The Well-Tempered Ear
Today is Veterans Day. Here is some appropriate music by Beethoven to mark it. Can you guess which piece? What composer or music would you choose?
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By Jacob Stockinger
Today – Wednesday, Nov. 11, 2020 – is Veterans Day.
It started out as Armistice Day in 1918 when the end of World War I was declared to take place on the 11th hour of the 11th day of the 11th month.
It is a day to mark the service of all veterans – not just those who died in the line of duty, as is celebrated on Memorial Day.
You can find a lot of choice of classical music to play for Veterans Day. Here is one link to a compilation that features patriotic songs and marches: https://www.youtube.com/watch?v=BJepYzH1VUY
But The Ear settled on Beethoven (below, in an 1815 portrait by Joseph Willebrord Maehler).
Can you guess which piece?
It is not the memorable funeral marches on the Piano Sonata in A-Flat, Op. 26, or the Symphony No. 3 “Eroica.”
It is also not the “Sacred Hymn of Thanksgiving” in the String Quartet, Op. 132.
And it is not “Wellington’s Victory” or the “Egmont” Overture or the Piano Concerto No. 5 “Emperor” with its triumphant fast movements.
Instead it is the second movement of the Symphony No. 7 in A Major, Op. 92. (You can hear it see it represented graphically in the YouTube video at the bottom.)
That is the very well known Allegretto movement with its repetitious and almost hypnotizing, soaring theme. It seems like a funeral march, full of introspection, poignancy and sadness, that is a bit brisker and more lyrical than usual.
It is so popular, in fact, that it has been used as a soundtrack in many movies, including “The King’s Speech” and has inspired works based on it including the “Fantasia on an Ostinato” by the contemporary American composer John Corigliano.
If it seems an unexpected choice, you just need to know more about its history.
It was composed 1811-1812, and Beethoven correctly considered it one of his finest works. So did Richard Wagner who famously described as the “apotheosis of the dance” for the infectious rhythms throughout the symphony.
At its premiere in Vienna, in his introductory remarks Beethoven said: “We are moved by nothing but pure patriotism and the joyful sacrifice of our powers for those who have sacrificed so much for us.”
Beethoven (below, in 1815 as depicted in a paining the Joseph Willibrord Maehler) premiered the symphony at a charity concert in 1813 to help raise money for the Austrian and Bavarian soldiers who had been wounded at the Battle of Hanau while fighting against France during the Napoleonic Wars.
It was so popular with the first performance that the audience demanded and received an immediate encore performance of the second movement.
Here is a Wikipedia link to the history of the symphony: https://en.wikipedia.org/wiki/Symphony_No._7_(Beethoven)
To this day, the Seventh Symphony, so charged with energy, remains for many people, conductors and orchestral players their favorite Beethoven symphony.
It is ironic that Leonard Bernstein (below, in a photo by Paul de Hueck) performed the Seventh Symphony at the last concert he ever conducted – at the Tanglewood Festival in August 1990. He took the second movement at a slower-than-usual tempo and many have criticized Bernstein, who was in terrible health, and have suggested that he was using it as a funeral march or homage for himself.
They may be right. But in retrospect the choice of Bernstein – who died two months later — finds a certain justification in the original motive for the entire symphony and especially the second movement.
Listen for yourself.
Then tell us what you think.
Does this movement justify it being played on Veterans Day?
What music would you choose to mark the day?
What do you think of the Symphony No. 7 in general and the second movement in particular?
The Ear wants to hear.
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The third LunART Festival celebrates Black women in the arts with FREE streaming concerts and events this Saturday night, Oct. 10, and next Saturday night, Oct. 17
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By Jacob Stockinger
The Ear has received the following announcement to post:
The LunART Festival is back for its third season, continuing its mission to support, inspire, promote and celebrate women in the arts, with a special presentation, “Human Family,” available via two FREE video livestreams on LunART’s website and Facebook page on Saturday, Oct. 10, and Saturday, Oct. 17, at 7 p.m. CDT.
