By Jacob Stockinger
Here is a special posting, a record 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.
By John W. Barker
For reasons, astronomical and cultural, the Western and Eastern Orthodox celebrations of Easter are frequently held at separate dates. But this year they coincide (on this coming Sunday, April 16). That gives good reason to direct attention beyond familiar Western Easter music and instead to that of Eastern Orthodoxy.
A new recording of one of the landmarks of Russian Orthodox music provides further stimulus to this.
Russian Orthodox practice did not encourage extensive new compositions, but stressed elaborate liturgical rituals built around the heritage of medieval monophonic chant, while benefiting from the fabulous style of Russian choral singing—those low basses (“octavists”) in particular.
Most composers who worked to enrich the liturgical literature were professional church musicians, but a number of “secular” Russian composers also made contributions. Notable among them were Nikolai Rimsky-Korsakov, Peter Tchaikovsky and Sergei Rachmaninoff (below).
It is the last of those three who has given us the music at hand, a truly memorable sacred creation. The work is his Op. 37, entitled “The Most Important Hymns of the ‘All-Night Vigil,” and commonly called “The All-Night Vigil” (Vsenoshchnogo Bdeniya) or else, more simplistically the “Vespers.”
It was composed during the early years of World War I, which was to bring about the collapse of the Russia that Rachmaninoff knew. It was performed in 1915, and two years later, amid the upheavals of the two Revolutions, the composer left his native land for good.
Rachmaninoff prized his Op. 37 above his other works; it was his proclamation of Russian identity, and after it he wrote no more sacred music. He even hoped that one section of it could be sung at his funeral. (A moving sample can be heard in the YouTube video at the bottom.)
The Orthodox Christian celebration of the Resurrection places emphasis on the Saturday night offices of Vespers and Matins, in a prolonged and elaborate ritual. (This Vigil array can also be used for other significant feasts beyond Easter.)
Given the lengths, Rachmaninoff chose to set his selection of “the most important hymns” for his Op. 37, for a total of 15 sections. He did follow working practice by building his settings on or around traditional chant melodies. He expected that individual sections might have liturgical usage; but he understood that the totality was a grand concert work.
The Rachmaninoff All-Night Vigil, or “Vespers,” has been recorded many times, often by Russian choirs, which have the musical and liturgical style in their blood. But non-Russian groups and directors have also come to recognize the transcendent beauty of this masterwork.
Noteworthy among those was Robert Shaw, the great American choral master whose recording (on the Telarc label) has been acclaimed by his admirers for its predictably superb choral sound. But Shaw and his singers lack Russian sound or spiritual sensitivity.
Other American performers have joined in: the broadly paced recording with Charles Bruffy and his Phoenix and Kansas City choirs (for Chandos) is notable. Paul Hillier’s recording (for Harmonia Mundi) with the Estonian Philharmonic Chamber Choir has earned great respect.
I have just been taken by the brand new release (below) from Paraclete Recordings of Massachusetts, with the Gloria Dei Cantores and members of three other choirs under the direction of Peter Jermihov.
They number 77 singers in all and, as recorded in a church setting, they make a sumptuous sound. Their emphasis is less on clarifying individual voice parts and more on relishing the rich blends that make up the total texture.
While treating the work as a grand concert piece, this performance goes beyond most others by including intonations by clerical celebrants, recalling the liturgical context that was always in the composer’s mind.
One of the striking features of this release is its thick album booklet. This is not only richly illustrated but contains an unusually penetrating background essay. Further, in presenting the Russian texts (in Cyrillic and transliteration) with English translations, it also gives useful comments section by section, for the fullest understanding of the liturgical contexts.
This is a noteworthy addition to the crowded recording picture for this sumptuous and deeply moving sacred music.
By Jacob Stockinger
This will be a busy week at the UW-Madison.
Here are the events, concerts and master classes, at the UW-Madison this week. All events are FREE and OPEN TO THE PUBLIC.
As you can see, a lot of new music will be featured.
At noon in Morphy Recital Hall, oboist Courtney Miller (below), of the University of Iowa, will give a master class.
At 7:30 p.m. in Morphy Recital Hall, pianist Emile Naoumoff (below), from Indiana University, will give a recital.
Sorry, no word about the program. But there is a lot of background about the acclaimed French pianist who once studied at age 10 with the legendary teacher Nadia Boulanger and then later took over for her. (You can see him and Boulanger in the YouTube video at the bottom.) For information, go to http://www.music.wisc.edu/event/guest-artist-emile-naoumoff-pianist/
Naoumoff will also give a master class on Thursday from 10 a.m. to noon in Morphy Recital Hall.
