By Jacob Stockinger
Little wonder that Hough was the first musician to win a MacArthur Fellowship or “genius grant.”
The virtuosic Hough (below) wowed local audiences here a couple of months ago when he performed the dazzling Piano Concerto No. 5 “Egyptian” by Camille Saint-Saens with the Madison Symphony Orchestra.
Recently, he gave an interview in which he talked about the importance of silence to musicians.
Along the way, he also remarked on and lauded the “thrilling” rise of Western classical music – shown in audiences as well as the huge numbers and high quality of professional performing artists, amateurs and students – in Asia.
Hough also talked about the role of composing for performers, why it is a valuable skill and whether the performer-composer tradition is returning. (You can hear Stephen Hough perform his own Piano Sonata No. 3 “Trinitas” in the YouTube video at the bottom.)
The Ear found Stephen Hough’s interview engaging and informative, and hopes you do too.
Here is a link:
By Jacob Stockinger
Here is a guest review by The Opera Guy, who is himself a senior and who has followed opera for many decades and across several continents, including North America, Europe and Asia. Performance photos are by James Gill for the Madison Opera.
By Larry Wells
On Sunday afternoon I attended the second, and final, of two sold-out performances of Daniel Schnyder’s “Charlie Parker’s Yardbird,” presented by Madison Opera, which gave the Midwest premiere of the new work.
Although it is a chamber opera featuring only 16 instrumentalists and running a little over 90 minutes, it was an engaging, satisfying and often hypnotic operatic experience.
The orchestral and vocal music were readily accessible. As a compliment to the composer, I was reminded of the later work of the great British composer Michael Tippett.
The plot features Charlie Parker’s mother, three of his wives, his friend Dizzy Gillespie and his current patroness, the fascinating Baroness Nica de Koenigswarter, as they confront Parker’s spirit after his death but before his removal from the morgue and burial.
(Below, standing in front of the photo-portrait set of the Birdland jazz club, are the major cast members, many of whom were in the original world premiere productions at Opera Philadelphia and the Apollo Theater of Harlem in New York City. From the left, they are: Angela Brown as Addie Parker; Will Liverman as Dizzy Gillespie; Rachel Sterrenberg as Chan Parker; Angela Montellaro as Doris Parker; Joshua Stewart as Charlie Parker; and Krysty Swann as Rebecca Parker.)
A pioneer and innovator of bebop in the world of jazz, saxophonist Parker died young and dissolute, destroyed by drugs and alcohol. Portrayed by Joshua Stewart (below), Parker is unsympathetic and weak, desperate to create but distracted. Stewart is a fine, convincing actor. His singing was often compelling, but his voice was too thin in the higher reaches demanded by the score.
The other characters were ably portrayed and consistently strong vocally. Will Liverman’s Dizzy Gillespie was a standout – lyrical and touching.
Likewise, Krysty Swann (below center with a baby) was solid vocally and emotionally convincing as Parker’s abandoned first wife Rebecca Parker.
Rachel Sterrenberg was moving and gripping vocally as Parker’s final wife Chan.
Julie Miller as Baronness Nica commanded the stage whenever she appeared, perhaps because of her bright red dress in a sea of black garments but also because of her powerful portrayal and expressive singing.
Whenever Angela Brown (below right, with Joshua Stewart as Charlie Parker) was onstage as Parker’s mother, Addie, she was the focus. She owned the role, she sang beautifully, and she had some of the best material to sing.
One of the finest moments in the opera was an orchestral interlude followed by a vocalise by another of Parker’s wives, Doris, sung by Angela Mortellaro (below). I was totally captivated, as I was by the quintet toward the end with Dizzy, the three wives and Parker’s mother.
Such are the moments for which an opera aficionado waits – several minutes of total aural delight.
Maestro John DeMain was, as always, in full command of the score as he led members of the Madison Symphony Orchestra. I was in a position to watch him conduct, and he was always totally involved in the moment. I repeat what I have said before: Maestro DeMain (below, in a photo by Prasad) is a treasure for which Madison should be constantly grateful.
I personally like newer music and always welcome the chance to hear something other than the tired Brahms overtures, Tchaikovsky symphonies and Mozart piano concertos.
The argument in Madison seems to be that to fill seats, you have to give the audience what it wants; and the belief is that it wants music that is tried, true and safe.
The fact that this new work sold out both performances in the Capitol Theater of the Overture Center and that the audience was not entirely made up of seniors seems to suggest that the halls can be filled if the programming is more adventurous.
I say let’s hear more music of the 20th and 21st centuries, draw in a new audience and give the seniors a little thrill.
What do you think?
By Jacob Stockinger
This coming weekend, the Madison Symphony Orchestra (below) offers one of the best must-hear programs of the season – or so thinks The Ear.