The events will be co-hosted by LunART founder and flutist Iva Ugrcic (below top), and by vocalist and art administrator Deja Mason (below bottom).
In response to the most recent and ongoing racial inequality and in solidarity with the Black Lives Matter movement, LunART will present the “Human Family” virtual festival featuring art created by Black women.
These FREE streamed events will feature a palette of emerging and established artists drawn from Madison’s rich arts scene, while also celebrating those who have paved the way for generations to come.
Radical inclusivity has been part of LunART’s mission from its conception. While women have historically been underrepresented in the arts, we cannot deny that there are segments of women that have been doubly marginalized, including women of color, women in the LGBTQIA+ community, older women and women with disabilities.
Part of creating a more just, inclusive world means recognizing that even within the space of underrepresentation, there remain disparities.
Works from the past include Florence Price’s “Five Folksongs of Counterpoint” for string quartet (heard in the YouTube video at the bottom), which is deeply rooted in the African-American spiritual tradition; Margaret Bonds’ Spiritual Suite for solo piano, written in a neo-Romantic classical style infused by jazz harmonies and rhythms; Afro-American Suite for flute, cello and piano by Undine Smith Moore, based on authentic spiritual songs used to express and record everyday life of slaves in America.
Florence Price (below), Margaret Bonds and Undine Smith Moore all fought against both racial and gender discrimination throughout their lives. To be a woman composing classical music in the mid-20th century was unusual; to be a Black woman composer was even more so. And yet, these women forged ahead, making history and paving the way for the women who would follow them.
Along with these pioneers of the past, LunART will also celebrate contemporary Black women who are making a big impact in the world of arts, culture, advocacy and activism, following the footsteps of their predecessors.
“Voodoo Dolls” for string quartet by Jessie Montgomery (below in a photo by Jiyang Chen) is influenced by West African drumming patterns that are interwoven with lyrical motifs in the improvisatory style.
“Fanmi Imen,” a work for flute and piano by Valerie Coleman (below) — LunART’s 2019 Composer-in-Residence) — is based on a powerful poem by Maya Angelou, “Human Family.” Angelou calls for peace and unity, while acknowledging differences due to ethnic and cultural background in her famous refrain: “we are more alike, my friends, than we are unalike.”
The chamber music will be performed by Madison’s finest musicians: Isabella Lippi, Karl Lavine, Peter Miliczky, Magdalena Sas, Marie Pauls, Satoko Hayami, Yana Avedyan and Iva Ugrcic.
Celebrating women’s creativity across many art forms has been a core component of LunART’s artistic mission from its inception, and this year is no exception. While music will create a sound painting, “Human Family” will also feature women who use words and movement to tell their story.
Enter a world of phenomenal talent with emerging singer-songwriters Danielle Crim and Akornefa Akyea performing their most recent original songs; magically moving poems and spoken-word pieces by Jamie Dawson and Shasparay Lighteard; and join dancer and choreographer Kimi Evelyn in self-exploration of what happens when the body and the soul are left in complete solitude through her powerful piece “Body, Sweet Home.”
To commemorate the Festival events, LunART has commissioned digital artwork (below) by local artist and activist Amira Caire, which is inspired by the “Human Family” concept. This stunning piece of art will be available for purchase in printed form on LunART’s website.
We are calling our community to eat local, drink local and support local. By supporting LunART, you are also supporting local nonprofits and small businesses.
This project would not be possible without the generosity of Madison’s creative media agency Microtone Media, The Piano Gal Shop from Sun Prairie, Dane Arts and a grant from the Madison Arts Commission at https://www.cityofmadison.com/dpced/planning/madison-arts-commission/1580/, with the additional funds from the Wisconsin Arts Board.
