ALERT: Radio host Rich Samuels of WORT-FM 89.9, who recorded all of “Bach Around the Clock” this year, writes: “At 7:08 a.m. this Thursday morning, I’ll be airing Saturday’s “Bach Around the Clock” performance of the Brandenburg Concerto No. 3. This was a collaboration of Trevor Stephenson, Kangwon Kim. Nathan and Gillian Giglierano, Micah Behr, Marika Fischer Hoyt, Illana Schroeder, Martha Schroeder, Martha Vallon, Eric Miller and Mark Bridges.”
By Jacob Stockinger
The Ear has been asked by Wisconsin Youth Symphony Orchestras (WYSO) to post something about a worthy cause and a worthy event:
Drum roll, please!
The Wisconsin Youth Symphony Orchestras (WYSO) Percussion Ensemble (below) will host its 16th annual PERCUSSION EXTRAVAGANZA!! on this Saturday, March 25, at 1:30 p.m. in Mills Concert Hall of the UW George L. Mosse Humanities Building. (A video sampler of profiles and music of WYSO’s 13th Annual Percussion Ensemble in 2014 can be heard in the YouTube video at the bottom.)
Tickets are $10 for adults, $5 for youth under 18, and are available at the door 45 minutes before the concert begins.
The WYSO Percussion Ensemble (below top) — 14 student musicians from 10 communities playing under Vicki Jenks (below bottom) — hosts this signature percussion benefit to help others. Previous PERCUSSION EXTRAVAGANZAS! have benefitted Second Harvest Foodbank of Southern Wisconsin and the local American Red Cross.
This year—for the first time ever—Ronald McDonald House Charities will partner with WYSO in the collection of tangible items need for the Ronald McDonald House in Madison. The concert will also feature Ronald McDonald himself in person.
Nearly 60 performers—featuring Mannheim Steamroller drummer, Tom Sharpe (below) —will present eclectic, global music dedicated to PEACE. The theme of the event is “Lifting the World to Peace.”
Other EXTRAVAGANZA artists include Madison’s own Black Star Drum Line Percussion Group, led by Joey B. Banks; the UW-Madison Pan-Global Percussion Ensemble, Todd Hammes, instructor; and the WYSO Chamber Strings, led by its director Karl Lavine (below), principal cellist with the Madison Symphony Orchestra and the Wisconsin Chamber Orchestra.
For more information and details about the performers and the complete program as well as a video and a list of related activities and needed items you can bring and donate to the Ronald McDonald House Charities, go to:
Parking is available at State Street Campus, Helen C. White, and Grainger Hall parking facilities.
For more information, please contact the WYSO office at (608) 263-3320.
The WYSO Percussion Ensemble and PERCUSSION EXTRAVAGANZA! are supported by the Eric D. Batterman Memorial Fund, the Theodore W. Batterman Family Foundation, and the Wisconsin Arts Board with funds from the State of Wisconsin and the National Endowment for the Arts.
By Jacob Stockinger
The Opera Guy filed this review, with photos by Michael R. Anderson, for The Ear:
By Larry Wells
It was a completely satisfying theatrical experience of a complexly organized musical work.
The libretto is based on Henry James’ serial novella of the same name. Whereas the James work is an ambiguous, psychological tale, Britten’s opera is an eerie ghost story laden with suggestions of psychosexual mischief.
Musically the opera is based on a 12-tone theme with each of its scenes preceded by a variation of the theme. There are further structural complexities in this highly organized work, but the music is very accessible and was admirably performed by 13 musicians ably led by conductor Kyle Knox. Particular praise goes to the percussionist Garrett Mendlow.
The beautiful, minimalistic set and stunning lighting enhanced the creepiness of the tale.
As for the singing, the cast tackled the complex vocal lines with aplomb, and there were several exceptional performances.
Particular praise goes to Anna Polum for her outstanding portrayal of the ghostly Miss Jessell. She sang beautifully and acted convincingly. (Below, from left, are Katie Anderson as the Governess and Anna Polum as Miss Jessell.)
