The Well-Tempered Ear
Classical music: Did Beethoven borrow from Beethoven? And how do you think the Madison Symphony Orchestra did with Beethoven’s Ninth? Plus, the Wisconsin Youth Symphony Orchestras (WYSO) finish up their spring concerts this weekend.
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REMINDER: This weekend the Wisconsin Youth Symphony Orchestras (WYSO) finish up their spring concerts at Mills Hall and Overture Hall, where the music students will perform a Side-by-Side concert with the professional players of the Wisconsin Chamber Orchestra.
Here is a link to more information and details:
By Jacob Stockinger
Well, you have to hand it to music director and conductor John DeMain as well as the orchestra players, the chorus members and the guest soloists: The Madison Symphony Orchestra (below, in a photo by Greg Anderson) sure knows how to finish up a season with a bang.
A very Big Bang.
Last weekend in Overture Hall, they closed the current season with a stratospheric performance of Beethoven’s Ninth.
Sure, all parties — especially concertmaster Naha Greenholtz (below) — also did a terrific job in performing Leonard Bernstein’s violin concerto-like “Serenade” (after Plato’s “Symposium”), which preceded the iconic Beethoven symphony.
But it was the Beethoven symphony that grabbed everyone’s ears and didn’t let go, earning a well-deserved and instant standing ovation.
This was Beethoven at his exciting best.
All the musicians played tightly and DeMain (below, in a photo by Prasad) managed to make the old radical piece sound radically new, with a driving rawness and roughness (lots of loud and highly accented percussion) coupled with flawless precision and great balancing of the winds and strings as well as the brass.
This interpretation was both dramatic and transparent in a way that both thrilled you and helped you to understand the music and its structure.
A couple of years ago I remarked that DeMain – who came here from the Houston Grand Opera as primarily an opera conductor – had developed into a great Brahms interpreter.
Now I can say the same thing about his having become an outstanding Beethovenian.
But I did have one question:
Am I the only one who hears the slow movement of Beethoven’s early “Pathétique” piano sonata in the opening of the slow movement of his Ninth Symphony?
Listen for yourself and decide by using these YouTube videos:
First, here is the Pathétique’s slow movement, played by Daniel Barenboim, that has been used as a theme song by many musicians including Karl Haas:
And now here is the slow movement, also with Daniel Barenboim conducting the West-Eastern Divan Orchestra made up of Israeli and Palestinian students, of the Ninth Symphony:
Maybe I am hearing things that aren’t there.
Or maybe musicologists have long established the similarity between the early and the late work as fact -– though I cannot recall having seen it mentioned.
What do you think of the comparison?
Can you think of other pieces that sound as if they were twins separated at birth? Leave names – and maybe a YouTube link – in the COMMENTS section.
And what did you think of the final concert by the Madison Symphony Orchestra?
The Ear wants to hear.
Tags: alto, Arts, bass, Beethoven, brass, chamber orchestra, choral music, Classical music, concertmaster, concerto, conductor, Daniel Barenboim, Jacob Stockinger, Johannes Brahms, John DeMain, Karl Haas, Leonard Bernstein, Ludwig van Beethoven, Madison, Madison Symphony Orchestra, Music, Orchestra, Overture Center, Pathetique Sonata, percussion, Piano, Plato, Platonic dialogue, Serenade, Sonata, soprano, strings, Symposium, tenor, United States, University of Wisconsin-Madison School of Music, University of Wisconsin–Madison, Violin, vocal music, West-Eastern Divan Orchestra, winds, Wisconsin, Wisconsin Chamber Orchestra, Wisconsin Youth Symphony Orchestras, WYSO, YouTube
Classical music: It’s Mother’s Day. What music would you play for her? What music would she like to hear? Tell The Ear. Plus, this afternoon is your last chance to hear the final, critically acclaimed concert of the Madison Symphony Orchestra’s season with Beethoven’s Ninth on the program. Read the reviews here.
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ALERT: This afternoon at 2:30 in Overture Hall is your last chance to hear the season finale by the Madison Symphony Orchestra: a program of the “Serenade” after Plato’s “Symposium” by Leonard Bernstein, with concertmaster Naha Greenholtz (below) as soloist, and the famous Ninth Symphony — the “Ode to Joy” or “Choral” symphony — by Ludwig van Beethoven.
