By Jacob Stockinger
The last two weeks of April look to be a busy time, with several world premieres of new music taking place – one in chamber music this week, then next week one in choral music and one by the Wisconsin Chamber Orchestra in orchestral and piano music.
It is also a busy time for choral music, especially with back-to-back performances next week by the Concert Choir and the community-campus UW Choral Union.
All UW-Madison concerts scheduled for this week are FREE and OPEN TO THE PUBLIC.
Here — with an unfortunate lack of details about programs — is the UW-Madison lineup for this week:
At 7:30 p.m. in Music Hall, the University Opera presents its spring program of “Opera Scenes” done by the UW-Madison Opera Workshop. Sorry, no word about specific operas, scenes or singers. Staging is minimal and accompaniment is done by a piano.
At 7:30 p.m. in Mills Hall, the UW Pro Arte Quartet (below top) will give the world premiere of “The Cross of Snow,” written by John Harbison (below middle) and commissioned by local businessman William Wartmann in memory of his late wife.
The new work, scored for string quartet and voice, features guest mezzo-soprano Jazmina Macneil (below bottom).
For more information about the new work, including the text of the poem “The Cross of Snow” by Henry Wadsworth Longfellow, go to:
At 8 p.m. in Mills Hall, Chorale and the Madrigal Singers (below) team up for a joint concert under director Bruce Gladstone. Sorry, no word about composers or works.
At 4 p.m. in Mills Hall, the All-University Strings – an amateur group of non-music majors — will perform its annual spring concert. Sorry, no word on the program.
At 8 p.m. in Mills Hall, the Women’s Chorus (below), Masters Singers and University Chorus will give a joint concert. Sorry, no word on the program.
From 2 to 5 p.m. in Mills Hall, University Bands will perform under directors Darin Olson, Nathan Froebe and Justin Lingre will perform. Sorry, no word on specific programs.
This week, The Ear also counts 10 different student degree recitals on tap, from piano and violin to percussion and voice. Some listings mention programs, but others do not. For more information, go to:
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 the official announcement of the 2017-18 season by the Madison Symphony Orchestra:
The 2017-18 season of the Madison Symphony Orchestra (MSO, below, in a photo by Greg Anderson) presents nine programs that invite audiences to “listen with all your heart” and “feel the emotion, power and majesty” of great classical music.
Subscriptions are available now, and single tickets for all concerts go on sale to the public Saturday, Aug. 12, 2017.
For more information about tickets and ticket prices plus discounts for new subscribers and renewing subscribers, go to:
MSO music director John DeMain, who will be marking his 24th season with the MSO, has created an exciting season that features favorites combined with firsts.
Says DeMain (below, in a photo by Prasad): “I must point out two monumental firsts: the MSO debut of the great violinist Gil Shaham, renowned and sought after the world over, whose appearance Madison has waited for for many years; and the Madison premiere of the Glagolitic Mass by Czech composer Leos Janacek, a gargantuan work for chorus and orchestra with a prominent role for our “Colossal Klais,” the Overture Concert Organ.”
Performances are in Overture Hall of the Overture Center at 7:30 p.m. on Fridays; 8 p.m. on Saturdays; and 2:30 p.m. on Sundays.
The 2017-2018 subscription series concerts begin on Sept. 15, 16 and 17 with “Orchestral Brilliance”—proudly presenting the Madison Symphony Orchestra performing the Johann Sebastian Bach/Leopold Stokowski version of the organ Toccata and Fugue in D minor; Felix Mendelssohn’s Reformation Symphony and Hector Berlioz’s “Harold in Italy” with MSO principal viola Christopher Dozoryst (below, in a photo by Katrin Talbot) as soloist. (You can hear Leopold Stokowski conduct his own transcription of the work by Bach, which was used in Walt Disney’s film “Fantasia,” in the YouTube video at the bottom.)
“From the New World” on Oct. 20, 21 and 22 features the return of beloved pianist Olga Kern (below), a gold medalist in the Van Cliburn competition, performing Samuel Barber’s Piano Concerto, and the MSO performing Antonin Dvorak’s Symphony No. 9 “From the New World” and Maurice Ravel’s Mother Goose Suite.
On Nov. 17, 18, and 19 “Troubadour: Two Faces of the Classical Guitar” features sensational guitar virtuoso Sharon Isbin (below) playing two works, one by American composer Chris Brubeck, and the other by the Spaniard Joaquin Rodrigo, with the MSO performing two Suites—Manuel DeFalla’s The Three-Cornered Hat and Aaron Copland’s Billy the Kid.