Likewise Emily Vandenberg as Flora was realistic in the role of a young girl. I have seen performances of this opera that were brought down by unconvincing portrayals of this difficult child role, but Vandenberg acted naturally and sang beautifully.
The other child role, Miles, was capably performed by Simon Johnson, a middle school student. Cayla Rosché adeptly performed Mrs. Grose, the enigmatic housekeeper. (Below are Amitabha Shatdal as Miles, Cayla Rosché as Mrs. Grose and Elisheva Pront as Flora.)
The two major roles are The Governess and the spectral Peter Quint. Erin Bryan was convincing as the increasingly confused and hysteric governess, and she played off Rosché’s Mrs. Grose to great effect. At one point I was thinking that these were two extremely flighty women. (Below, from left, are Cayla Rosché as Mrs. Grose; Elisheva Pront as Flora; Katie Anderson as the Governess; and Amitabha Shatdal as Miles.)
Alec Brown (below) as Quint had the unenviable task of following in the footsteps of singers like Peter Pears who made Quint an evil, threatening, nasty fellow. Brown’s Quint came off as slightly laid back, and his perfectly fine tenor voice was just not a Britten voice in the style of Pears, Philip Langridge or Ian Bostridge.
I had a couple of minor problems with the evening. First, I did not understand why the doors to Music Hall didn’t open until 7:20 for a 7:30 performance, which then actually started at 7:45. And, I was disappointed that the piano, which is a major contributor to the music’s sonority, was swapped for an electronic keyboard.
Yet I left feeling once again that Britten was a true musical genius of the 20th century and that I was eager to go to the 3 p.m. performance this afternoon to experience it all over again.
“The Turn of the Screw” will also be performed one last time on Tuesday at 7:30 p.m.
For more information about the opera, including how to buy tickets — admission is $25 with $20 for seniors and $10 for students, go to:
By Jacob Stockinger
The Ear has received the following public service announcement to post, and he is happy to do so because he believes there is no better investment you can make in the future of both classical music and adult success:
Wisconsin Youth Symphony Orchestras will hold its annual Art of Note Gala fundraiser, on Saturday, March 4, 2017 from 6 to 10 p.m., at Marriott West, 1313 John Q. Hammons Drive, in Middleton just off the Beltline on Madison’s far west side.
You can join dozens of major corporate underwriters and small business sponsors as well as individual attendees in helping WYSO to meet its goal of raising $85,000.
Study after study confirms that music education reaps lifelong benefits in academic and career success that go far beyond making music.
No single music educational organization in Wisconsin reaches more students or listeners than the Wisconsin Youth Symphony Orchestras (WYSO), which is based at the University of Wisconsin-Madison Mead Witter School of Music.
WYSO has served nearly 5,000 talented young musicians from more than 100 communities throughout south central Wisconsin over the past 51 years.
WYSO provides over $50,000 in scholarships for students in need.
WYSO performs through the community and undertakes local concerts and TV appearances as well as international tours. International tours have included Vienna, Prague (below), Budapest, Argentina and Italy.
The Art of Note Gala garners community-wide support from those who are passionate about music education, ensuring that WYSO remains one of the top youth orchestra programs in the country.
The evening will feature live music performed by several WYSO student groups including the Brass Choir (below), Percussion Ensemble and Youth Advanced String Ensemble.
The event will have an Italian theme to food, drinks and decor to bring back memories of WYSO’s most recent tour of Italy.
Fundraising events include silent and live auctions of more than 100 items that include everything from fine wine and restaurant gift certificates to holiday getaways, jewelry and tickets to major sporting and arts events.
To see the auction items, go to: http://www.wysomusic.org/artofnote/the-live-and-silent-auction-2017/
Of special note are the recycled violins that have been hand-painted and transformed into works of art by local artists. They are currently on display at Goodman Jewelers, 220 State Street. (Below top is the violin by Ellie Taylor, and below bottom by Margaret Andrews.)