Pianist Stephen Hough (below, in a photo by Sim Canetty-Clarke) returns for his fourth appearance with the Madison Symphony Orchestra (MSO), led by music director and conductor John DeMain.
The concert will open with Samuel Barber’s Second Essay, a dramatic piece written in the midst of World War II, followed by a performance of the exotic Saint-Saëns Piano Concerto No. 5 (“Egyptian”) featuring soloist Stephen Hough, who won major awards for his recordings of the complete works for piano and orchestra by Saint-Saëns. The concert will close with a performance of Tchaikovsky’s emotional Symphony No. 6 (“Pathétique”).
The concerts are Friday, Feb. 17, at 7:30 p.m.; Saturday, Feb. 18, at 8 p.m.; and Sunday, Feb. 19, at 2:30 p.m. in Overture Hall of the Overture Center, 201 State Street. (Ticket information is below.)
Samuel Barber (below) was one of the new generation of mid-20th century American composers with contemporaries Howard Hanson, Aaron Copland, David Diamond and, later, Leonard Bernstein.
His Second Essay was written in 1942, in the middle of the Second World War. Barber once wrote: “Although it has no program, one perhaps hears that it was written in a war-time.” This will be the first time this piece is performed by the Madison Symphony Orchestra.
The Piano Concerto No. 5 (“Egyptian”) by Camille Saint-Saëns (below) was composed while he was on a winter vacation in the Egyptian temple city of Luxor, in 1895-96. The location of this piece is important because it helped give the piece its nickname, and also influenced the sound of the score. This will be the first time this piece is performed by the Madison Symphony Orchestra.
Peter Ilyich Tchaikovsky (below) wrote his final piece between February and August 1893. The Symphony No. 6 (Pathétique) was then performed in Oct. 1893 and was conducted by Tchaikovsky himself. Nine days later he was dead.
Tchaikovsky’s late symphonies are autobiographical, and the sixth being “the best, and certainly the most open-hearted,” according to Tchaikovsky himself. Seeing that he was a troubled man, dealing with a dark depression, Symphony No. 6 (Pathétique) is filled with poignancy and deep sorrow, as you can hear in the finale in the YouTube video at the bottom.
One hour before each performance, Randal Swiggum (below), artistic director of the Elgin Youth Symphony Orchestra Artistic Director and the newly appointed Interim Music Director of the Wisconsin Youth Symphony Orchestras, will lead a 30-minute Prelude Discussion in Overture Hall to enhance concertgoers’ understanding and listening experience.
For more background on the music, read the program notes by MSO trombonist and UW-Whitewater professor Michael Allsen (below, in a photo by Katrin Talbot) at: http://www.allsenmusic.com/NOTES/1617/5.Feb17.html
Single Tickets are $16 to $87 each, and are available at madisonsymphony.org/hough and through the Overture Center Box Office at 201 State Street or by calling the Box Office at (608) 258-4141.
Groups of 15 or more can save 25% by calling the MSO office at (608) 257-3734. For more information visit, madisonsymphony.org/groups
Student rush tickets can be purchased in person on the day of the concert at the Overture Center Box Office at 201 State Street. Students must show a valid student ID and can receive up to two $12 or $15 tickets. More information is at: madisonsymphony.org/studentrush. Students can receive 20% savings on seats in select areas of the hall on advance ticket purchases.
Seniors age 62 and up receive 20% savings on advance and day-of-concert ticket purchases in select areas of the hall.
Discounted seats are subject to availability, and discounts may not be combined.
Find more information at madisonsymphony.org
Major funding for the February concerts is provided by: Irving and Dorothy Levy Family Foundation, Inc., Stephen Morton, and BMO Wealth Management. Additional funding is provided by: Boardman & Clark LLP, Forte Research Systems & Nimblify, James and Joan Johnston, and the Wisconsin Arts Board with funds from the State of Wisconsin and the National Endowment for the Arts.
By Jacob Stockinger
Of course it has something to do with a quirk of packaging and marketing – specifically a 200-CD set of the complete works by Mozart that is selling well at holiday time.
The Ear doesn’t think it means much in the way of reversing the decline in attendance at live classical concerts or the need to find bigger and younger audiences for the classics.
To be sure, the Grammys will still devote more air time and publicity to Beyoncé, Adele and Drake.
And The Ear is betting the same thing won’t happen again next year. Or the year after that. Or maybe ever.
But it still feels good, even if only temporarily.
And the phenomenon does say something about where the recording industry is heading.
To find out more here is a good summary story, which you can listen to or read, that appeared on National Public Radio (NPR)
What is your favorite Mozart work?
An opera? A work of chamber music? A sonata for solo piano or for piano and violin? A string quartet or quintet?
Leave word and, if you can, a link to your favorite recording of it.
The Ear wants to hear.