From 10 a.m. to noon in Morphy Recital Hall, guest pianist Emile Naoumoff will give a master class. See Wednesday’s listings for information about him and his recital.
At 7 p.m. in Morphy Recital Hall, a concert of new music will be performed by Sound Out Loud (below) in conjunction with a two-day conference. For the complete program and more information, go to:
At 7:30 in Mills Hall, the UW Wind Ensemble (below top) will give a FREE concert under conductor Scott Teeple (below bottom).
The program includes “The Leaves Are Falling” by Warren Benson as well as two Wisconsin premieres: “Across the Graining Continent” by Jonathan Newman; and Suite in E-Flat by Gustav Holst, edited by Matthews.
At 1:30 p.m. in Morphy Recital Hall, the UW-Madison Trombone Quartet performs music by Tchaikovsky,Webern, Shostakovich, Tull and Bozza among others. Members of the quartet are Thomas Macaluso, Kevin Schoeller, Matthew Bragstad and Nicolas Lawrence.
At 8 p.m. the wife-and husband piano-percussion duo Sole Nero (below), consisting of Jessica Johnson (piano) and Anthony DiSanza (percussion), will perform a faculty concert of new music.
For the complete program and program notes, plus biographies, go to:
It is also that time of the academic year when there are a lot of student recitals and lecture-recitals, especially ones by graduate students, that might interest the public. This week, The Ear sees at least half a dozen listed including those by a cellist, violinist, hornist, trumpeter and flutist.
For more information, go to: http://www.music.wisc.edu/events/
By Jacob Stockinger
This Wednesday night at 7 p.m. in Overture Hall of the Overture Center, four teenage finalists will perform the final round of the Bolz Young Artist Competition in a free live concert with the Madison Symphony Orchestra (MSO).
It will be broadcast live on Wisconsin Public Television (WPT) and Wisconsin Public Radio (WPR), and available via live streaming on wpt.org, at 7 p.m.
The public can also reserve FREE tickets to attend the concert in person.
The Final Forte finalists are selected from a group of young artists who competed in the Bolz Young Artist Competition’s two preliminary rounds.
This year’s Final Forte features (below, in a photo by Amandalynn Jones, from left): violinist Julian Rhee of Brookfield, who will play the first movement of the Violin Concerto in D Major by Peter Tchaikovsky; harpist Naomi Sutherland of Viroqua, who will play the “Sacred and Profane Dances” by Maurice Ravel; pianist Michael Wu of Sun Prairie, who will play the first movement of the Piano Concerto No. 2 in G Minor by Camille Saint-Saens; and violinist Yaoyao Chen of Menasha, who will play the first movement of the Violin Concerto in D minor by Jean Sibelius.
Each of the finalists will perform with music director John DeMain and the MSO as they complete for top honors and scholarships that will be awarded at the end of the broadcast. WPR’s Lori Skelton and Jim Fleming will co-host the event.
More information, biographies and video profiles (also available on YouTube) for each finalist can be found at: http://madisonsymphony.org/finalforte
To reserve free seats at The Final Forte, call (608) 257-3734 or register online at: http://madisonsymphony.org/finalforte
IMPORTANT NOTE: This is a live concert broadcast. All audience members must be seated by 6:45 p.m. in Overture Hall, prior to the start of the concert.
The Final Forte broadcast on WPT and WPR has won numerous honors including an Emmy nomination, and has reached several hundred thousand viewers and listeners in the area Madison and statewide.
“The Final Forte” will be rebroadcast at the following times:
The Wisconsin Channel (WPT-2): Saturday, April 1, at 3:30 p.m.
Wisconsin Public Radio: Sunday, April 2, at noon
Milwaukee Public Television (Channel 36.1): Sunday, April 2, at 1 p.m.
Wisconsin Public Television (WPT-1): Sunday, April 2, at 2 p.m.
BACKGROUND AND SPONSORS
“Wisconsin Young Artists Compete: The Final Forte” is a partnership among the Madison Symphony Orchestra, Wisconsin Public Radio and Wisconsin Public Television.
The even is part of WPT’s multiyear Young Performers Initiative, a statewide effort to raise the visibility of the arts, celebrate the creative achievements of Wisconsin’s young people and support the arts in education.