Individual admission is $125 in advance, $135 at the door ($85 tax-deductible as a charitable donation per person). You can also purchase a table of four for $450, a table of 8 for $900 and a table of 10 for $1,100.
For reservations and more information about attending or sponsoring the gala, donating auction items as well as WYSO’s overall program and upcoming concerts, visit WYSO’s home website for the fundraising event at www.wysomusic.org/artofnote. You can also call (608) 263-3320, ext. 2.
For more general information about WYSO and its programs, go to: www.wysomusic.org
NOTE: If you are a WYSO student, a WYSO parent or a WYSO donor or supporter and have encouraging words to help others decide about attending the WYSO “Art of Note” fundraiser, please leave them in the COMMENT section.
By Jacob Stockinger
The second half of the current concert season is getting off to a terrific, if crowded and competitive, start.
Take this weekend.
At least five individuals and groups are playing very appealing concerts. In some cases, there is time to get from one to another.
But there is also a good chance you will have to pick and choose, then be disappointed at what you miss as well as pleased with what you go to.
Here is a roundup:
From 8:30 a.m. until 7 p.m., the University of Wisconsin-Madison School of Music will hold the 54th annual Wisconsin Day of Percussion. It features workshops, clinics, presentations and concerts for percussionists and fans of percussion at all levels.
All-day admission is $15 and is available at the door. For more information about attending and participating, go to:
At 1:30 p.m. in the relaxed and cozy venue of A Place to Be, 911 Williamson Street, the Willy Street Chamber Players (below) will offer a 90-minute program of string quartets by Franz Joseph Haydn (String Quartet in D Major, Op. 20, No. 4), Felix Mendelssohn Four Pieces for String Quartet), Astor Piazzolla (Four for Tango) and Daniel Bernard Roumain String Quartet No. 5 “Rosa Parks”) as a prelude to the group’s third summer season this July. Admission is $20.
You may recall that last month The Ear named the Willys as Musicians of the Year for 2016. That post had details about the program and the group’s history. Here is a link:
For more information about this quartet concert (below is a photo of last year’s concert in the same place), go to:
And here is a link to the group’s home website with more specifics:
Finally, one of the Willys assures The Ear that the Sunday performance will be over early enough to allow audience members to go watch the Green Bay Packers championship football game.
At 7 p.m. the Oakwood Chamber Players will give an adventurous concert of unusual works by Maurice Ravel, Arnold Schoenberg, Byron Adams, Gabriel Jackson and Francis Poulenc at the Oakwood Village West Auditorium, 6002 Mineral Point Road on Madison far west side.
Here is a link to a story with more details about the program and how it fits into the yearlong series of concerts:
At 1:30 p.m., the Willy Street Chamber Players repeat their Saturday concert. See the information above for Saturday.
Also at 1:30 p.m., the Oakwood Chamber Players repeat their concert. See the information above for Saturday.
At 4 p.m. in Mills Hall, UW-Madison faculty members violinist Soh-Hyun Park Altino (below top) and pianist Christopher Taylor (below bottom) will give a recital of two violin sonatas: Sonata No. 1 in A major, Op. 13, by Gabriel Faure and the prize-winning 1963 Sonata for Violin and Piano by the contemporary American composer John Corigliano. (You can hear the lovely slow movement of the Corigliano sonata in the YouTube video at the bottom.)
Admission is $15, $5 for children and non-UW School of Music students.
Here is a link with more information:
Tickets can be bought at the door or by visit this site:
Also at 4 p.m., pianist Catherine Kautsky (below) will perform a Schubert-themed program on the Salon Piano Series at Farley’s House of Pianos, 6522, Seybold Road, on Madison’s far west side near West Towne.
