By Jacob Stockinger
Ehnes will play Max Bruch’s Scottish Fantasy for violin and orchestra, a piece that blends rustic folk tunes and tender themes to convey the stark Scottish landscape.
Opening the program will be Joseph Haydn’s spirited Symphony No. 85, nicknamed “La Reine” (The Queen) because it was the favorite of French Queen Marie Antoinette. Sergei Rachmaninoff’s Symphonic Dances will close out the concert.
The concerts are in Overture Hall of the Overture Center, 201 State Street, on Friday, Oct. 16, at 7:30 p.m.; Saturday, Oct. 17, at 8 p.m.; and Sunday, Oct. 18, at 2:30 p.m.
James Ehnes made his major orchestral solo debut with the Orchestre Symphonique de Montréal (Montreal Symphony Orchestra) at age 13 and was awarded the Avery Fisher Career Grant in 2005. Today, he is a sought-after chamber musician, recitalist and soloist with the world’s finest orchestras. (You can hear his astonishing playing in Antonio Bazzini’s “Dance of the Goblins” in a YouTube video at the bottom.)
One hour before each performance, Tyrone Greive, retired MSO Concertmaster and Professor of Violin at University of Wisconsin-Madison, will lead a 30-minute Prelude Discussion in Overture Hall to enhance concertgoers’ understanding and listening experience.
Background about the music can also be found in the Program Notes by bass trombonist and UW-Whitewater professor Michael Allsen at: http://www.madisonsymphony.org/ehnes
Single Tickets are $16 to $85 each, available at www.madisonsymphony.org/singletickets and 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 percent by calling the MSO office at (608) 257-3734. For more information visit, www.madisonsymphony.org/groups
Student rush tickets can be purchased in person on the day of the concert at the Overture Box 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: www.madisonsymphony.org/studentrush. Students can receive 20% savings on seats in select areas of the hall on advance ticket purchases.
Seniors age 62 and up receive 20 percent savings on advance and day-of-concert ticket purchases in select areas of the hall.
Discounted seats are subject to availability, and discounts can NOT be combined.
Find more information at www.madisonsymphony.org.
Major funding for the October concerts is provided by Margaret C. Winston, Kenneth A. Lattman Foundation, Inc., Capitol Lakes, the Madison Symphony Orchestra League, and Peggy and Tom Pyle. Additional funding is provided by Dr. Stanley and Shirley Inhorn and the Wisconsin Arts Board with funds from the State of Wisconsin and the National Endowment for the Arts.
James Ehnes kindly agreed to an email Q&A with The Ear:
Could you bring readers up to date with your career and achievements – including future recordings and events — since your last appearance in Madison in 2012?
A lot has happened in my life since 2012! Most importantly, the birth of my second child in 2014.
Musically, I’ve had a lot of wonderful experiences. It’s hard to narrow it down, but some of the highlights were the BBC Proms last summer, a play-conduct recording of Antonio Vivaldi’s “Four Seasons” with the Sydney Symphony, and performances with all of the so-called Big Five orchestras here in the states (New York, Philadelphia, Boston, Cleveland, Chicago).
What should people know about composer Max Bruch and his Scottish Fantasy? What distinguishes it from his concertos?
Bruch (below) was one of the great melodists of the Romantic era, but interestingly this piece uses “borrowed” Scottish tunes, hence its title.
I think the piece has just about the perfect combination of elements — virtuosity, beautiful melodies, and interesting and colorful orchestration (the harp plays a very major role). Unlike a “standard” concerto, there is an introduction and four movements in this piece, so it’s a bit unusual in a formal sense.
You are especially known for your interpretations of modern composers like Bela Bartok. What do you think of the Romantic composers and repertoire? Do you try to bring anything special to them?
I didn’t realize that was the case! I play lots of different styles of music, and having that variety in my career is probably my greatest inspiration. I love the Romantic repertoire. It is probably this music above all other that made me initially fall in love with the violin as a boy.
Is there anything else you would like to say about the music or Madison or the Madison Symphony Orchestra?
I’m very much looking forward to my return. The performances in 2012 were my first visit to Madison, and I really enjoyed the city. I look forward to having a bit more time to explore, and I’m delighted to be able to bring my family this time.