Events are free and available for anyone to watch online, and donations are welcomed. For more details about the artists, events, programs and links, and donation methods, please visit https://www.lunartfestival.org
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Classical music: Here is music that asks for and then grants the peace we need now
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By Jacob Stockinger
Is The Ear alone in being reminded of the year 1968 and its various social, political and personal upheavals?
What explains it?
What are the parallels, if any?
Is it the national and international protests against police injustice and racism (below, in a photo by Getty Images)?
Is it the violence and riots that followed the assassination of Martin Luther King Jr. and opposition to the Vietnam War?
Is it the isolation and deaths (below, in a photo by ABC News) brought about by the coronavirus pandemic and the more than 100,000 deaths in just the U.S. from COVID-19?
Whatever you think and whether you agree or not, we all can use some peace.
Here is some music that both asks for peace and grants it.
It is the “Dona Nobis Pacem” (Grant Us Peace) from the “Mass in B Minor” by Johann Sebastian Bach, performed in the YouTube video below by Robert Shaw conducting the Atlanta Symphony Orchestra and Chamber Chorus with soloists.
If there are other pieces of classical music that serve that same purpose and you would like to hear, leave your suggestion in the comment section.
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Classical music: Veterans Day is a good time to hear Bach’s musical prayer for peace
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By Jacob Stockinger
Today – Nov. 11, 2019 – is Veterans Day.
There is a lot of classical music that can be used to honor the holiday and the men and women who serve in the military.
This is not the day to remember the dead. That is Memorial Day.
So it is worth recalling that Veterans Day started out as Armistice Day in 1918 when World War I ended on the 11th hour of the 11th day of the 11th month.
Here is a link to more about the holiday found on Wikipedia: https://en.wikipedia.org/wiki/Veterans_Day
One could celebrate by using brass bands and other military ensembles playing patriotic music and marches.
But there seems to be too much conflict in the world, and the dream of ending war and armed conflict seems as distant as ever, given certain political trends and unfortunately regressive and destructive forces at work right now.
Instead, The Ear wants to honor what should be the deeper purpose of the military: To secure peace.
For that reason, here is a YouTube video of a memorable performance of “Dona Nobis Pacem” (Grant Us Peace), the ending prayer from the Mass in B Minor by Johann Sebastian Bach.
The four-minute work is performed more slowly than usual, but also more movingly and soulfully, by the famed Monteverdi Choir and the English Baroque Soloists, all under the direction of John Eliot Gardiner.
Do you agree that it is a wish that honors the true purpose of the military?
If you know of other appropriate music to mark the holiday, please leave the title of the work and the names of the composer and the performers along with, if possible, a YouTube link.
The Ear wants to hear.
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Classical music: Two noteworthy baroque concerts by Just Bach and the Wisconsin Baroque Ensemble are on tap this Wednesday afternoon and Saturday night
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By Jacob Stockinger
Fans of Baroque music have two noteworthy events this week to look forward to.
Both concerts feature period instruments and historically informed performance practices.
WEDNESDAY AT NOON
This coming Wednesday, Oct. 16, from noon to 12:30 p.m. at Luther Memorial Church, 1021 University Avenue, the second FREE Just Bach concert of the semester will take place.
The concerts by Just Bach (below, in a photo by John W. Barker) are now a regular feature of the Music at Midday at Luther Memorial Church.
Organist Mark Brampton Smith opens the program with a brief Fantasia on the melody of “Christ lag in Todesbanden” (Christ Lay in Death’s Bonds). That tune will reappear at the very end of the program, in the final chorale of Cantata 158.
The next piece on the program was also written for solo organ, but will be heard in an arrangement for violin, viola, cello and organ. Johann Sebastian Bach wrote six organ trio sonatas, apparently for his eldest son, Wilhelm Friedemann.
The C Minor Sonata, the second in the set, is full of fiery drama in the outer movements, framing a dreamy, peaceful Largo.
UW-Madison baritone Paul Rowe will lead the chorale sing-along, a beloved audience-participation feature of these programs.