The reviews are unanimous in their enthusiastic praise.
Here is a link to the one that John W. Barker wrote for Isthmus:
http://www.isthmus.com/arts/stage/mso-closing-with-a-bang/
And here is one written by Lindsay Christians for The Capital Times:
And here is a review written by Bill Wineke for WISC-TV‘s Channel 3000.com:
http://www.channel3000.com/news/opinion/Symphony-review-MSO-ends-season-on-exuberant-note/32912810
By Jacob Stockinger
Today is Mother’s Day 2015.
And nothing says love like music.
So what music would you like to play for your mother?
And what music would she like to hear?
They aren’t necessarily the same.
So here are The Ear’s choices.
For the first I am torn between a work by Antonin Dvorak and one by Johannes Brahms.
The Dvorak work is “Songs My Mother Taught Me,” which you can hear below in a YouTube video by superstar violinist Itzhak Perlman playing a transcription from the original for voice.
The second is the movement of the “German” Requiem by Brahms in which he evokes his recently deceased mother. Here it is performed in a classic rendition by soprano Elizabeth Schwarzkopf with Otto Klemperer conducting:
And the piece my mother would love to hear? She loved it when I practiced the piano – and to think I wondered how anyone could enjoy listening to someone practicing? And she especially loved it when I practiced Chopin.
And her favorite piece by Chopin that I played was the bittersweet and elegant Waltz in C-sharp minor, Op. 64, No. 2, heard below in a YouTube video played by Arthur Rubinstein, whom she took me to hear when he played an all-Chopin concert in Carnegie Hall in 1961 – and we sat on stage.
What are your choices in each category?
Leave word plus, if possible, a YouTube link in the COMMENTS section.
The Ear wants to hear.
And wishes you a Happy Mother’s Day.
Tags: 19th century, Anton Dvorak, Antonín Dvořák, Arthur Rubinstein, Arts, Beethoven's Ninth, Chamber music, Channel 3000.com, Choir, Chopin, choral music, Choral Symphony, Classical music, concertmaster, Czech, Dvorak, Elizabeth Schwarzkopf, Frédéric Chopin, German music, Germany, Isthmus, Itzhak Perlman, Jacob Stockinger, Johannes Brahms, John W. Barker, Leonard Bernstein, Lindsay Christians, Ludwig van Beethoven, Madison, Madison Symphony Orchestra, Mothers Day, Music, Ninth Symphony, Ode to Joy, Otto Klemperer, Piano, Plato, Serenade, soloist, Songs My Mother Taught Me, soprano, Symphony No. 9 (Beethoven), Symposium, The Capital Times, University of Wisconsin-Madison School of Music, University of Wisconsin–Madison, Violin, vocal music, Waltz, WISC-TV, YouTube
Classical music: Concertmaster Naha Greenholtz explains Leonard Bernstein’s “Serenade,” which she will perform with the Madison Symphony Orchestra this weekend in concerts that also feature Beethoven’s Ninth Symphony.
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By Jacob Stockinger
The Ear supposes that Leonard Bernstein’s Serenade for violin and orchestra qualifies as program music since it aims to translate Plato’s famous dialogue about love — “Symposium” — into music. (At the bottom, is a YouTube video of Joshua Bell performing the work with the New York Philharmonic under conductor Alan Gilbert in 2013.)
This much is sure. The 1954 work by Bernstein — to be performed by the Madison Symphony Orchestra concertmaster Naha Greenholtz (below) — is part of what makes this weekend’s one of the most interesting programs, maybe THE most interesting, of the season from the Madison Symphony Orchestra.
The combination of Romantic and post-WW II modern music includes the performance of a major symphony that is beloved around the world: the Ninth Symphony by Ludwig van Beethoven, also known as the “Choral” and Ode to Joy” symphony.
That was the symphony that Leonard Bernstein himself famously conducted in Germany to celebrate to fall of the Berlin Wall. So, what better offering is there to accompany it than something composed by Bernstein?
(John DeMain talked about the Beethoven symphony in a Q&A here earlier this week. Here is a link to that post: https://welltempered.wordpress.com/2015/05/04/classical-music-maestro-john-demain-talks-about-the-challenges-and-rewards-of-beethovens-ninth-the-choral-or-ode-to-joy-sympho/ )
Love and joy: Can there be a better way to finish out a season?