The cherished kickoff to the holiday season, “A Madison Symphony Christmas,” returns on the first weekend in December — the 1, 2, and 3. Guest artists Emily Pogorelc, soprano, and Eric Barry, tenor, join John DeMain, the MSO, the Madison Symphony Chorus (below), Madison Youth Choirs and Mount Zion Gospel Choir on stage for the family-friendly celebration.
The MSO season subscription continues in 2018 with the long awaited appearance of violinist Gil Shaham (below) with the MSO—“Gil Shaham Plays Tchaikovsky” on Jan. 19, 20 and 21. This program features works by three of the most popular Russian composers of all time— Sergei Prokofiev’s The Love for Three Oranges Suite, Sergei Rachmaninoff’s Symphony No. 3 and Peter Tchaikovsky’s Violin Concerto.
“Richly Romantic” concerts take place on Feb. 16, 17 and 18 when one of MSO’s favorite cellists, Alban Gerhardt (below), returns performing the lyrical William Walton’s Cello Concerto, and the MSO presents Johannes Brahms’ Symphony No. 1 and Gioachino Rossini’s Overture to Semiramide.
Spring arrives April 13, 14, and 15 with “String Fever” featuring Robert Schumann’s Symphony No. 1, Spring, Benjamin Britten’s Sinfonia da Requiem and Grammy Award-winning violinist Augustin Hadelich (below) performing the Antonin Dvorak’s Violin Concerto.
The season finale, “Mass Appeal,” takes place on May 4, 5 and 6. Star of NPR’s From the Top, pianist Christopher O’Riley (below), will open the program with Mozart’s Piano Concerto No. 22. The MSO premiere of the monumental Glagolitic Mass by Czech composer Leos Janacek features the Overture Concert Organ and the Madison Symphony Chorus, along with soloists Rebecca Wilson, soprano, Julie Miller, mezzo-Soprano, Roger Honeywell, tenor, and Benjamin Sieverding, bass.
The MSO’s 17-18 season includes the popular multimedia production of Beyond the Score®, “Edward Elgar: Enigma Variations,” featuring live actors and visuals in the first half, with the entire work performed in the second half. Joining the orchestra are American Players Theatre actors James Ridge (below), Colleen Madden and Brian Mani, along with Wisconsin Public Radio’s Norman Gilliland of Wisconsin Public Radio as the Narrator. This single performance takes place on Sunday, March 18, 2018*.
NOTE: *Advance tickets for Beyond the Score® are available only to MSO 17-18 season subscribers prior to single tickets going on sale to the general public on Saturday, Aug. 12, 2017. Beyond the Score® is a production of the Chicago Symphony Orchestra. Gerard McBurney, Creative Director for Beyond the Beyond the Score®
ABOUT THE MADISON SYMPHONY ORCHESTRA
The Madison Symphony Orchestra celebrates its 92nd season in 2017-2018 and its 24th season under the leadership of music director John DeMain.
The MSO has grown to be one of America’s leading regional orchestras, providing Madison and south central Wisconsin with cultural and educational opportunities to interact with great masterworks and top-tier guest artists from around the world.
Find more information at madisonsymphony.org
By Jacob Stockinger
Only about a month of classes remains in the academic year, so concerts by faculty members, guest artists and students are backing up at the University of Wisconsin-Madison School of Music.
But quantity does NOT preclude quality — or variety.
Just take a look at the highlights this week:
At 8:30 p.m. in Morphy Recital Hall, the Hunt Quartet will perform its spring concert.
Members of the graduate student ensemble are (below, from left, in a photo by Katrin Talbot): Kyle Price, cello; Vinicius “Vinny” Sant’Ana, violin; Blakeley Menghini, viola; and Chang-En Lu, violin.
The program is: String Quartet in G Major, Op. 77, No. 1 by Franz Joseph Haydn; String Quartet in F minor “Serioso,” Op. 95, by Ludwig van Beethoven; and the String Quartet No. 2, Op. 90, by Sergei Prokofiev. (You can hear the riveting Prokofiev quartet in the YouTube video at the bottom.)
The Hunt Quartet is sponsored by Dr. Kato Perlman and the Madison Symphony Orchestra.