The program closes with Cantata 158, “Der Friede sei mit dir” (Peace Be with You), with solo bass-baritone Jake Elfner. Elisheva Pront provides the luminous “cantus firmus” (an existing melody used in a polyphonic composition) in the second movement, which also features a beautiful violin solo played by Kangwon Kim. The Cantata ends with a chorale on the tune of “Christ lag in Todesbanden.”
You may bring your lunch and beverage.
The concert is FREE and open to the public, with a goodwill offering collected.
Other Just Bach concerts this fall, all Wednesdays at Noon, are: Nov. 20 and Dec. 18.
Performers this week are: Jake Elfner, bass-baritone; Elisheva Pront, soprano; Kangwon Kim, violin; Leanne League, violin; Marika Fischer Hoyt, viola; James Waldo, cello; and Mark Brampton Smith, organ.
For more information, go to: https://justbach.org or https://www.facebook.com/JustBachSeries/
SATURDAY NIGHT
This Saturday night, Oct. 19, at 7:30 p.m. in Saint Andrew’s Episcopal Church, 1833 Regent Street in Madison, the Wisconsin Baroque Ensemble (below) will perform a concert of varied chamber music.
Performers include: Mimmi Fulmer, UW-Madison soprano; Nathan Giblierano, baroque violin; Eric Miller, viola da gamba and baroque cello; Chelsie Propst, soprano; Charlie Rasmussen, viola da gamba and baroque cello; Consuelo Sañudo, mezzo-soprano; Anton TenWolde, baroque cello; and Max Yount, harpsichord.
Tickets are at the door only: $20 for the public, $10 students. After the concert, a reception will be held at 2422 Kendall Ave, second floor.
The program is:
Henry Purcell: Three Fantasias
Giacomo Carissimi: “Scrivete, occhi dolente” (Write, Sore Eyes)
George Frideric Handel: Violin Sonata, HWV 372 (heard in an animated graphic depiction the YouTube video at the bottom)
Claudio Monteverdi: “Baci soave e cari” (Soft and Dear Kisses)
INTERMISSION
Luzzasco Luzzaschi: “O dolcezze amarissime” (O Bitter Sweetness)
Martin Berteau: Trio for violoncellos
Giulio Caccini: Excerpts from “La liberazione di Ruggiero” (The Liberation of Ruggiero)
For more information, go to: www.wisconsinbaroque.org
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Classical music: Free “Just Bach” concerts change the starting time to NOON and begin their second season this Wednesday at Luther Memorial Church. Here are programs for this semester
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The Ear has received the following announcement from the organizers and performers of Just Bach, which had a very successful inaugural run last season:
Join us on this coming Wednesday, Sept. 18, as we kick off our second season of “Just Bach” concerts. The concerts are FREE and OPEN TO THE PUBLIC, with a goodwill offering collected.
The Just Bach concert series – which features Baroque period instruments and historically informed performance practices — resumes as part of the weekly free noontime “Music at Midday” concerts in the gorgeous sanctuary (below) of Luther Memorial Church, 1021 University Ave. For more information and a schedule of other performances and performers in the series, go to: luthermem.org/music-at-midday
PLEASE NOTE: While the one-hour Just Bach concerts last season started at 1 p.m., this season they will start at NOON.
The photo (below, from left) shows three performers for this upcoming first concert: soprano Sarah Brailey, violist Marika Fischer Hoyt, and traverse flutist Linda Pereksta.
The season-opener is an instrumental program titled “Gamba Sonatas Without the Gambas.” (Gamba is the Italian word for leg and was used to describe what would evolve into the modern cello.)
Of the three sonatas written for viola da gamba (an early version of the modern cello) and harpsichord, BWV 1027-1029, we’ll hear the first and third, but in alternate versions.