The program will be performed under the baton of longtime MSO music director John DeMain, who studied and worked with Leonard Bernstein. It will feature the Madison Symphony Chorus, as prepared by MSO assistant conductor Beverly Taylor, who heads the UW-Madison choral department.
Guest vocal soloists are: soprano Melody Moore; contralto Gwendolyn Brown; tenor Eric Barry; and bass Morris Robinson.
Performances are in Overture Hall in the Overture Center. Times are Friday at 7:30 p.m.; Saturday at 8 p.m.; and Sunday at 2:30 p.m.
Tickets are $12-$84.
For details, go to https://www.madisonsymphony.org or call the Overture Center Box Office at (608) 258-4141.
For more information, including audio samples and a link to program notes by MSO bass trombonist and UW-Whitewater professor Michael Allsen, visit: http://www.madisonsymphony.org/beethoven
Concertmaster Naha Greenholtz (below) recently agreed to do an email Q&A about Leonard Bernstein’s “Serenade” with The Ear:
How would you compare Leonard Bernstein’s work to the great historical violin concertos by Bach, Beethoven, Mendelssohn, Brahms, Tchaikovsky and Sibelius? What about to modern and contemporary violin concertos by, say, Samuel Barber and Philip Glass, Sergei Prokofiev and Dmitri Shostakovich? Are there any you would draw parallels or contrasts to?
The five-movement format in Bernstein’s “Serenade” differentiates it substantially from some of the 18th and 19th century classics. While there’s no literal program, there is the suggestion of a basic narrative in Bernstein’s re-imagination of Plato’s communal dialogue. This element alone connects the work more closely to the late 19th and 20th century sub-genre of “program music.” (Below is a portrait of Leonard Bernstein composing at the piano in 1955, around the time of the “Serenade.”)
In its familiar tonal language — combing modal and traditional harmonic elements — it has some resemblance to the Barber concerto. I don’t think middle-of-the-century American composers like Aaron Copland, Samuel Barber and Leonard Bernstein were consciously adhering to style parameters.
That said, there is a distinctive “American-ness” to their works. Much the same way music by Dmitri Shostakovich and Sergei Prokofiev has a “Russian” sound, without necessarily being nationalistic. It’s subtler than that. It is more like these composers shared some common aesthetic DNA due to their national and cultural origins.
Where do you place it among Bernstein’s body of works? Is he generally underappreciated as a composer compared to his work as a conductor and his music for the Broadway theater?
To the latter question, this is certainly true. He was such a charismatic public figure in music, especially in his work as an educator, conductor and composer of popular music. In light of this, I think his remarkable contributions to “art” music are easily overlooked.
In the Serenade he manages to blend many stylistic elements. I hear the Devil’s Dance from Igor Stravinsky’s “Histoire du Soldat” and, in the fourth movement, glimpses of Gustav Mahler’s Ninth Symphony. The instrumentation is a nod to Bela Bartok in his “Music for Strings Percussion and Celeste” and the tonal language shows Paul Hindemith’s influence.
But despite all of that, Bernstein’s unique language is apparent within the first five seconds of the piece when the rising augmented 4th resolves up a half step. That’s what is so remarkable about Bernstein (below, in a photo by Jack Mitchell) — he manages to blend disparate elements of other great artists without losing his own intrinsic style.
How does Bernstein express the idea of Platonic dialogue?
Each of the movements is loosely based on the themes of the seven speakers in the work by Plato (below is an ancient sculptural depiction of the philosopher). The concerto begins with the soloist alone in a rhetorical statement and the piece unfolds as each orator presents his perspective on the topic of love. By the end of the fifth movement, drinking seems to have taken over the gathering, leading to a thrilling depiction of a boisterous dinner party.
How is the idea of love as a carnal and spiritual subject that the guests discuss get expressed?
On describing the duality of love, as a force that cuts both ways, Bernstein is explicit. For example in the third movement Erixymathus, he uses the soloist and orchestra as warring factions. The orchestra explodes with a three-note jab. Then the soloist introduces a quasi-tone row that’s passed back and forth with contrasting intensity. Further into the movement, he piles these themes on top of each other in a frenetic fugue that expresses the mystery and ecstasy of love.