For more information about the quartet and its individual members, as well as a SoundCloud audio sample of the Hunt Quartet playing a 1924 piece by Joaquin Turina, go to:
At 7:30 p.m. in Morphy Recital Hall, guest artist Emery Stephens (below), faculty collaborative pianist Martha Fischer and UW students will perform African-American spirituals, songs and instrumental works.
For more about the visit by scholar-performer Stephens, see this blog posting done just before he cancelled the last date, which fell on a Tuesday rather than a Wednesday:
At 7:30 p.m. in Mills Hall, retiring professor of flute Stephanie Jutt (below) will perform her farewell faculty recital.
Jutt will be joined by faculty colleagues violist Sally Chisholm, clarinetist Amy McCann and pianist Christopher Taylor.
Sorry, no word about the program.
Jutt (below), who has been teaching and performing at the UW-Madison for 28 years, is also the principal flutist of the Madison Symphony Orchestra and the co-founder and co-artistic director of the Bach Dancing and Dynamite Society. Jutt says she will continue with MSO and BDDS after she retires.
This week also features a plethora of degree recitals by students, most held in Morphy Recital Hall (below). The Ear counts 11 in fields from voice to percussion. For more information, check out these links:
And for the full lineup for April, visit:
By Jacob Stockinger
Instead of an orchestra, the prize-winning duo-pianists Stanislava Varshavski and Diane Shapiro (below) will be featured.
The performances are at 10 a.m. and 3 p.m.
Admission is a free will donation.
FUS music director Dan Broner (below), who will conduct the performance, explains:
“However, we are including the fifth movement, with solo soprano, that was not included in the first London performance.
“More intimate than the orchestral version, the “London” version was a hit in New York City last season where they also had three performances of the “German” Requiem.”
NOTE: You can hear the first movement of the “London version” of the “German” Requiem in the YouTube video below.
By Jacob Stockinger
Pianist Philippe Bianconi (below, in a photo by Bernard Martinez) returns this weekend to solo with the Madison Symphony Orchestra (MSO) in one of the most challenging works written for piano, Rachmaninoff’s Piano Concerto No. 3.
The program opens with Schumann’s dramatic Manfred Overture, followed by the MSO’s premiere performance of Lutoslawski’s Concerto for Orchestra.
Concluding the program is a performance of the notoriously difficult Piano Concerto No. 3 composed by Sergei Rachmaninoff (1973-1943). The performance features French pianist Bianconi, who won a silver medal at the Van Cliburn Competition and who has performed frequently with the MSO.
The concerts take place in Overture Hall of the Overture Center, 201 State St., on Friday night, April 7 at 7:30 p.m.; Saturday night, April 8, at 8 p.m. and Sunday afternoon, April 9 at 2:30 p.m. Ticket information is further down.
Robert Schumann (1810-1856, below) composed the Overture to Manfred in 1848 during a time of many revolutions throughout Europe, with political feelings running high across the continent.
In Bryon’s mystical poem, Manfred, Bryon’s hero, a “freedom fighter who is tortured by guilt and melancholy” perfectly suited the time and political environment of Europe.
Schumann once wrote in a letter to Franz Liszt (who directed the complete version in 1851): “I feel that it is one of the strongest of my artistic children, and I hope that you will agree with me.”
Polish composer Witold Lutoslawski (1913-1994, below), began work on Concerto for Orchestra in 1950. This is the first time this piece will be performed by the Madison Symphony Orchestra. (You can hear the dramatic opening of the work, performed by Daniel Barenboim conducting the Chicago Symphony Orchestra in the YouTube videos at the bottom.)
Originally from Warsaw, Poland, the Lutoslawski family fled to Russia to escape the German occupation of World War I. After the Russian Revolution in 1917, Lutoslawski’s father and uncle were executed by the Bolsheviks for their political activism and the family returned to Warsaw. Lutoslawski had studied piano and composition between the wars, but was then drafted into the Polish army and captured by the Nazi’s in 1933.
He escaped captivity and found his way back to Warsaw where he worked as a cabaret pianist. Lutoslawski fled Warsaw a second time, just months before the Nazis leveled the city in 1945 – “losing most of his scores in the process.” He then returned to Warsaw when it was controlled by the Soviets.
Lutoslawski’s Concerto for Orchestra is based in part on folk styles – apparently at the request of conductor Witold Rowicki, to whom it is dedicated. It is his most popular piece.
Sergei Rachmaninoff (below) composed his Piano Concerto No. 3 in 1909. He spent the summer in the Russian countryside, relaxing on his wife’s family’s estate, while also writing one of the most challenging works for piano in the repertoire. This piece is a “fiery display of piano technique” that has been called “The Mt. Everest of piano concertos.”