The Bolz Young Artist Competition is made possible by a generous endowment from The Eugenie Mayer Bolz Family Foundation.
Major funding for “Wisconsin Young Artists Compete: The Final Forte” is provided by Diane Ballweg, Julie and Larry Midtbo, Fred and Mary Mohs, Stephen Morton, Joe and Maryellyn Sensenbrenner, and The Boldt Company. With additional funds from A. Paul Jones Charitable Trust, James Dahlberg and Elsebet Lund, W. Jerome Frautschi, Ann and Roger Hauck, Elaine and Nicholas Mischler, Kato Perlman, Sentry Insurance Company, The Estate of Norene A. Smith, Paul Guthrie in memory of Ella Guthrie, Judith and Nick Topitzes, and Friends of Wisconsin Public Television.
By Jacob Stockinger
You had to be there to believe it.
That’s just how good the Willy Street Chamber Players are. (Actually, this season the music is being streamed live, so you don’t have to be there, and Rich Samuels of WORT-FM 89.9 recorded this concert for later airing.)
The Willys, as critic John W. Barker of Isthmus likes to call them, set themselves a high bar to clear, given the spectacular debut they made last summer in a series of July concerts that propelled them to the top of the list of classical music news in the area for the entire season.
The Ear is happy to report that in last Friday night’s opening concert of their second season, the Willy Street Chamber Players (below) met and surpassed that bar.
There was really only one small disappointment: Despite promises to bring the concert in with enough time to allow people to get over the fourth annual Handel Aria Competition at the UW-Madison, they ran late.
But at least they tried. And an effort at cooperation seems in perfect keeping with the nature of this outstanding ensemble. So do the local post-concert treats of food and sweets they offer.
The concert started with a piece that reminds one how a beautiful melody sticks in the ear and is never out of date, no matter what some modernists say.
In this case, it was the Intermezzo from the Romantic opera “Cavalleria Rusticana” (1880) by Italian composer Pietro Mascagni, as arranged for string sextet by Beth Larson (below, front left), the group’s own violist and violinist. As a welcoming opener and mood-setter, it proved a sheer delight.
Let’s jump to the end, which was a stupendous reading of the Big Work: the “Souvenir de Florence” (Memory of Florence) by Peter Tchaikovsky that featured guest violinist Suzanne Beia (below, front left).
Beia, you may recall, is a concertmaster with the Madison Symphony Orchestra and the Wisconsin Chamber Orchestra as well as member of the Pro Arte Quartet at the University of Wisconsin-Madison School of Music. And this summer, she sizzled in her virtuosic reading of “The Four Seasons” by Antonio Vivaldi for the closing concerts of the Bach Dancing and Dynamite Society. And boy, can she fiddle!
In the Tchaikovsky, there was plenty of lyricism. But the force and energy of the brisk, upbeat tempi kept the work from becoming the kind syrupy and repetitive sentimentalism that inferior Tchaikovsky playing can produce.
It was an exciting and dynamic, even thrilling, performance. The audience leapt to its feet with good reason.
But for The Ear, the standout piece was the centerpiece: the “Entr’acte” for string quartet (below) by the young American composer Caroline Shaw.
This is The Ear’s kind of new music. Inspired by a minuet from an Op. 77 string quartet by Franz Joseph Haydn, Shaw’s work quietly pulsed and throbbed with a hypnotic rhythm. (You can hear a different performance of the work in a the YouTube video at the bottom.)
There were some dissonances and some strange sounds made by rubbing strings as well as plucking and snapping strings. But overall this was new music that had melody, rhythm and harmony, and it proved accessible on the first hearing. Plus it was short and possessed both emotion and elegance. Eat your hearts out, Pierre Boulez and Karlheinz Stockhausen!
The Ear hopes that the Willy Street Chamber Players continue their exploration of works by the Pulitzer Prize-winning Shaw (below) in future summer seasons and prove to be her ambassador to Madison audiences.
In any case, based on last season and now this concert the Ear has no reluctance in recommending the four concerts by the Willys that remain, three on Friday nights at 6 p.m. and one at noon.
NOTE: A word of warning is in order. Give yourself extra time to get there. Construction downtown plus major construction and street repairs on the streets around the Immanuel Lutheran Church, 1021 Spaight St., pose obstacles.
Here is a link to the rest of the season:
All The Ear can add is that last summer’s success was no fluke.
So let’s hear a Big Bravo for the fact that the Willys are Winners!