By Jacob Stockinger
They are two of the most high-profile jobs in the world of classical music and they are both in New York City: the music director of the Metropolitan Opera and the music director of the New York Philharmonic.
And right now candidates are being examined as possible successors to their current heads, James Levine and Alan Gilbert respectively.
According to a story in The New Yorker magazine, one major player reportedly is the acclaimed firebrand and openly gay French-Canadian conductor Yannick Nezet-Seguin (below, in a photo by Hiroyuki Ito for Getty Images), who currently heads the Philadelphia Orchestra. Guess which post he is a candidate for?
Another major candidate seems to be the conductor-composer Esa-Pekka Salonen (below). Can you guess for which post?
The Ear asks: Whatever happened to American candidates?
Are we going backwards from the Leonard Bernstein achievement of putting American maestros on a par with European or other foreign conductors?
To be fair, though, some report that Bernstein protégée Marin Alsop, currently music director of the Baltimore Symphony Orchestra, could be a contender for the New York Philharmonic post.
Anyway, the recent New Yorker magazine had a very good take on the game of musical chairs being played around the two major vacancies.
The story shows careful research and excellent deep sourcing. But it also reads a bit like an engagingly conversational gossip column.
Maybe that is because it is written not by music critic Alex Ross but by Russell Platt, who is the classical music editor for the Goings On About Town column that starts the magazine.
Here is a link to an excellent read and what seems to be a pretty good crystal ball about the future leaders of the Metropolitan Opera and the New York Philharmonic.
It’s great reading for a Sunday afternoon. Enjoy!
By Jacob Stockinger
The New York Times has come up with a terrific idea.
It is a series of essays called “Virgin Eyes.” It asks critics to recall a first experience with art or culture that they wish they could experience again, so powerful and formative and long-lasting was the first impression they received from it.
The series covers art and pop music, movies and television shows.
But it also features classical music and opera.
One of the more recent essays -– it should really be called Virgin Ears — was written by senior music critic Anthony Tommasini (below). You may recall he came to Madison several years ago as part of the centennial celebration of the University of Wisconsin-Madison’s Pro Arte Quartet.
In his essay, Tommasini — who is a composer as well as a critic — recalls the formative summer of 1966 he spent listening to Igor Stravinsky’s “The Rite of Spring” in the hands of conductor Leonard Bernstein and the New York Phiharmonic.
That experience forever changed what Tommasini saw as radical music-making. (You can get a taste of Bernstein’s electrifying interpretation in the YouTube video at the bottom.)
Read and see if you don’t agree – and if it doesn’t make you think of your own experiences that you would like to re-live with virgin eyes and ears.
Here it is:
By Jacob Stockinger
Yesterday The Ear asked readers for suggestions about classical music that would be appropriate to post and play today, which is Independence Day or the Fourth of July.
I got some good answers.
Some of the suggestions were great music but seemed inappropriate like “On the Transmigration of Souls” by the contemporary American composer John Adams. It won the Pulitzer Prize. But it deals with the terrorist attacks of 9/11 and strikes The Ear as a bit grim for this holiday.
So, here are four others for The Fourth:
Ann Boyer suggested the Variations on “America” by Charles Ives, who was certainly an American and a Yankee original. The original scoring for organ was transcribed for orchestra by the well-known American composer William Schuman and it is performed below in a YouTube video by the Chicago Symphony Orchestra under the baton of the famous composer-arranger Morton Gould, who seems to specialize in Americana:
Tim Adrianson suggested Aaron Copland’s great Third Symphony. It is long but the most famous part of the symphony is “Fanfare for the Common Man,” played here by Metropolitan Opera artistic director James Levine and the New York Philharmonic Orchestra. And that seems a perfectly fitting piece of music to celebrate the birth of American democracy:
Reader fflambeau suggested anything by Howard Hanson, but especially Syphony No. 2 “Romantic.” Here is the famous slow movement — performed by Gerard Schwarz and the Seattle Symphony Orchestra — that is also the appealing theme of the Interlochen Arts Academy and National Summer Music Camp:
Finally, The Ear recently heard something that seems especially welcome at a time when there is so much attention being paid to matters military.