Her program includes the Sonata in D major and Twelve German Dances by Schubert; the Schubert-inspired “Valses nobles et sentimentales” (Noble and Sentimental Waltzes) by Maurice Ravel; Prelude and Fugue in E Major, from Book 2 of “The Well-Tempered Clavier” by Johann Sebastian Bach; and “Idyll and Abyss: Six Schubert Reminiscences” (20213) by the German composer Jeorg Widmann.
Admission is $45.
Kautsky has concertized on five continents. You may recall, she came to teach for several years at the UW-Madison from Lawrence University Conservatory of Music in Appleton, Wisconsin, and then returned to Lawrence where she heads the keyboard department and this year received an Excellence in Teaching award.
Call more information and tickets, call (608) 271-2626.
You can also go to this link to get more information about this concert and forthcoming concerts in the Salon Piano Series:
ALERT: This week’s FREE Friday Noon Musicale at the First Unitarian Society of Madison, 900 University Bay Drive, features pianist Mark Valenti playing music by Szymanowski, Brahms, Debussy and Mendelssohn. The concert runs from 12:15 to 1 p.m.
By Jacob Stockinger
It isn’t new research.
But The Ear stumbled on it and finds it no less compelling or convincing because it is a couple of years old.
Researchers say that musicians run four times the normal risk of hearing loss.
But they also point to things that can be done to lessen the risk.
Whether you are a professional musician, an amateur musician or an avid listener, you might want to read about this research.
So here is a link:
ALERT: The FREE Friday Noon Musicales at the First Unitarian Society of Madison, 900 University Bay Drive, resume this week after a break for Christmas, New Year’s and other holidays. This Friday, from 12:15 to 1 p.m., pianist Olivia Musat will perform music by Olivier Messiaen, Isaac Albeniz and Paul Constantinesco.
By Jacob Stockinger
It seems a tradition throughout the media to offer a roundup of the Year’s Best with a local slant.
The Ear already offered a national and international roundup. Here is a link to that, especially to the surprisingly rich roundup that he unexpectedly found on Wikipedia:
For a more local perspective, The Ear trusts and generally agrees with critic John W. Barker (below), who writes frequently for this blog and more often for Isthmus.
Here is a link to Barker’s list of memorable concerts in the Madison area, Because Isthmus mixes classical with other genres like pop, folk and jazz, you have to scroll down to “Classical cornucopia”:
Although I agree with all the concerts that Barker mentions, he left out some that The Ear really loved. One was the absolutely riveting and moving performance in November by the Madison Symphony Orchestra under John DeMain of the momentous Fifth Symphony by Dmitri Shostakovich.
For example just about everything that the Pro Arte Quartet does at the University of Wisconsin-Madison School of Music is first-rate and memorable, whether they play in Mills Hall or on “Sunday Afternoon Live From the Chazen Museum of Art.”
But this past fall, a free noontime concert by the Pro Arte with legendary pianist Leon Fleisher especially stood out. Together (below), they performed the Piano Quintet in F Minor by Johannes Brahms – an unquestionable masterpiece in an unforgettable performance.
The Ear would also add two events, both violin recitals, at the Wisconsin Union Theater.
Last spring Hilary Hahn (below top, in a photo by Peter Miller) turned in a stunningly superb recital. Then this fall, superstar Joshua Bell (below bottom) did the same. Both artists displayed terrific musicality combined with terrific virtuosity in generous and first-rate, ambitious programs.
He would add several summer concerts by the Bach Dancing and Dynamite Society, especially the sizzling dueling violin concert (below) where the BDDS interspersed “The Four Seasons” buy Antonio Vivaldi with “The Four Seasons in Buenos Aires” by Astor Piazzolla.
The Ear would also add an experimental concert at which UW-Madison pianist Christopher Taylor (below) unveiled his reworked two-keyboard “Hyperpiano.” While the concert, which featured the “Goldberg” Variations by Johann Sebastian Bach, wasn’t successful musically, it certainly was intriguing, unusual and highly memorable, even with imperfect digital technology.
And The Ear also recalls a fine concert by the Rhapsodie Quartet (below) of the Madison Symphony Orchestra at the Overture Center.
