The Well-Tempered Ear
Music education: The Madison Youth Choirs explore the theme of “Legacy” in three concerts this Saturday and Sunday in the Capitol Theater of the Overture Center
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By Jacob Stockinger
The Ear has received the following announcement to post from the Madison Youth Choirs about their upcoming concerts this weekend:
This spring, Madison Youth Choirs singers are exploring the meaning of “Legacy,” studying works that have endured throughout history, folk traditions that have been passed on, and musical connections that we maintain with those who have come before us. Along the way, we’re discovering how our own choices and examples are leaving a lasting impact on future generations.
In our upcoming concert series in the Capitol Theater of the Overture Center, 201 State Street, on this Saturday, May 11, and Sunday, May 12, we’ll present a variety of works. They include Benjamin Britten’s “The Golden Vanity,” Palestrina’s beloved “Sicut Cervus,” Sweet Honey in the Rock’s “Wanting Memories,” the final chorus of Handel’s oratorio Samson, American and Scottish folk songs, and Zoe Mulford’s powerful modern folk piece, “The President Sang Amazing Grace.”
The concert will also pay tribute to our alumni, with selections featured on the very first Madison Boychoir album, and past Cantabile singers invited to join us on stage for “Sisters, Now Our Meeting is Over.”
At the Saturday concert, MYC will present the 2019 Carrel Pray Music Educator of the Year award to Diana Popowycz (below), co-founder of Suzuki Strings of Madison.
DETAILS ABOUT “LEGACY” MYC’S SPRING CONCERT SERIES
Saturday
7:30 p.m. Purcell, Britten, Holst and Ragazzi (boychoirs)
Sunday
3:30 p.m. Choraliers, Con Gioia, Capriccio, Cantilena and Cantabile (girlchoirs)
7:30 p.m. Cantilena, Cantabile and Ragazzi (high school ensembles)
THREE WAYS TO PURCHASE TICKETS:
- In person at the Overture Center Box Office (lowest cost)
- Online (https://www.overture.org/events/legacy)
- By phone (608-258-4141)
Tickets are $15 for adults and $7.50 for students. Children under 7 are free, but a ticket is still required and can be requested at the Overture Center Box Office. Seating is General Admission.
This concert is supported by the Pleasant T. Rowland Foundation, American Girl’s Fund for Children, BMO Harris Bank, the Green Bay Packers Foundation, the Kenneth A. Lattman Foundation and Dane Arts with additional funds from the Endres Mfg. Company Foundation, The Evjue Foundation, charitable arm of The Capital Times, and the W. Jerome Frautschi Foundation. This project is also made possible by a grant from the Wisconsin Arts Board with additional funds from the State of Wisconsin and the National Endowment for the Arts.
ABOUT MADISON YOUTH CHOIRS (MYC):
Recognized as an innovator in youth choral music education, Madison Youth Choirs (MYC) welcomes singers of all ability levels, annually serving more than 1,000 young people, ages 7-18, through a wide variety of choral programs in our community. Cultivating a comprehensive music education philosophy that inspires self-confidence, responsibility, and a spirit of inquiry leading students to become “expert noticers,” MYC creates accessible, meaningful opportunities for youth to thrive in the arts and beyond.