First on the program is the hauntingly beautiful Sonata No. 3 in G Minor, BWV 1029, performed on viola da braccio (baroque viola) and harpsichord. (You can hear the opening movement of the original version, played on a modern cello and piano by Janos Starker and Gyorgy Sebok, respectively, in the YouTube video at the bottom.)
Following that will be the jaunty Sonata in G Major BWV 1039, the Trio Sonata arrangement for cello, flute and harpsichord that Bach made of the Sonata No. 1, BWV 1027.
Just Bach regulars traverse flutists Linda Pereksta and Monica Steger and violist Marika Fischer Hoyt return to the stage. They will be joined by cellist Lindsey Crabb (below top) and UW-Madison harpsichordist John Chapell Stowe (below bottom on the right), who are making their debuts at Just Bach.
Just Bach organizer and regular performer, as well as UW graduate student and professional touring soprano, Sarah Brailey (below) leads the chorale sing-along, a beloved audience-participation feature of these programs.
Bring your lunch, bring your ears and your voice, and bring a friend, but most of all bring yourself to enjoy the sublime music of Johann Sebastian Bach.
Here is a schedule of upcoming Just Bach concerts this fall, all taking place on Wednesdays at noon:
Oct. 16: Cantata 158 Der Friede sei mit dir (Peace be with you)
Nov. 20: Cantata 151 Süßer Trost, mein Jesus kommt (Sweet comfort, my Jesus comes)
Dec. 18: Christmas Pastiche
For more information, including tips on parking, go to the website justbach.org
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Classical music: Today is the 75th anniversary of D-Day. Here is a sonic and visual “D-Day Symphony” to mark the event – as well as two moving pieces to honor the day and the dead. What music would you choose?
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By Jacob Stockinger
Today is the 75th anniversary of D-Day, that deadly day – June 6, 1944 — when massive Allied forces (below, seen gathering on Omaha Beach) invaded the Normandy coast of France in Nazi-occupied Europe, beginning the liberation from Hitler’ Germany and the end of World War II.
In searching for music to mark the occasion, The Ear returned to two of the best pieces of memorial music he knows of and which are below: the “Nimrod” Variation from Edward Elgar’s “Enigma” Variations, a piece that was used in Ken Burn’s celebrated TV documentary about World War II; and Samuel Barber’s “Adagio for Strings.”
It seems only fitting to the occasion to have works by an American composer and a British composer.
But in searching for music, The Ear also stumbled by chance across a little-known piece that uses a work by a French composer, which also seems fitting for the occasion and the day. It is a sonic and visual symphony of remembrance – a “D-Day Symphony,” if you will — that uses the second movement from the Symphony No. 3 by Arthur Honegger. It is in the YouTube video at the bottom.
The Ear hopes you also find the work moving and a welcome, if largely unknown, addition to musical remembrances for this historic event. Tell us what you think.
And if there is another work you would listen to while marking the anniversary of D-Day, please leave your comment along with the composer and title and, if possible, a YouTube link in the COMMENT section.
The Ear wants to hear.
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Classical music: Saturday afternoon, Live From the Met in HD closes this season with an acclaimed production of “Dialogues of the Carmelites.” Here is a background story, two rave reviews, and next season’s 10 operas
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ALERT:The Brass Choirs of the Wisconsin Youth Symphony Orchestras will present an afternoon of brass music this Saturday afternoon, May 11, at 2:30 p.m. in Mills Concert Hall, 455 North Park Street, in Madison. Directed by Tom Curry, the program features brass musicians from WYSO’s Concert, Philharmonia and Youth Orchestras. The concert is FREE and OPEN TO THE PUBLC. Music to be played is by Johann Sebastian Bach, George Frideric Handel, Giovanni Gabrieli, Charles Gounod, Edward Elgar, Paul Hindemith, Alan Hovahaness and Karel Husa.