And let’s not forget the University Opera’s production of “Falstaff” by Giuseppe Verdi that was impressively and successfully updated to Hollywood by director David Ronis.
The Ear is sure there are more memorable concerts that escape him right now. Madison just features so much wonderful music-making in the course of a year.
Moreover, The Ear is also sure you have your favorites – whether they are individual plays; small chamber music groups such as duos, string quartets and piano trios; larger ensembles like the Madison Symphony Orchestra and the Wisconsin Union Theater; or entire events like the UW Brass Festival.
I am sure that fans of the innovative percussion group Clocks in Motion and the acclaimed Madison Choral Project have a concert or two to nominate.
So please use the COMMENT section to tell us what were your most memorable classical concerts in Madison during 2016.
The Ear wants to hear.
By Jacob Stockinger
The Wisconsin Youth Symphony Orchestras has two pieces of news to report:
As in past years, WYSO will perform its popular one-hour, commercial-free “Sounds of the Season” concerts on TV on NBC 15 this weekend.
Three WYSO groups will be featured: the Youth Orchestra (below top), the Youth Brass Choir (below middle) and the Percussion Ensemble (below bottom).
There will be one performance on Christmas Eve at 10 p.m., and then two performances on Christmas Day at 8 a.m. and 12:30 p.m.
The orchestra and ensembles will also be joined by choirs from area high schools. Sorry, but The Ear can’t find word of which ones.
You can hear part of Leroy Anderson’s “Sleigh Ride” as performed by WYSO on “Sounds of the Season” in the YouTube video at the bottom.
For more information, photos and audiovisual clips from a last year’s “Sounds of the Season,” go to:
In addition WYSO has named an interim replacement for outgoing music director James Smith (below), who is retiring from WYSO as well as from the University of Wisconsin-Madison at the end of this season.
Here are details from WYSO’s executive director Bridget Fraser:
“Randy is well-known to many WYSO students already, whether through Summer Music Clinic, the recent Wisconsin Middle Level Honors orchestra, or Suzuki Strings of Madison. He prepared the WYSO Youth Orchestra for its 2012 Overture Center performance of “To Be Certain of the Dawn,” and has subbed in with Philharmonia Orchestra and chamber music rehearsals.
“Randy is in his 19th season as Artistic Director of the award-winning Elgin Youth Symphony Orchestra, a large program similar to WYSO, which draws students from 70 different communities in suburban Chicago.
“Under his direction, the EYSO has collaborated with renowned artists like Midori, Yo-Yo Ma and Rachel Barton Pine, as well as Grammy-winning chamber ensemble eighth blackbird. The EYSO has appeared on NPR’s “From the Top” and at the Ravinia Festival, where they will return to perform again in 2018.
“The Illinois Council of Orchestras has twice named him Conductor of the Year and awarded its prestigious Programming of the Year Award to the EYSO.
“A frequent guest conductor of orchestral and choral festivals, Randy recently conducted the Scottish National Youth Symphony in Glasgow, All-State Orchestras in Georgia and Illinois, the American Mennonite Schools Orchestra Festival, Northern Arizona Honors Orchestra, the APAC Orchestra Festival in Seoul, and both the Wisconsin Middle Level Honors Choir and Orchestra, among many others.
“Randy also works with a number of professional orchestras, designing and conducting concerts for young people. Last year, he led the Madison Symphony in his original “Symphony Safari: What Nature Teaches Us About the Orchestra,” attended by several thousand middle school students in Overture Hall.
“Next February, he returns for a fourth season with the Milwaukee Symphony Orchestra in its acclaimed “Teen Partner” series, conducting the Gloria by Francis Poulenc.
“He also appears next spring with the Chippewa Valley Symphony, conducting his “Beethoven Superhero” concert, which has been popular with teachers, students and parents alike, with the Elgin Symphony and The Florida Orchestra (Tampa).