REPERTOIRE
SATURDAY
For the 7:30 p.m. Concert (featuring MYC Boychoirs)
Britten
“The Golden Vanity,” by Benjamin Britten (to our knowledge, this will be the first time the work has ever been performed in Madison)
Purcell
“Simple Gifts” by Joseph Brackett, arr. Aaron Copland
“Tallis Canon” by Thomas Tallis
“Sound the Trumpet” from Come Ye Sons of Art by Henry Purcell
Britten
“Ich jauchze, ich lache” by Johann Sebastian Bach
Holst
“Hallelujah, Amen” from Judas Maccabeus by George Frideric Handel
“Sed diabolus” by Hildegard von Bingen
“Bar’bry Allen” Traditional ballad, arr. Joshua Shank
“Ella’s Song” by Bernice Johnson Reagon
Ragazzi
“Let Your Voice Be Heard” by Abraham Adzenyah
“Sicut Cervus” by Giovanni Pierluigi da Palestrina
“Agincourt Carol,” Anonymous, ca. 15th century
Ragazzi & Holst
“The President Sang Amazing Grace” by Zoe Mulford, arr. Randal Swiggum
Holst
“Shosholoza,” Traditional song from Zimbabwe
Combined Boychoirs
“Will Ye No Come Back Again?” Traditional Scottish, arr. Randal Swiggum
Legacy Choirs
“Day is Done” by Peter Yarrow, arr. Randal Swiggum
SUNDAY
For the 3:30 p.m. Concert (featuring MYC Girlchoirs)
Choraliers
“Music Alone Shall Live,” Traditional German canon
“Ut Queant Laxis,” Plainsong chant, text attributed to Paolo Diacono
“This Little Light of Mine” by Harry Dixon Loes, arr. Ken Berg
“A Great Big Sea,” Newfoundland folk song, arr. Lori-Anne Dolloff
Con Gioia
“Seligkeit” by Franz Schubert
“Blue Skies” by Irving Berlin, arr. Roger Emerson
“When I am Laid in Earth” from Dido and Aeneas by Henry Purcell
“Pokare Kare Ana” by Paraire Tomoana
“Ah, comme c’est chose belle” Anonymous, 14th century
“Hope” by Marjan Helms, poem by Emily Dickinson
Capriccio
“Non Nobis Domine,” attributed to William Byrd
“Ich Folge Dir Gleichfalls” from St. John Passion by Johann Sebastian Bach
“Dirait-on” by Morten Lauridsen
Cantilena
“Aure Volanti” by Francesca Caccini
“Ella’s Song” by Bernice Johnson Reagon
Cantabile
“Come All You Fair and Pretty Ladies” Traditional Ozark song, adapted by Mike Ross
“Wanting Memories” by Ysaye M. Barnwell
Legacy Choir
“Music in My Mother’s House” by Stuart Stotts
For the 7:30 p.m. concert (featuring High School Ensembles)
Cantilena
“Aure Volanti” by Francesca Caccini
“Una Sañosa Porfía by Juan del Encina
“Ella’s Song” by Bernice Johnson Reagon
“O Virtus Sapientiae” by Hildegard von Bingen
Ragazzi
“Sicut Cervus” by Giovanni Pierluigi da Palestrina
“Agincourt Carol,” Anonymous, ca. 15th century
“Let Your Voice Be Heard” by Abraham Adzenyah
“The President Sang Amazing Grace” by Zoe Mulford, arr. Randal Swiggum
Cantabile
“In a Neighborhood in Los Angeles” by Roger Bourland
“Sed Diabolus” by Hildegard von Bingen
“Come All You Fair and Pretty Ladies” Traditional Ozark song, adapted by Mike Ross
“Wanting Memories” by Ysaye M. Barnwell
Combined Choirs
“Let Their Celestial Concerts All Unite” by George Frideric Handel
Cantabile and Alumnae
“Sisters, Now Our Meeting is Over,” Traditional Quaker meeting song
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The Well-Tempered Ear 
Classical music: The prize-winning critic Alex Ross grieves to Brahms. What composer and piece would you choose to mourn the tragedies of the past week?
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By Jacob Stockinger
This past week feels like a week that deserves mass grieving.
Of course, there was the life-changing, historic landmark of surpassing, in only a few months, more than 100,000 deaths from COVID-19 during the coronavirus pandemic in the United States.
There were the spikes in new COVID-19 cases and deaths following the opening up from lockdowns and the mass gatherings over the Memorial Day holiday weekend, such as the party at the Lake of the Ozarks (below) in Missouri.
Then there was the tragic, racist death — an alleged murder — of George Floyd by the police and the ensuing rioting, violence and additional death in Minneapolis as well as the seven shootings among protesters in Louisville.
And depending of your political point of view, there were the incidents of White House threats against social media, especially Twitter, for simply telling the truth or at least directing viewers to it.
So what can one say about these sad events and sad times with music?
Well, not too long ago Alex Ross (below), the prize-winning and internationally respected music critic for The New Yorker magazine, wrote an engaging and moving essay about why he finds Brahms to be the perfect composer for grieving and mourning.
He mentions other composers as possibilities, including Bach, Haydn, Mozart, Beethoven and Schubert.
But Ross still finds Brahms more suited for several reasons. He even cites a favorite performance of a Brahms short, late Intermezzo by the Romanian pianist Radu Lupu. (You can hear that performance in the YouTube video at the bottom.)
Here is a link: https://www.newyorker.com/culture/cultural-comment/grieving-with-brahms
What composers – and what pieces or performances – do you find best for grieving? For marking loss?
Read the essay, listen to the music.
Then let us know in the comment section what music – perhaps Samuel Barber’s Adagio for Strings? – that you would want to listen to during sad occasions.
The Ear wants to hear.
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