It is also by Aaron Copland and is called “A Letter From Home.” It was dedicated to troops fighting World War II but it strikes me for its devotion to the home front and to peaceful domestic life, which is exactly what the Fourth of July should be about. Be sure to look at the black-and-white photographs that accompany the music:
And The Ear reminds you that you can hear a lot of American composers and American music today on Wisconsin Public Radio.
Have a Happy Fourth of July and Independence Day, everyone!
By Jacob Stockinger
The Ear supposes that Leonard Bernstein’s Serenade for violin and orchestra qualifies as program music since it aims to translate Plato’s famous dialogue about love — “Symposium” — into music. (At the bottom, is a YouTube video of Joshua Bell performing the work with the New York Philharmonic under conductor Alan Gilbert in 2013.)
This much is sure. The 1954 work by Bernstein — to be performed by the Madison Symphony Orchestra concertmaster Naha Greenholtz (below) — is part of what makes this weekend’s one of the most interesting programs, maybe THE most interesting, of the season from the Madison Symphony Orchestra.
The combination of Romantic and post-WW II modern music includes the performance of a major symphony that is beloved around the world: the Ninth Symphony by Ludwig van Beethoven, also known as the “Choral” and Ode to Joy” symphony.
That was the symphony that Leonard Bernstein himself famously conducted in Germany to celebrate to fall of the Berlin Wall. So, what better offering is there to accompany it than something composed by Bernstein?
(John DeMain talked about the Beethoven symphony in a Q&A here earlier this week. Here is a link to that post: https://welltempered.wordpress.com/2015/05/04/classical-music-maestro-john-demain-talks-about-the-challenges-and-rewards-of-beethovens-ninth-the-choral-or-ode-to-joy-sympho/ )
Love and joy: Can there be a better way to finish out a season?
The program will be performed under the baton of longtime MSO music director John DeMain, who studied and worked with Leonard Bernstein. It will feature the Madison Symphony Chorus, as prepared by MSO assistant conductor Beverly Taylor, who heads the UW-Madison choral department.
Guest vocal soloists are: soprano Melody Moore; contralto Gwendolyn Brown; tenor Eric Barry; and bass Morris Robinson.
Tickets are $12-$84.
For details, go to https://www.madisonsymphony.org or call the Overture Center Box Office at (608) 258-4141.
For more information, including audio samples and a link to program notes by MSO bass trombonist and UW-Whitewater professor Michael Allsen, visit: http://www.madisonsymphony.org/beethoven
Concertmaster Naha Greenholtz (below) recently agreed to do an email Q&A about Leonard Bernstein’s “Serenade” with The Ear:
How would you compare Leonard Bernstein’s work to the great historical violin concertos by Bach, Beethoven, Mendelssohn, Brahms, Tchaikovsky and Sibelius? What about to modern and contemporary violin concertos by, say, Samuel Barber and Philip Glass, Sergei Prokofiev and Dmitri Shostakovich? Are there any you would draw parallels or contrasts to?
The five-movement format in Bernstein’s “Serenade” differentiates it substantially from some of the 18th and 19th century classics. While there’s no literal program, there is the suggestion of a basic narrative in Bernstein’s re-imagination of Plato’s communal dialogue. This element alone connects the work more closely to the late 19th and 20th century sub-genre of “program music.” (Below is a portrait of Leonard Bernstein composing at the piano in 1955, around the time of the “Serenade.”)
In its familiar tonal language — combing modal and traditional harmonic elements — it has some resemblance to the Barber concerto. I don’t think middle-of-the-century American composers like Aaron Copland, Samuel Barber and Leonard Bernstein were consciously adhering to style parameters.
That said, there is a distinctive “American-ness” to their works. Much the same way music by Dmitri Shostakovich and Sergei Prokofiev has a “Russian” sound, without necessarily being nationalistic. It’s subtler than that. It is more like these composers shared some common aesthetic DNA due to their national and cultural origins.
Where do you place it among Bernstein’s body of works? Is he generally underappreciated as a composer compared to his work as a conductor and his music for the Broadway theater?