“As an author and lecturer, Randy works with teachers around the country and internationally, most recently with international school teachers in Hong Kong and at Carnegie Hall, where last summer he returned for a fourth season teaching its Music Educator Workshops, and leading members of the National Youth Orchestra of the USA.
“Randy is a proud UW-Madison graduate and lives in Madison, where you can find him on Monday nights working with the Madison Boychoir (in the Madison Youth Choirs) alongside colleague Margaret Jenks.
“WYSO is truly fortunate to have such a dedicated and tireless educator guiding its artistic vision next season.”
By Jacob Stockinger
Here is a special posting, a review written by frequent guest critic and writer for this blog, John W. Barker. Barker (below) is an emeritus professor of Medieval history at the University of Wisconsin-Madison. He also is a well-known classical music critic who writes for Isthmus and the American Record Guide, and who hosts an early music show once a month on Sunday morning on WORT FM 89.9 FM. For years, he served on the Board of Advisors for the Madison Early Music Festival and frequently gives pre-concert lectures in Madison. He also took the performance photos.
By John W. Barker
Eschewing any seasonal or holiday connections, the UW-Madison Choral Union (below) gave its December concert last Friday night with a program of three “B’s”.
Well, two of the B’s are familiar ones. But in place of Bach, we got Leonard Bernstein, taking first place in reverse chronological order — his Chichester Psalms, dating from 1965.
This three-movement work probably represents Bernstein’s most important choral score. It sets texts in the original Hebrew, the middle movement calling for a boy treble to represent the young David in the rendering of Psalm 131 — a function here filled bravely by young Simon Johnson (below, front left) of the Madison Youth Choirs.
The platoon of percussionists in the first two movements confirms the composer’s flashy “modernism.” To be sure, there are some characteristic melodic twists that proclaim the composer familiar to us, and the swaying melodic tune of the third movement is really lovely.
But Bernstein (below) did not know what to do with it besides repeating it obsessively. Bernstein simply was not a savvy master of choral writing, and I firmly believe that this work—a trivial cross between Igor Stravinsky’s Symphony of Psalms and Bernstein’s own Broadway musical West Side Story—would not merit much attention were it not for Bernstein’s name on it.
(EDITOR’S NOTE: You can decide on the work’s merits for yourself by listening to the live performance, conducted by the composer himself, in the YouTube video at the bottom.)
Just how inadequate Bernstein’s choral sense was emerged clearly with the next work, the short ode for chorus and orchestra by Johannes Brahms, Nänie, Op. 82.
The title adapts a Greek word for a lament, and Friedrich Schiller’s German text evokes the death of beauty in the death of Achilles. Brahms was among the supreme choral masters, and this particular example is one of several of his “minor” choral works that we hear too rarely.
The second half of the program was devoted to Ludwig van Beethoven’s Mass in C major, Op. 86. No, not the monumental Missa solemnis of the composer’s last years when (as with the Ninth Symphony’s finale) he had transcended the realities of choral writing. This earlier Mass setting, dating from 1807, was in the direct line of Mass settings for the Esterházy family composed by the aged Haydn.
But to Haydn’s incorporation of symphonic structure into Mass composition, Beethoven (below) brought his own strongly progressive personality, and a remarkable quality of melodic and thematic invention. This is a lovely work, and choirs who fling themselves doggedly against the Missa solemnis ought sometimes to revel in this beautiful work instead.
The forces arrayed included a solo quartet (below, in the front from left) are bass John Loud, tenor Jiabao Zhang and sopranos Jessica Kasinski and Anna Polum.
The UW Chamber Orchestra proved able. But the star was, of course, the Choral Union chorus itself. Its diction worked from indistinguishable Hebrew through respectable German to really lucid Latin. Above all, it made mighty, full-blooded sound that bolstered Beethoven’s lyricism with powerful projection.
Once again, conductor Beverly Taylor (below) has gone beyond stale conventions to bring us valued exposure to music outside the conventional boundaries.