By Jacob Stockinger
A lot of holiday gift lists suggest recordings, videos and books related to classical music.
The Ear recently posted a link to the holiday gift guide by critics of The New York Times:
The Ear also offered the 2017 Grammy nominations for gift suggestions:
But The Ear thinks the best gift by far is LIVE music – a ticket to one or more of the many concerts that take place in the Madison area. You can’t beat live music for excitement, insight and enjoyment.
There may be more, but at least two major arts presenters in Madison are offering holiday discounts to make your gift-giving easier and more affordable.
MADISON SYMPHONY ORCHESTRA
Through Dec. 24, the Madison Symphony Orchestra is offering a special deal — two levels of tickets for $20 and $49. That includes values up to $89. Concerts in the next semester include two outstanding pianist soloists (Stephen Hough, below top, playing the Piano Concerto No. 5 “Egyptian” by Camille Saint-Saens and Philippe Bianconi playing the Piano Concerto No. 3 by Sergei Rachmaninoff, or “The Rach 3”) as well as the “German” Requiem by Johannes Brahms, the “Beyond the Score” performance about Nikolai Rimsky-Korsakov’s “Scheherazade” (with actors from American Players Theatre in Spring Green) and Norwegian trumpet virtuoso Tina Thing Helseth (below bottom).
Here are two relevant links:
WISCONSIN UNION THEATER
Through Jan. 8, at the Wisconsin Union Theater will forego the $4 per ticket handling fee for any event, including the classical pianist and improviser Gabriela Montero (below top), the Los Angeles Guitar Quartet and the Milwaukee Symphony Orchestra with its famous outgoing music director Edo de Wart conducting (below bottom).
Here is a link to shows for the second semester:
And of course discounts are not the only reason to choose a certain program or performer.
Whatever you are looking for — early music or new music, chamber music or orchestral music, art song recitals or choral music — you can find it in Madison, and usually at a very affordable price.
Lots of specific concerts at the UW-Madison and elsewhere are either free or low in price, as is the Middleton Community Orchestra.
Here are two links:
And you can find numerous other sites by Googling the organization’s name.
Combine a ticket to a live performance with a recording of a work or an artist, and maybe even include an invitation to be a companion, and you have a fine gift package that promises to be truly memorable.
Are there any other holiday deals the Ear hasn’t heard about?
Any suggestions or ideas for giving live music?
Leave word and links in the COMMENT section.
The Ear wants to hear.
By Jacob Stockinger
Admission is free for persons with an Edgewood College ID, and $5 for others. Tickets will be available at the door.
Also featured is the Symphony No. 82 in C major, “The Bear,” by Franz Joseph Haydn. In its last movement, Haydn imitates the music used in the 18th-century Austria to accompany dancing bears — a popular form of street entertainment. (You can hear the last movement of the symphony in the YouTube video at the bottom.)
The central part of the program is the last movement Finale of the Piano Concerto No. 3 in C minor, Op. 37, by Ludwig van Beethoven. It marks the orchestral debut of pianist Johanna Novice-Leonard (below), winner of the Edgewood College Concerto Competition, and a student of Dr. Beatriz Aguilar.
Founded in 1993 via a generous endowment established by benefactors William O. Hart and Vernon Sell, the Edgewood Chamber Orchestra fulfills a unique role in the Madison community, providing high-quality performances and unique educational opportunities. The ensemble is the permanent, in-house chamber orchestra of the college.
By Jacob Stockinger
Sequels are not just for books, movies and Broadway shows any more.
Classical music is also starting to generate them — centuries after the originals.
It may be hard to imagine writing sequels to masterpiece sonatas, chamber music, symphonies and concertos by Johann Sebastian Bach, Wolfgang Amadeus Mozart, Ludwig van Beethoven, Igor Stravinsky and others.
But in a kind of musical postmodernism, that’s what is being done with more and more frequency.
The composer Timo Andres (below top, in a photo by Tawny Bannister for The New York Times) wrote a piano concerto based on Beethoven for the great young American pianist Jonathan Biss (below bottom), who has performed with the Madison Symphony Orchestra. Biss, along with the St. Paul Chamber Orchestra, has commissioned five piano concertos in the spirit of Beethoven’s five piano concertos.
And the great young American violinist Jennifer Koh (below top, in a photo by Loren Wohl for The New York Times) and her equally terrific recording partner, pianist Shai Wosner (below bottom) – who has performed several times in Madison with the Wisconsin Chamber Orchestra — have commissioned three sonatas based on the work of older composers from three modern composers.
But musicians and especially modern composers, including the important composer John Adams (below), have mixed feelings about such derivative projects.
Here is a fine story about the phenomenon of sequels that appeared in The New York Times:
By Jacob Stockinger
The SOLD-OUT gala concert (below), given last February in Overture Hall by the Wisconsin Youth Symphony Orchestras (WYSO) to mark the organization’s 50th anniversary, will be featured in a special one-hour statewide broadcast on Wisconsin Public Television.