CORRECTION: The Madison Youth Choirs will perform its “Legacy” concerts this weekend in the Capitol Theater of the Overture Center on Saturday and Sunday — NOT Friday, as mistakenly listed and then corrected in the original post, which is below: https://welltempered.wordpress.com/2019/05/08/classical-music-the-madison-youth-choirs-will-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
This Saturday afternoon, May 11, the last production of this season’s “Live From the Met in HD” series, broadcast worldwide via satellite to cinemas, is Francis Poulenc’s “Dialogues of the Carmelites.”
By all accounts, it would be hard to end on a higher, stronger or more darkly dramatic note, given the outstanding music and performance of the score as well as the superb acting. (There is a brief preview of short scenes in the YouTube video at the bottom.)
The world premiere of the opera took place in 1957 at La Scala in Milan, Italy. One of the most successful operas of the later decades of the 20th century, “Dialogues of the Carmelites” is a rare case of a modern work that is equally esteemed by audiences and experts, according to program notes from the Metropolitan Opera.
The opera focuses on a young member of the order of Carmelite nuns, the aristocratic Blanche de la Force, who must overcome a pathological timidity in order to answer her life’s calling. The score reflects key aspects of its composer’s personality: Francis Poulenc (below) was an urbane Parisian with a profound mystical dimension, and the opera addresses both the characters’ internal lives and their external realities.
The opera takes place between 1789 and 1794 in Paris and in the town of Compiègne in northeastern France, the site of the Carmelite nuns’ convent.
Its historical basis is the martyrdom of a group of 16 Carmelite nuns and lay sisters from Compiègne, who chose to offer themselves as victims for the restoration of peace to France during the French Revolution.
The Met uses the classic John Dexter production of Poulenc’s devastating story of faith and martyrdom.
Mezzo-soprano Isabel Leonard (below right) sings the touching role of Blanche and soprano Karita Mattila (below left), a legend in her own time, returns to the Met as the Prioress.
The conductor for the performance is the Met’s highly acclaimed new music director Yannick Nézet-Séguin, who also leads the Philadelphia Orchestra and the Metropolitan Orchestra of Montreal.
The high-definition broadcast of the live performance from the Metropolitan Opera (below) in New York City starts at noon and runs until 3:10 p.m. with two intermissions. (It will also air at noon on Wisconsin Public Radio.)
The encore HD showings are next Wednesday, May 15, at 1 p.m. and 6:30 p.m.
The opera will be sung in French with supertitles in English, German and Spanish.
Tickets for Saturday broadcasts are $24 for adults and $22 for seniors and children under 13. For encore showings, all tickets are $18.
The cinemas where the opera can be seen are two Marcus Cinemas: the Point Cinema on the far west side of Madison (608 833-3980) and the Palace Cinema (608 242-2100) in Sun Prairie.
Here is a link to the Marcus website for addresses and more information. You can also use them to purchase tickets:
https://www.movietickets.com/movies
Here is a link to the Metropolitan Opera’s website where you can find the titles, dates, casts, production information and video clips of all 10 productions this past season — PLUS an announcement, with dates and titles, for next season’s 10 productions (which feature five new productions but no Verdi):
https://www.metopera.org/season/in-cinemas/
Here is a background story that focuses on the French-Canadian conductor Yannick Nézet-Séguin, who leads the orchestra in this production and is the new music director of the Metropolitan Opera:
https://www.nytimes.com/2019/05/02/arts/music/met-opera-dialogues-des-carmelites.html
Here is a rave review of “Dialogues of the Carmelites” by senior classical music critic Anthony Tommasini for The New York Times:
https://www.nytimes.com/2019/05/05/arts/music/dialogues-des-carmelites-met-opera-review.html
And here is another rave review from New York Classical Review:
http://newyorkclassicalreview.com/2019/05/met-closes-season-with-a-riveting-devastating-carmelites/
Here are links to a synopsis and program notes:
https://www.metopera.org/discover/synopses/dialogues-des-carmelites/
https://www.metopera.org/season/2018-19-season/dialogues-des-carmelites/
And here is a Wikipedia history of the hi-def broadcast series that gives you more information about how many cinemas it uses, the enormous size of the worldwide audience – now including Russia, China and Israel — and how much money it makes for The Met.
https://en.wikipedia.org/wiki/Metropolitan_Opera_Live_in_HD
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Classical music: On this Veterans Day, what music best marks today’s centennial of the armistice that ended World War I?