One hour before each performance, John DeMain (below, in a photo by Prasad), music director of the MSO, will lead a 30-minute Prelude Discussion in Overture Hall to enhance concertgoers’ understanding and listening experience.
For more background on the music, visit the Program Notes, written by MSO trombonist and UW-Whitewater professor Michael Allsen (below, in a photo by Katrin Talbot), at: http://www.allsenmusic.com/NOTES/1617/7.Apr17.html
Single Tickets are $16 to $87 each, available at madisonsymphony.org/bianconi and through the Overture Center Box Office at 201 State Street or call 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.
Exclusive funding for the April concerts is provided by the Pleasant T. Rowland Foundation.
For more information about the Madison Symphony Orchestra, go to madisonsymphony.org
By Jacob Stockinger
The Ear doesn’t see a unifying theme to this week’s events at the University of Wisconsin-Madison Mead Witter School of Music. But there is a lot of varied and appealing music and events — by acclaimed faculty members, guest performers and prize-winning students — on tap.
All concerts are FREE and OPEN TO THE PUBLIC.
Here is the lineup by day:
At 7:30 p.m. in Mills Hall, oboist Aaron Hill (below) will give a recital featuring “Oboe Music From the Big 10.” The program includes works by three contemporary composers: Theresa Martin, Teddy Niedermaier and Daniel Black. Also performing are his UW colleagues bassoonist Marc Vallon and pianist Christopher Taylor.
For more information about the performers, the composers and the music, go to:
From 11:30 to 1:30 in Music Hall, guest conductor Gary Thor Wedow (below), who will conduct the Madison Opera’s upcoming production of “The Magic Flute” by Wolfgang Amadeus Mozart, will give a public master class. Singers from the University Opera and the UW opera program will be featured.
For more information, go to:
At 7:30 in Mills Hall, clarinetist Amy McCann (below) will perform a recital featuring two works: the Sonata for Clarinet and Piano by Argentinean composer Carlos Guastavino; and the Clarinet Trio by Johannes Brahms. Pianist Martha Fischer and pianist Parry Karp will perform with McCann.
At 3:30 p.m. in Morphy Recital Hall, the all-student Perlman Trio will perform its annual recital.
The program includes the Piano Trio in D Major, Hob. XV/7 by Franz Joseph Haydn; the Piano Trio N. 4 in E Minor (“Dumky”), Op. 90, by Antonin Dvorak; and the Piano Trio No. 2 in C Major, Op. 87, by Johannes Brahms.
Members of the Perlman Trio, which is funded by a gift from Dr. Kato Perlman, are (below, from left, in a photo by Katherine Esposito): cellist Michael Cheng, pianist Chan Mi Jean and violinist Adam Dorn.
For more information about the performers, go to:
At 3:30 in Morphy Recital Hall, the winners of the 32nd annual Beethoven Sonata Competition will perform. The program is: Kangwoo Jin playing the Sonata in C Major, Op. 53 (“Waldstein”); Leah Kang playing the Sonata in E Major, Op. 109; and Alberto Peña-Cortes playing the Sonata in A Major, Op. 101.
For more information, go to:
At 7:30 in Mills Hall, the UW Symphony Orchestra will perform its last concert under professor of conducting James Smith (below), who is retiring after 34 years at the UW-Madison.
The program includes the Overture to “Romeo and Juliet” by Peter Tchaikovsky; the Sinfonia Concertante for Violin and Viola by Wolfgang Amadeus Mozart; and the music from “Fancy Free” by Leonard Bernstein.
For more information go to:
For information about the many student degree recitals that were scheduled, go to:
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.
By John W. Barker
The Mosaic Chamber Players closed their season on Saturday night at the First Unitarian Society of Madison with a program of three trios for piano and strings.
Rather than bypassing the fact that the date was April 1, the three players—violinist Wes Luke (below top), cellist Kyle Price (below middle), and pianist-director Jess Salek (below bottom) — embraced it as a chance for an “April Fool’s” offering, in the form of the trio composed by Charles Ives.
This is a prime example of the patriotic nose thumbing and iconoclasm in which Ives (below) delighted.
As Luke pointed out in his enthusiastic introduction, the second of its three movements is a Presto bearing the title of “TSIAJ,” an anagram for “This Scherzo Is a Joke.” (You can hear the Scherzo movement, played by the Beaux Arts Trio, in the YouTube video at the bottom.)
