth symphony would be a grand culmination to Stalin and mark the end of World War II. Instead, the composer (below) produced a short, neo-classical work that generated an abundance of controversy.

ABOUT RACHEL BARTON PINE

In both art and life, violinist Rachel Barton Pine (below) – who has performed in Madison before with the Wisconsin Chamber Orchestra — has an extraordinary ability to connect with people.

Celebrated as a leading interpreter of great classic and contemporary works, her performances combine her innate gift for emotional communication and her scholarly fascination with historical research. She plays with passion and conviction, thrilling audiences worldwide with her dazzling technique, lustrous tone, and infectious joy in music-making.

A prolific recording artist, she has also championed the works of female composers and African-American composers.

Pine was also recently named the recipient of the Cedille Records Musical Partnership Award for her Rachel Barton Pine Foundation. The Foundation was recognized as an organization that has demonstrated an extraordinary commitment to the classical music community in Chicago. Cedille noted the Foundation’s “support of the Chicago musical community’s most valuable asset — its musicians and composers.”

Pine was presented with the award by U.S Supreme Court Justice Ruth Bader Ginsburg whose son, Jim Ginsburg, founded Cedille Records. Pine began her Foundation in 2001 to provide instruments and instruction to children who might not otherwise be able to afford them.

You can read the Artist Story online about how Rachel Barton Pine overcame severe injuries and her own personal adversity to achieve her goals: https://madisonsymphony.org/19-20-artist-story-rachel-barton-pine-overcomes-adversity/

CONCERT, TICKET AND EVENT DETAILS

The lobby opens 90 minutes prior to each concert.

One hour before each performance, retired MSO trombonist and UW-Whitewater professor Michael Allsen (below, in a photo by Katrin Talbot) will lead a 30-minute Prelude Discussion in Overture Hall to enhance concertgoers’ understanding and listening experience. It is free to ticket holders.

The MSO 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 Prelude Discussion.

Program notes for the concerts are available online: http://bit.ly/msooct19programnotes.

Discounted seats are subject to availability, and discounts may not be combined.


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Classical music: A century later, is “The Rite of Spring” still new and edgy? Was Igor Stravinsky the Pablo Picasso of modern music? It’s a good question to consider as “The Rite” turns 100 this Wednesday, May 29, and NPR devotes several worthy stories to Stravinsky and his music.

May 26, 2013
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By Jacob Stockinger

This coming Wednesday, May 29, marks the 100th anniversary of the premiere of “The Rite of Spring” by the 20th century master Igor Stravinsky (below at about the time of “The Rite.”).

Igor Stravinsky young with score 2

You may remember that its sensational premiere in Paris in 1913, which also ushered in modern dance as well as modern music, was conducted by Pierre Monteux, caused  a literal riot in the concert hall at the Theatre of the Champs Elysees. (Below are the dancers of the Ballets Russes who performed the original 1913 choreography by the famed Nijinsky and a video of the opening from the Joffrey Ballet‘s recreation of the original production.)

Nijinsky's dancers original Rite of Spring Ballets Russes 1913

A century later, the ballet score remains a shockingly visceral, raw, convulsive and heart-pounding work that has lost none of its impact. It is, like late Beethoven string quartets — I believe it was Stravinsky himself who made the observation about Beethoven’s “Grosse Fuge”  — forever modern.

Miles Hoffman recently discussed “The Rite” on NPR within the very varied and very long career of Stravinsky, and how Stravinsky (below, in a photo by Richard Avedon) was musical chameleon who constantly pushed his art and evolved his sense of style in different directions.

Igor Stravinsky old 2

Hoffman, himself a performing musician (a violist) and a fine writer, compared Stravinsky to Pablo Picasso for the range and diversity of his experimentation and the masterful results.

Certain, the range of Stravinsky (1882-1971) is worth considering even as record labels are issuing special centennial editions and performances of “The Rite of Spring.”

What, one wants to ask, about the neo-Classical Stravinsky? Or the 12-tone Stravinsky? The contrasting styles are all so central to understanding his career. (I love the earlier Stravinsky of “Rite” and “The Firebird” but I adore the Neo-Classical Stravinsky and admire the courage that it took for the ever-morphing composer to buck his modernist colleagues.)

And the often repeated comparison to Picasso is especially appropriate given that the two prolific and protean  ever-changing artists knew each other and even had a bet on who would live the longest. (Picasso, who lived from 1881 to 1973, won the bet.)

hoffman_rite

Here is a link to the NPR piece, which features audio samples and which I highly recommend you listen to and not just read:

http://www.npr.org/blogs/deceptivecadence/2013/05/24/186296467/igor-stravinskys-rite-of-spring-counterrevolution

Here is a piece to another NPR piece, “A Cocktail Party Guide to Stravinsky,” complete with audio and video samples, from Tom Huizenga.

http://www.npr.org/blogs/deceptivecadence/2013/05/24/186443524/the-cocktail-party-guide-to-igor-stravinsky

And here is a third NPR piece that features sound clips and the 48-year-old Leonard Bernstein (below) in an electrifying and thrilling performance of the difficult but thrilling score to “Le Sacre du Printemps” with the London Symphony Orchestra in 1966:

http://www.npr.org/blogs/deceptivecadence/2013/05/25/186489566/leonard-bernsteins-rite-of-spring-thrill-ride

Leonard Bernstein conducting

Finally, here is anther comprehensive NPR piece done by Tom Vitale that aired Saturday on Weekend Edition host Scott Simon:

http://www.npr.org/blogs/deceptivecadence/2013/05/25/186497792/then-the-curtain-opened-the-bracing-impact-of-stravinskys-rite

Meanwhile here in a YouTube video is the part of “The Rite of Spring” that always seems my ears like the soundtrack to an Aztec heart sacrifice — well, it is about pagan Russia — with its incredible use of slashing strings, pounding percussion, spooky winds and brass, and propulsive off-beats.

What careful mastery, craft and precision went into something so physical, so visceral, so emotive! There is a lesson there for advocates of passionate art who mistake sincere confession for careful craft!


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