In contrast, the next movement Agathon features the same three-note motive that opened the previous movement, but stretched to 10 times its initial length, utterly transforming it into a spiritual and intimate aria. Bernstein does this all over the piece, taking material from previous movements and showing them in a new light. (Below is a fresco depiction of the Symposium.)
What do you think of the work itself and how its fits with Beethoven’s Ninth? Have you played it before or is it new to you?
Until last year I’d only known the Serenade by recording, so I was thrilled when John suggested we perform it here with the MSO.
It’s strangely neglected in the solo violin repertoire. Maybe that is because of the unconventional five-movement format, or that the title “after Plato’s Symposium” is somehow intimidating or off-putting.
It’s clearly one of Bernstein’s great orchestral works and is a firework of a showpiece for the violin. As far as pairing with Beethoven’s Ninth, the themes of brotherhood and platonic love feature prominently in both works.
How challenging is it to play and what are the challenges both technically and interpretively? What would you like the audience to pay special attention to?
I find all music challenging. Mozart is simpler in terms of notes and patterns than, say, Shostakovich or Bernstein, but in its own way it is just as hard to play and requires just as much diligent work to pull off.
The Bernstein is full of musical challenges and requires lots of imagination and characterization to communicate the narrative of Plato’s dialogue.
That being said, it’s a major 20th-century solo work so it’s also chock full of technical hurdles. Isaac Stern (below, in 1977) – for whom this piece was written — has left us fingering and bowing suggestions, so I know the thorny passages are at least theoretically possible!
In any event, I’m really looking forward to these performances and think these will be fantastic concerts for anyone who loves great music.
Tags: Aaron Copland, Alan Gilbert, America, Ancient Greece, Arts, Bach, Bartok, bass, Beethoven, Berlin Wall, Brahms, choral music, Classical music, classics, composer, concertmaster, conductor, contralto, fresco, Germany, Greece, Isaac Stern, Jacob Stockinger, Joshua Bell, Leonard Bernstein, Love, Ludwig van Beethoven, Madison, Madison Symphony Orchestra, Mahler, Mendelssohn, Mozart, Music, New York Philharmonic, Ode to Joy, Orchestra, Paul Hindemith, Philip Glass, philosophy, Piano, Plato, Platonic dialogue, program music, Prokofiev, Samuel Barber, Shostakovich, Sibelius, Socrates, soprano, Stravinsky, Symphony No. 9 (Beethoven), Symposium, Tchaikovsky, tenor, University of Wisconsin-Madison School of Music, University of Wisconsin–Madison, UW-Whitewater, Violin, Violin concerto, vocal music, Wisconsin, YouTube
Classical music: Maestro John DeMain talks about the challenges and rewards of Beethoven’s “Ninth” – the “Choral” or “Ode to Joy” symphony that he will conduct this weekend with the Madison Symphony Orchestra and Madison Symphony Chorus plus soloists.
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By Jacob Stockinger
It could well be a case of saving the best for last.
This weekend brings what, for The Ear, is the one of the most interesting programs – maybe THE most interesting program — of the season from the Madison Symphony Orchestra.
The sonic combination of a Romantic classic and post-World War II modern music includes the performance of a major symphony that is a beloved icon around the world: the Ninth Symphony by Ludwig van Beethoven (below), also known as the “Choral” and “Ode to Joy” symphony.
The Ninth was the symphony that Leonard Bernstein famously conducted in Germany to celebrate the fall of the Berlin Wall.
So what better offering to accompany it than something composed by Bernstein – his 1954 “Serenade” for solo violin and orchestra, with MSO concertmaster Naha Greenholtz, that is based on the Socratic dialogue “Symposium” by the ancient Greek philosopher Plato. (Greenholtz will talk about the Bernstein work in a Q&A here later this week.)
Love and joy: Can there be a better way to finish out a season?
The program will be performed under the baton of longtime MSO music director John DeMain, who studied and worked with Leonard Bernstein. It will feature the Madison Symphony Chorus, as prepared by MSO assistant conductor Beverly Taylor (below), who also heads the UW-Madison choral department.
Guest vocal soloists are: soprano Melody Moore (below top); contralto Gwendolyn Brown (below second); tenor Eric Barry (below third); and bass Morris Robinson (below bottom).
Performances are in Overture Hall in the Overture Center. Times are Friday at 7:30 p.m.; Saturday at 8 p.m.; and Sunday at 2:30 p.m.