The program, which airs on Monday night, May 23, at 8 p.m., will feature highlights from the concert as well as interviews from current members (below), staff and alumni, and features background about music education and WYSO’s 50-year history.
For more about the concert’s details and the five world premieres of WYSO commissions that were featured, visit this post:
Here are some photos from the event, including WYSO music director James Smith (below top) and conductor Michelle Kaebisch (below bottom):
The broadcast will be repeated on Sunday, May 29, at 3 p.m. and then archived on the Wisconsin Public Television website: www.wpt.org
PLEASE NOTE: This is also a great weekend to hear WYSO members in LIVE concerts. Today (Saturday) and tomorrow (Sunday), various WYSO groups will give the annual series of spring concerts, including performances by winners of the WYSO concerto competition.
Here is a link with full details about the WYSO concerts this weekend:
Here is a sampler to whet your appetite for both the recorded television show and the live concerts. In the YouTube video below, WYSO students play the “Great Gate at Kiev” from “Pictures at an Exhibition” by Modest Mussorgsky:
By Jacob Stockinger
The Wisconsin Youth Symphony Orchestras (WYSO) will wind up their 50th anniversary season when they present the final concert series of the season — the Eugenie Mayer Bolz Family Spring Concerts — on this Saturday, May 21, and Sunday, May 22.
The concert series will be held in Mills Concert Hall in the University of Wisconsin-Madison campus in the George Mosse Humanities Building, 455 North Park Street, in Madison.
WYSO concerts generally run about an hour and a half in length, providing a great orchestral concert opportunity for families.
Tickets are available at the door, $10 for adults and $5 for young people 18 and under.
Almost 400 young musicians will display their talents to the community during four concerts.
The concert series will drop its downbeat at 1:30 p.m. on Saturday, May 21, when Sinfonietta (below), under the baton of Mark Leiser, takes the stage. The group will perform the Poet and Peasant Overture by Franz von Suppe; the Suite for String Orchestra on Old English Songs by Ritter George; the Adagio from Symphony No. 2 by Sergei Rachmaninoff; As Summer Was Just Beginning (Song for James Dean) by Daehn; and Final Quest composed by Chisam.
Following Sinfonietta, Christine Mata-Eckel will lead the Concert Orchestra (below) on stage to perform Kallalanta by William Harbinson, Peter Tchaikovsky’s Romeo and Juliet and finally Jacob’s Fantasia on the Alleluia Hymn.
The Harp Ensemble (below), under the direction of Karen Beth Atz, will also perform at this concert. It will be performing Courante CLXXXIII by Michael Praetorius and Toward the Sun by Izmaylov.
For the 4 p.m. concert on Saturday, May 21, Vicki Jenks will direct the Percussion Ensemble (below) as it gets the concert started. It will perform Dark Flight by Campbell and their annual performance of Londonderry Air (“Danny Boy”) in honor of graduating seniors.
Following Percussion Ensemble, the Philharmonia Orchestra (bel0w), under the direction of Michelle Kaebisch, will take the stage. It will perform the final movement of Jean Sibelius’ Symphony No. 2 and Espana by Emmanuel Chabrier.
The orchestra will also perform two concertos featuring the Philharmonia Orchestra Concerto Competition Winners. Pianist Antonio Wu (below top) will perform Felix Mendelssohn’s Piano Concerto and violinist Monona Suzuki (below bottom) will perform the Carmen Fantasy for Solo Violin by Pablo de Sarasate.
On Sunday, May 22, at 2 p.m. WYSO’s Brass Choirs (below) under the direction of Brett Keating will start the show performing works by George Frideric Handel, Olson, Heinrich Schutz and more.
Following Brass Choirs, Youth Orchestra (below) with WYSO music director James Smith will perform four concertos along with Franz Liszt’s Hungarian Rhapsody No. 2.
Violinist Thea Valmadrid (below top) will perform Tzigane for Solo Violin by Maurice Ravel; violinist Aurora Greane (below second) will play the first movement of the Violin Concerto by Tchaikovsky; pianist Audrianna Wu (below third) will perform the final movement of the Piano Concerto by Edvard Greig; and cellist Tatiana Tandias (below bottom) will perform the first movement of the Cello Concerto by Sir Edward Elgar.
These concerts are generously supported by the Eugenie Mayer Bolz Family, along with funds from Dane County, the Endres Mfg. Company Foundation, The Evjue Foundation, Inc., charitable arm of The Capital Times, W. Jerome Frautschi Foundation and Pleasant T. Rowland Foundation. This project is also supported in part by additional funds from the Wisconsin Arts Board, the State of Wisconsin, and the National Endowment for the Arts.