ALERT: The Ear reminds you that TODAY is the monthly “Sunday Live From the Chazen” chamber music concert. The program today features UW-Madison soprano Mimmi Fulmer, violinist Tyrone Greive (retired concertmaster of the Madison Symphony Orchestra) and pianist Michael Keller in music by Edvard Grieg and other Norwegian composers, including songs and sonatas. The live concert starts at 12:30 p.m. in Brittingham Gallery 3. Admission is FREE. You can also stream it live by using this link:
By Jacob Stockinger
Probably the premiere musical event of 2015 was the summer debut of the new group the Willy Street Chamber Players (below).
The critics and audiences agreed: The programs and performances were simply outstanding. Many of the players perform with the Madison Symphony Orchestra, the Wisconsin Chamber Orchestra, there Middleton Community Orchestra, the Madison Bach Musicians and other acclaimed local groups.
Now the second season of five concerts – including one noontime lunch concert — will begin on this coming Friday night, July 8, at 6 p.m. at Immanuel Lutheran Church, 1021 Spaight Street, on Madison’s near east side.
The first program features regular members and guest violinist Suzanne Beia (below).
Beia plays second violin in the Pro Arte Quartet at the University of Wisconsin-Madison School of Music, and also serves at concertmaster of the Wisconsin Chamber Orchestra and assistant concertmaster of the Madison Symphony Orchestra. In addition, she performs in the Rhapsodie Quartet of the Madison Symphony Orchestra.
The program includes the lovely “Souvenir of Florence” (1892) by Peter Tchaikovsky and the haunting Entr’acte for String Quartet (2011) by Pulitzer Prize-winning composer Caroline Shaw (below, in a photo by Dashon Burton). You can hear the Entr’acte in the YouTube video at the bottom. (The Ear hopes one day the group will do Shaw’s “By and By” with strings and a vocalist.)
It’s too bad that the fourth annual Handel Aria Competition is on the same night. You would hope that such conflicts could be avoided in the summer.
Theoretically you can make it to both concerts since the aria competition starts at 7:30 p.m. in Mills Hall. But it will probably be a hectic scurry from one to the other.
Here is a link to more information about the Handel Aria Competition:
In any case, here is the schedule of the entire second season of the Willy Street Chamber Players.
It is varied and impressive, especially in how it combines old masterpieces with modern and contemporary works. It features pieces by Philip Glass, Arnold Schoenberg, UW-Madison composer Laura Schwendinger, George Crumb, Dmitri Shostakovich, Franz Schubert, Wolfgang Amadeus Mozart, Ludwig van Beethoven, Arcangelo Corelli and Georges Enescu :
A season subscription is $50. Individual concerts are $15 except for the Black Angels video art concert, which is $20.
By Jacob Stockinger
You probably don’t know the name Ethel Smyth (pronounced smaith, below).
The Ear certainly didn’t.
But then he came across this fascinating account of her life and work.
An early feminist leader for same-sex equality, she fell in love with the much younger writer Virginia Woolf.
And her muscular music and politically charged operas reminded people of Richard Wagner.
Now she has been resurrected thanks to Leon Botstein, the president of Bard College who also directs the American Symphony Orchestra and the Bard Music Festival. He staged her 1904 opera “The Wreckers.” (At bottom, you can hear a YouTube performance of the Overture to “The Wreckers.”)
By Jacob Stockinger
The Middleton Community Orchestra (below) will present its final concert of the season on Wednesday, June 3, at 7:30 p.m.
The concert will take place at the Middleton Performing Arts Center (below, exterior and interior), attached to Middleton High School.
This concert concludes MCO’s fifth year.
On the program is Danzon No. 2 by Mexican composer Arturo Marquez; the “Haydn” Variations by German composer Johannes Brahms; the slow Adagio movement from the Violin Concerto by Max Bruch with MCO concertmaster Valerie Sanders (below top) soloing; and the never-fail Piano Concerto No. 1 in B-Flat Minor by the Russian composer Pyotr Ilyich Tchaikovsky –- the same exciting concerto that launched the career of Van Cliburn — by performed by the talented Middleton native, Thomas Kasdorf.
Tickets are $10 for general admission. Students are admitted free of charge. Tickets are available at Willy St. Coop West and at the door. The box office opens at 7 p.m.
There will also be a meet-and-greet reception (below) after the concert.