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By Jacob Stockinger
In August of 2014 the world marked the centennial of the outbreak of World War I.
It was supposed to be over by that Christmas.
It wasn’t. It lasted for more than four years.
It was supposed to be “The war to end all wars.”
It didn’t. In fact, most historians agree that World War I directly set up the conflicts and conditions that led to World War II.
It was supposed to be the war that “made the world safe for democracy.”
It didn’t do that either, although it did lead to the overthrow of many kings and royal rulers in Russia, Germany and Austria.
The one thing World War I did do was kill people, especially the trench-bound soldiers, on a scale never before seen. It was nothing short of a bloody meat grinder of a war that saw the introduction of air warfare and chemical warfare.
Four years later – today, Sunday, Nov. 11, 2018 – we mark the centennial of the armistice that, 100 years ago, that ended the war on the eleventh hour of the eleventh day of the eleventh month.
That is why the holiday was called Armistice Day before it became Veterans Day.
Anyway, what music is appropriate to the occasion?
Rather than reinvent the wheel, The Ear is giving you this link to the other centennial celebration post that mentioned , via links to other web sites, a lot of works and a lot of composers.
Many of those favorites remain relevant today — although Benjamin Britten’s epic War Requiem (you can hear the opening in the YouTube video at the bottom) and Samuel Barber’s moving Adagio for Strings (also at the bottom, conducted by Leonard Bernstein) still seem to tower over all the others.
Use this link to read about music and let us know what thoughts you have about the centennial of the armistice and the music you would listen to mark it.
And, finally, here is The Ear’s fervent hope that — given the rise of the far right and of populist, nationalistic politics here and around the globe — we are not working our way back to World War I rather than away from it.
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The Madison Symphony Orchestra and Chorus plus guest artists premiere a virtual online Christmas concert this Wednesday night. It runs through Dec. 31. Plus, PBS Wisconsin will rebroadcast the 2018 holiday concert on Sunday, Dec. 20.
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ALERT: Tomorrow — Wednesday, Dec. 16 — Wisconsin Public Radio will mark the 250th birth of Ludwig van Beethoven. The day’s programming is sure to feature many of the composer’s most popular works as well as some neglected ones. Which Beethoven work most moves you? Leave word in the Comment section.
By Jacob Stockinger
This Wednesday night, Dec. 16, at 7:30 p.m., the Madison Symphony Orchestra will premiere its FREE virtual and online holiday concert of “A Madison Symphony Christmas.”
This special new one-hour concert production will feature vocalists Kyle Ketelsen and Emily Secor; the Madison Symphony Chorus; the Madison Youth Choirs; and the Mt. Zion Gospel Ensemble (below), with performances and accompaniment by John DeMain and Greg Zelek on piano and the Overture Concert Organ, respectively.
This concert is offered for FREE upon registration and will be available for viewing through Dec. 31, 2020.
Featured music includes Joy to the World, Peace Carol, O Holy Night, Sleigh Ride, The Christmas Song, Winter Wonderland, Christmas Hope and more — plus the traditional sing-along where you can join the MSO singing to a medley of favorites from your home.
To register and find out more information about the individual and group performers (below), go to: https://madisonsymphony.org/event/a-virtual-madison-symphony-christmas-2020/
In addition, you can relive the 2018 Madison Symphony Christmas concert on Sunday, Dec. 20, at 4 p.m. on your local PBS Wisconsin station.
For more information about the one-hour program and performers, go to: https://madisonsymphony.org/event/a-madison-symphony-christmas-2018-re-broadcast/
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