To the latter question, this is certainly true. He was such a charismatic public figure in music, especially in his work as an educator, conductor and composer of popular music. In light of this, I think his remarkable contributions to “art” music are easily overlooked.
In the Serenade he manages to blend many stylistic elements. I hear the Devil’s Dance from Igor Stravinsky’s “Histoire du Soldat” and, in the fourth movement, glimpses of Gustav Mahler’s Ninth Symphony. The instrumentation is a nod to Bela Bartok in his “Music for Strings Percussion and Celeste” and the tonal language shows Paul Hindemith’s influence.
But despite all of that, Bernstein’s unique language is apparent within the first five seconds of the piece when the rising augmented 4th resolves up a half step. That’s what is so remarkable about Bernstein (below, in a photo by Jack Mitchell) — he manages to blend disparate elements of other great artists without losing his own intrinsic style.
How does Bernstein express the idea of Platonic dialogue?
Each of the movements is loosely based on the themes of the seven speakers in the work by Plato (below is an ancient sculptural depiction of the philosopher). The concerto begins with the soloist alone in a rhetorical statement and the piece unfolds as each orator presents his perspective on the topic of love. By the end of the fifth movement, drinking seems to have taken over the gathering, leading to a thrilling depiction of a boisterous dinner party.
How is the idea of love as a carnal and spiritual subject that the guests discuss get expressed?
On describing the duality of love, as a force that cuts both ways, Bernstein is explicit. For example in the third movement Erixymathus, he uses the soloist and orchestra as warring factions. The orchestra explodes with a three-note jab. Then the soloist introduces a quasi-tone row that’s passed back and forth with contrasting intensity. Further into the movement, he piles these themes on top of each other in a frenetic fugue that expresses the mystery and ecstasy of love.
In contrast, the next movement Agathon features the same three-note motive that opened the previous movement, but stretched to 10 times its initial length, utterly transforming it into a spiritual and intimate aria. Bernstein does this all over the piece, taking material from previous movements and showing them in a new light. (Below is a fresco depiction of the Symposium.)
What do you think of the work itself and how its fits with Beethoven’s Ninth? Have you played it before or is it new to you?
Until last year I’d only known the Serenade by recording, so I was thrilled when John suggested we perform it here with the MSO.
It’s strangely neglected in the solo violin repertoire. Maybe that is because of the unconventional five-movement format, or that the title “after Plato’s Symposium” is somehow intimidating or off-putting.
It’s clearly one of Bernstein’s great orchestral works and is a firework of a showpiece for the violin. As far as pairing with Beethoven’s Ninth, the themes of brotherhood and platonic love feature prominently in both works.
How challenging is it to play and what are the challenges both technically and interpretively? What would you like the audience to pay special attention to?
I find all music challenging. Mozart is simpler in terms of notes and patterns than, say, Shostakovich or Bernstein, but in its own way it is just as hard to play and requires just as much diligent work to pull off.
The Bernstein is full of musical challenges and requires lots of imagination and characterization to communicate the narrative of Plato’s dialogue.
That being said, it’s a major 20th-century solo work so it’s also chock full of technical hurdles. Isaac Stern (below, in 1977) – for whom this piece was written — has left us fingering and bowing suggestions, so I know the thorny passages are at least theoretically possible!
In any event, I’m really looking forward to these performances and think these will be fantastic concerts for anyone who loves great music.
By Jacob Stockinger
You may recall that Alan Gilbert (below), the conductor of the New York Philharmonic, surprised the music world when he recently announced he would step down at the end of the 2017 season after only eight seasons on the job.
Speculation about a successor — with Marin Alsop (below top) of the Baltimore Symphony Orchestra and Finnish native Esa-Pekka Salonen (below bottom) former director of the Los Angeles Philharmonic, topping the lists — began immediately.
Right now, The Ear leans toward Marin Alsop. It would be great to see a woman in such a high-profile post. It would also be fitting for a protege of Leonard Bernstein to ascend to the podium where American-born and American-trained conductors first made their name. Buy American!
The sensational Venezuelan-born and Venezuelan-trained superstar Gustavo Dudamel (below) seems to have taken himself out of the competition by agreeing to stay longer in LA. But every performer has his or her price, so his story may not yet be over in terms of going to New York.