Here is information about pianist Thomas Kasdorf (below):
He is a recent graduate of UW-Madison School of Music with his Bachelor of Music in Piano Performance, where he studied with Christopher Taylor.
He was an inaugural member of the Perlman Piano Trio, which awards scholarships and performance opportunities to talented undergraduate students to give performances of chamber music.
His work with the Perlman Trio (below, with cellist Maureen Kelly and violinist Eleanor Bartsch) has been featured in performances on Wisconsin Public Radio’s “Live at the Midday” series and as part of Bach Dancing and Dynamite Society’s House Concerts series, as well as in Middleton Community Orchestra’s inaugural season performance of Beethoven’s Triple Concerto.
He was named co-winner of the Irving Shain Woodwind and Piano Duo Competition, with collaborative partner, flutist Morgann Davis. He was awarded the Bolz Prize of the Madison Symphony Orchestra’s Concerto Competition and performed Grieg’s Piano Concerto in A Minor at their Spring Youth Concerts.
He has performed in master classes given by Nadja Salerno-Sonnenburg, Pinchas Zukerman, Sam Rhodes, Steven Isserlis, Ronald Leonard, Ralph Kirshbaum, Jonathan Miller, Timothy Eddy, Robert MacDonald, Jeffrey Siegel and Adam Neiman.
Thomas has worked in a variety of roles (both on and offstage) with a multitude of local theatre groups in over 100 different shows. With a specialty in the oeuvre of Stephen Sondheim, he has been called upon to arrange and perform reduced or solo orchestrations of Sondheim scores, including “A Little Night Music,” “Sunday in the Park with George,” “Putting It Together,” “Sweeney Todd,” “Side by Side by Sondheim,” “Into the Woods” and, most recently, “Company.” He proudly serves on the board of directors for Middleton Players Theatre, and was the director of the company’s recent production of “Les Mis.”
Last year’s performance of the Grieg Piano Concerto (below) was Thomas Kasdorf’s third performance with the Middleton Community Orchestra. He had performed the Triple Concerto by Ludwig van Beethoven as part of the Perlman Trio, and the Piano Concerto in A major by Wolfgang Amadeus Mozart.
He has just concluded a wildly successful collaboration with MCO to produce a staged production of “Carousel,” and he says he is looking forward to his performance of Tchaikovsky’s Piano Concerto No. 1 with the MCO. (You can hear Van Cliburn play the opening movement of the concerto in a YouTube video at the bottom. It has some great shots of hands and fingers.)
By Jacob Stockinger
Well, I know three of the pieces I will NOT be listening to this week: the “Alpine” Symphony by Richard Strauss, the “Sinfonia Antarctica” by Ralph Vaughan Williams and the “Winter Wind” etude by Chopin.
This week, we in the Upper Midwest are getting a typical January blast from the Arctic. The low temp last night was -11 degree F. As I am writing, the temperature has risen all the way to -8.
It will get above zero today. Briefly.
But then another winter Arctic front moves in and we again drop done below zero again with absolute temps down to -20 and wind chills down to -50 or more. On Wednesday, the daytime high will be -3.
So it seems The Ear will be logging quite a lot of indoor time since no warm up is in store until the weekend.
Hence The Ear’s Question of the Week: When the weather is this dangerously cold and you end up pretty much housebound, what is the music you like to listen to?
Sometimes I want to explore a new piece or a new composer.
But often, feeling deprived of normal activities, I want the comfort of listening to something familiar and maybe a little passionate and Romantic, which translates into “heated.” For one example, look below at the YouTube video of pianist Arthur Rubinstein playing the Ballade No. 4 in F Minor, Op. 52, by Chopin.
Of course, one could choose works on a grander scale such as symphonies by Ludwig van Beethoven or Gustav Mahler, concertos by Robert Schumann or Peter Tchaikovsky, oratorios by George Frideric Handel, masses and requiems, and of course operas by Verdi and Puccini.
Or perhaps, like me, you favor a more intimate but collaborative rather than solo genre -– perhaps a string quartet or the piano trio, one of my favorites. I find the music of Franz Schubert so friendly and empathetic.
There is also some about the music of the Baroque and Classical eras that seems light, rational, clear-headed and reassuring. Something like Comfort Food for the Ears.
A week like this could also be a good start on listening to a series, something like all the symphonies or string quartets of Franz Joseph Haydn or all the piano concertos of Mozart.
Another good choice would be to set out to explore the 550 sunny Italian-Spanish keyboard sonatas by Domenico Scarlatti.