Tickets are $12-$84.
For details, go to https://www.madisonsymphony.org or call the Overture Center Box Office at (608) 258-4141.
For more information, including audio samples and a link to program notes by MSO bass trombonist and UW-Whitewater professor Michael Allsen, visit: http://www.madisonsymphony.org/beethoven
Maestro DeMain (below, in a photo by Prasad) recently agreed to do an email Q&A about Beethoven’s Ninth with The Ear:
Why does Beethoven’s Ninth always appeal and what makes it an icon in the public mind? What makes it at the same time so revolutionary and so typically Beethoven?
Aside from the Ninth Symphony being a great musical composition, one cannot get away from the inclusion of the poem by Friedrich Schiller (below, in a painting by Ludovick Simanowiz). The “Ode to Joy” literally shouting that all men in our universe are brothers is what makes this symphony an icon in the public mind. (At bottom is a more informal street scene flash mob performance in a YouTube video that has more than 8 million hits.)
The first three movements are typically Beethoven in style, though consummate in his compositional development. It is the inclusion of voices in the last movement, and the length and structure of the last movement that makes this symphony truly revolutionary. This was the first symphony to have included a chorus and soloists for its final movement.
It isn’t hard to guess what meaning it holds for the public and why audiences find it popular. But what does this music do to you? How do you feel when you perform it and have finished it?
Music for me is a powerful aural emotional experience. While there is great beauty, majesty and excitement to be found in the first three movements, it is that last movement that fires up my own emotions, not dissimilar to what the listening audience is feeling as well.
Literally shouting for a united brotherhood on Earth under our Maker in heaven, Beethoven develops this movement from a lovely and simple melody in the beginning, to a massive and wild declaration at the end.
It is always a uniquely significant event, often conjuring up whatever injustices are occurring in our contemporary world. Certainly our challenges in the Middle East, and our domestic situations, most recently in St. Louis and Baltimore, will resonate in people’s minds as they listen to this music. It’s a call for harmony in the universe.
When you finish conducting the Beethoven Ninth, you are emotionally and physically drained having conducted not one, but two symphonies, as the last movement is a symphony unto itself.
What are the challenges, technically and interpretatively, for you, as a conductor and for the orchestra players, the soloists and the chorus?
There is rather elaborate contrapuntal writing for the orchestra, which always poses a problem for ensemble and clarity. Length poses a challenge for endurance, particularly for the strings. The recitative sections for the orchestral basses as well as the soloist are particularly challenging for the conductor, as are the on the spot pull backs in tempo during the last movement.
We all know that the vocal writing is a challenge to both the soloists and the chorus, but particularly for the chorus. The high tessitura (average pitch range) of the writing makes it extremely difficult for the sopranos and tenors to sustain a thrilling fortissimo, for example. (Below is a photo of the Madison Symphony Chorus by Greg Anderson.)
Beethoven was completely deaf at this point in his life, and was writing what was in his mind, not paying particular attention to what was doable. But then, isn’t that how musical innovation and the stretching of form sometimes happen?
Why did you choose to pair The Ninth with the Bernstein’s Serenade? Do you see certain parallels or contrasts?
Well, Lenny was a real devotee of Beethoven, and in this composition, he does marvelous things with the use of leitmotif. I love juxtaposing 20th century harmonies with the musical language of the early 19th century. Both composers use dissonance as a part of their language, but in very different ways.
The Serenade, while not specifically programmatic, deals with the various aspects of love, and relates to the Beethoven in that love has to be the basis that binds all men and women together.
I also love featuring our wonderful concertmaster, Naha Greenholtz (below), and when she suggested the idea, I thought it would make a wonderful contrast to the Ninth, and fill out the concert in a truly wonderful way to close our season.
Tags: Arts, Baltimore, bass, Beethoven, Berlin Wall, choral music, Choral Symphony, chorus, Classical music, composer, concertmaster, Conducting, contralto, counterpoint, deaf, Friedrich Schiller, German music, Germany, Jacob Stockinger, John DeMain, leitmotif, Leonard Bernstein, Ludwig van Beethoven, Madison, Madison Symphony Orchestra, Middle East, Music, Music of Germany, Ode to Joy, Orchestra, Overture Center, Plato, Serenade, Socrates, soprano, St. Louis, Symphony No. 9 (Beethoven), Symposium, tenor, University of Wisconsin-Madison School of Music, University of Wisconsin–Madison, Violin, vocal music, Wisconsin, YouTube
Classical music: The Madison Symphony Orchestra announces its new 2014-15 season. It includes programs from Bach to Hollywood exiles from Hitler and the Nazis, acclaimed soloists and ticket prices with only modest increases.