But Gilbert’s move also raises the issue: What qualities should one look for in a world-class music director and conductor?
These days, it involves a whole lot more than holding the baton and leading the players.
Here is a link to the story:
Read and see what you agree and disagree with.
And also let us know who you think would be a good choice to be the next music director and conductor of the New York Philharmonic.
The Ear wants to hear.
By Jacob Stockinger
Perhaps you have read about the rapidly escalating cost of great musical instruments.
That puts a lot of younger or less well-known, cash-strapped players in a difficult spot.
For quite a while, banks and other financial institutions as well as museums and historical institutions such as the Smithsonian Institution have been putting the investment-quality instruments on loan to younger players whose playing deserves the instrument.
But individuals can do so too.
Take the case of the pioneering conductor Marin Alsop (below), a protégée of Leonard Bernstein who now heads the Baltimore Symphony Orchestra and the Sao Paulo State Symphony in Brazil, and who is being mentioned as a prominent candidate to follow Alan Gilbert when he steps downs from the podium of the New York Philharmonic in 2017.
When both her parents, who were distinguished professional musicians, died last year, they left behind valuable string instruments — a violin and a cello.
Alsop didn’t want to sell the instruments.
But she also didn’t want them to lie unused and defeat their original purpose.
So Alsop (below, in a photo by Gabriella Dumczek of The New York Times) decided to turn the violin and cello into living memorials by placing them on loan with players in her Baltimore orchestra -– a move that has benefitted everyone and the instruments as well.
Here is a story from The New York Times:
It gives you ideas about what might be done on the local level, where some very fine instruments – including pianos — could benefit some very young but very fine local players who otherwise couldn’t afford to have them.
By Jacob Stockinger
Just a holiday reminder.
Today is New Year’s Day. That brings the annual “Great Performances” presentation of the “New Year’s Day From Vienna” celebration — with waltzes, polkas, gallops and more by the Johann Strauss Family – on PBS and NPR (National Public Radio).
It will all be performed in the Golden Hall (below top) by the Vienna Philharmonic with former Los Angeles Philharmonic and New York Philharmonic conductor Zubin Mehta (below middle) this year, along with the usual help from the Vienna State Ballet and Broadway and Hollywood star host Julie Andrews (below bottom).
And it will be broadcast TWICE today:
ON WISCONSIN PUBLIC TELEVISION (WPT): TONIGHT from 7 to 8:30 p.m. on the main channel Channel 21/Cable 600 the program will also be run, with dancers and scenic landscape shots. (The Wisconsin Channel will run it from 1:30 p.m. to 3 p.m.) It comes, by the way, after an all-day marathon that starts at 9 a.m. and features all eight episodes of Season Four of “Downton Abbey.” Season Five starts on Sunday night.
By Jacob Stockinger
This is the last weekend for holiday shipping before Christmas, and retailers expect today to be even bigger and busier than Black Friday.
Plus, whether you are looking for a gift for someone else or for what to buy with that gift card or cash you receive, perhaps you will find the following lists convenient and helpful.
The three lists are compilations of the Best Classical Music Recordings of 2014, even if they appear a bit late. (I seem to recall that these lists appeared closer to Thanksgiving or Black Friday in past years, but I could be wrong.)
The first list, a long one, comes from the various critics at The New York Times:
It covers solo instruments, vocal music, operas, orchestral music, chamber music – you name it.
The second list from a critic for The Boston Globe:
The third list comes from ace music critic and prize-winner Alex Ross (below) of The New Yorker Magazine. He names 20 different recordings along with 10 memorable live events from the concert scene in New York City.
The Ear finds it interesting how many agreements there are about certain composers, works and performers – such as the haunting, 2014 Pulitzer Prize-winning work “Become Ocean” by the contemporary American composer John Luther Adams (below top and at the bottom in a YouTube video) and the Schubert recording by British pianist Paul Lewis (below middle) in late music by Franz Schubert or Alan Gilbert conducting the New York Philharmonic in two symphonies by Danish composer Carl Nielsen.
And even happier listening!!
It will be interesting to see what 2015 brings.