The three players dug into it with gusto and almost made its complexities and deliberate off-putting sound plausible—but, fortunately, not quite.
The first half of the program was devoted to the “Elegaic” Trio in D Minor, Op. 9, by Sergei Rachmaninoff. This work was modeled self-consciously on Tchaikovsky’s Piano Trio, Op. 50. Each was written in memory of an admired elder colleague.
Rachmaninoff (below) was well aware of the footsteps in which he was walking—and which he could not quite fill. Cast in three movements with a lot of variations on themes, Rachmaninoff’s Trio runs to almost an hour, and sometimes suggests that the composer’s ambition outran his ideas.
As a pianist himself, Rachmaninoff made the keyboard part very much the dominant one, especially in its latter parts, with the two string players often just along for the ride. Nevertheless, it is an impressive work, and the three Mosaic musicians were quite heroic in allowing us a chance to hear it.
The program concluded with the better known of Felix Mendelssohn’s two trios, the first one in D minor, Op. 49. This is intensely serious yet beautifully melodious music, and proved just the thing to restore a sense of stability and balance.
In all of these works, the three players gave performances that would be rated as first-class anywhere. In that, they upheld the tradition that Jess Salek has created with his colleagues of making Mosaic concerts outstanding events in Madison’s chamber music life.
By Jacob Stockinger
Everyone The Ear has spoken to agrees: The Madison Symphony Orchestra’s concerto competition that took place last Wednesday night — and which was broadcast live over Wisconsin Public Radio (WPR) and Wisconsin Public Television (WPT) — was an extraordinary and inspiring artistic event.
All of those people had nothing but the highest praise for all four teenage finalists – (below, from left) violinist Julian Rhee, harpist Naomi Sutherland, pianist Michael Wu and violinist Yaoyao Chen — who performed under the baton of MSO music director John DeMain.
The Ear can only endorse the fantastic review of the event by local music critic Greg Hettmansberger:
And you can find out more about at the contestants at this past posting, which has links to biographies and biographical YouTube videos about them and also lists the REBROADCAST TIMES ON TODAY AND SUNDAY:
But several people The Ear knows also raised a difficult question that the MSO, WPR, WPT and seems to have avoided:
Is it fair that the impressively talented 16-year-old violinist Julian Rhee, from Brookfield, got to win the first prize for a second time?
Curiously, there was no mention of his previous win in 2015 – a younger Rhee is seen below — when he played the first movement of the Violin Concerto by Brahms. That win went unspoken during this year’s live broadcast, and even in the pre-event publicity or in the post-event publicity.
It almost seems as if the organizers recognized that pointing it out would sound funny, awkward or questionable.
Also, no mention was made that the gifted Rhee also won a competition with the Wisconsin Chamber Orchestra and then played at Concerts on the Square; or that just a month ago, Rhee appeared on the regular season of the Wisconsin Chamber Orchestra, playing the complete Brahms concerto under WCO music director Andrew Sewell.
Such experience probably qualified Rhee – a maturing prodigy — as a professional or at least a semi-professional, assuming he got paid for the WCO appearance, rather than an amateur.
Let’s be clear: This year, Rhee played the opening movement of the Violin Concerto by Tchaikovsky stupendously well. It is hard to argue with the decision of the three judges to award him first prize.
In short, Rhee did nothing wrong and everything right. His winning was not in any way tainted. He won fair and square. He played brilliantly, beautifully and engagingly.
What some people are questioning is not Rhee’s victory, but whether the rules themselves are unfair by allowing a previous first prize-winner to compete a second time. It certainly appears to put the other young competitors with less experience at a disadvantage.
Now, the rules do allow for a performer to win multiple first prizes. Historically, a couple of contestants have indeed won again, performing on different instruments for each appearance.
And no one seems to object that a second-, third- or fourth-prize winner gets a chance to try again to do better and win.
True, the eligibility rules do require that one year passes before a first-prize winner can compete again.
But the question seems to be: Are the rules fair? Or should they be modified, so that the playing field is more even for all the young participants?
Should first-prize winners be excluded from competing again?
That is the question that is being raised, however it is answered.
So The Ear and others want to know:
What do you think?
Are the rules fair or unfair?
Should first-prize winners be allowed to compete again?
Should the rules be changed or stay the same?
Leave your point of view in the COMMENT section.
The Ear wants to hear.