Maybe it is an instrument that provides a respite from the cold — perhaps the guitar.
Anyway: Don’t be shy. Help us get through this bitter cold snap. Please use the Comment section to let The Ear and other readers know what you are listening to in weather like this -– or what you think you would listen to. Or what we should listen to. Include a link to a YouTube performance, if you can.
The Ear wants to hear.
By Jacob Stockinger
The Ear has been waiting for this.
And now it is at hand,
Today we are about to turn the corner.
Officially, the Winter Solstice arrives at 5:03 p.m. CST in the Northern Hemisphere.
The Ear has even heard about quite a few parties being held to mark the event.
And parties need music.
Here are a few selections of classical music to get you in the right frame of mind to celebrate the Winter Solstice.
The composers include well-known works and composers like the Baroque violin concertos “The Four Seasons” by Antonio Vivaldi; the Classical-era oratorios “The Creation” and “The Seasons” by Franz Joseph Haydn; a section of a Romantic symphony by Peter Illich Tchaikovsky, and a piano miniature by the Impressionist Claude Debussy.
But there are unknown ones too.
But perhaps you have other favorites.
If so, please tell The Ear all about the music you listen to when you want to mark the Winter Solstice.
And here, in another version by Roger Norrington with the Handel and Haydn Society, is the “Winter” part of Haydn’s oratorio “The Four Seasons” that looks like it has been blocked from the link because of copyright infringement.
By Jacob Stockinger
This is a reminder.
This is A Tale of Two Tours.
Like the tours, both of which will run exactly from July 24 through August 3, the two local groups will also offer competing sendoff concerts at exactly the same time — tonight, Tuesday, July 22, at 7 p.m.
But it is best not to dwell on the conflict or competition.
Instead, The Ear prefers to see it as a reminder that Madison, Wisconsin, is a great place to be not only for culture in general and for classical music, but for classical music education, which has been shown again and again by researchers to reap lifelong benefits in terms of development and maturity.
It involves two FREE sendoff concerts by two important groups of young musicians in Madison.
One is by the Wisconsin Youth Symphony Orchestras’ Youth Choir, under conductor UW-Madison professor James Smith, which will perform tonight at 7 p.m. at Olbrich Botanical Gardens on Madison’s East side. The program, a preview of the concert fare to be performd in Argentina, features music by Leonard Bernstein, Aaron Copland, Peter Tchaikovsky and Alberto Ginastera.
Here is a link to a previous blog posting about the WYSO concert:
The other concert is the Madison Boychoir (below, in a photo by Jon Harlow), which will perform tonight at 7 p.m. in the Covenant Presbyterian Church, 326 South Segoe Road, on Madison’s near west side.
And here is a statement from Nicole Sparacino, the director of development for the Madison Youth Choirs:
“By a strange coincidence, the MYC send off concert is the same night as WYSO’s send off concert, and the dates of both tours are exactly the same, July 24-August 3!
“It’s pretty neat to think that, combined, over 100 of Madison’s finest young musicians will be sharing their talents on two very different parts of the world’s stage at the same time.
“Over the course of the tour, 71 MYC boys ages 9-18 will sing in medieval cathedrals, perform a joint concert with the National Youth Choir of Scotland, and have the chance to meet hundreds of other young artists from across the world. Our boys will even get the chance to test their foreign language skills, as they will have the honor of singing the national anthems of all participating countries during the festival’s Opening Ceremony. (You can see a promotional video for the Scotland tour at the bottom in a YouTube video.)
“We’re so excited for the boys to have this outstanding opportunity.
“Tonight, over 70 boys ages 9-18 from Madison Youth Choirs (MYC) will share an exciting free concert with the community before taking off to perform at the Aberdeen International Youth Festival in Scotland.
“As the only boychoir from the United States invited to perform at the festival, MYC’s lads (below, in a photo by Jon Harlow) will pay homage to the rich musical traditions of their homeland, from folk songs to cowboy melodies.
“It will perform classic boychoir repertoire in three different languages. Concert selections will include the Shaker tune “Simple Gifts,” the powerful “Anthem” from the musical Chess, “Laudamus Te” by Antonio Vivaldi and the Shakespeare and “Macbeth”-inspired “Sound and Fury.”’
The latter is a world premiere work by composer Scott Gendel (below), who is a graduate of the University of Wisconsin-Madison School of Music.
For further information: visit www.madisonyouthchoirs.org or call (608) 238-7464.