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By Jacob Stockinger
The Madison Symphony Orchestra (below) has just announced its next season for 2014-15.
It strikes The Ear as both deeply interesting and tightly cohesive, a good blend of sure-fire hits and unknown or rarely heard repertoire. It also features some fine local talent and some unusual repertoire, though, unlike the past several seasons, no new or contemporary music is included. After all, this is a business with seats to fill, not some theoretical exercise in programming.
“You can’t have everything, especially when you are playing only eight concerts,” lamented MSO maestro John DeMain (below, in a photo by Prasad) when he discussed the new season with me.
But, DeMain added, the MSO is exploring doing another Chicago Symphony Orchestra “Beyond the Score” format concert — like this season’s presentation of Antonin Dvorak’s “New World” Symphony, which sold out — probably in January and probably with more than one performance, if they can find a sponsor to front the $50,000 cost. Then he will decide on what work out of more than 20 possibilities would be right.
Concerts take place in Overture Hall in the Overture Center on Friday nights at 7:30 p.m.; Saturday nights at 8 p.m.; and Sunday afternoons at 2:30 p.m.
The deadline for subscriptions renewals and keeping your current seat is May 8.
Here is the official press release that unveils the new season. The Ear also talked at length one-on-one with MSO music director and conductor John DeMain. Since the announcement is long enough for one post, DeMain’s insightful comments will appear a bit later in another post.
MADISON SYMPHONY ORCHESTRA ANNOUNCES 2014-15 SEASON
Maestro John DeMain and the Madison Symphony Orchestra (MSO) will deliver a diverse and exciting season of composers and guest artists for 2014-2015.
Beginning with a September program that focuses on the highly-talented musicians in the orchestra, DeMain will lead the audience through an exhilarating variety of themes and cultures throughout the season. Russia, Scandinavia, and Golden-Age Hollywood are just a few of the sound worlds the MSO will explore, while monumental works central to the orchestra, such as Beethoven’s Ninth Symphony, will anchor the year.
A world-class roster of guest artists has been invited to Madison for the season’s performances, including violinist Sarah Chang, pianist Olga Kern, violinist Daniel Hope, pianist Ingrid Fliter and University of Wisconsin-Madison School of Music pianist Christopher Taylor.
SEPTEMBER 19, 20 and 21, 2014
“Orchestral Splendor,” John DeMain, Conductor
RICHARD STRAUSS, “Also sprach Zarathustra”
FRANK MARTIN, Concerto for Seven Winds
CAMILLE SAINT-SAËNS, Symphony No. 3 (“Organ” Symphony)
German composer Richard Strauss’ Also sprach Zarathustra was once among his least performed works, but it is now firmly established as standard orchestral repertoire. The trumpet theme and thunderous timpani entrance (heard in Stanley Kubrick’s epic film “2001: A Space Odyssey”) are unmistakable.
Swiss composer Frank Martin’s Concerto for Seven Winds was written in 1949. It features seven solo instruments, exploring differences in sonority and expression. The virtuosic and conversational writing in these piece results in a playful, sportive character.
French composer Camille Saint-Saëns’ Symphony No. 3, known also as the “Organ” Symphony, draws on elements of both the conventional symphony and the tone poem. Formally unusual in its own time, yet popular from its conception, the work features virtuosic piano and organ passages and a masterful display of the vast colors possible in the symphony orchestra.
OCTOBER 17, 18 and 19, 2014
“The Russian Spirit” with John DeMain, conductor, and Olga Kern (below), piano
PETER ILYICH TCHAIKOVSKY, Suite from “Swan Lake”
SERGEI RACHMANINOFF, Concerto No. 1 for Piano
DMITRI SHOSTAKOVICH, Symphony No. 6
The Suite from “Swan Lake” tells the magical tale of a young prince enchanted by a swan maiden under the moonlight. Peter Tchaikovsky’s charming work utilizes haunting melodies, captivating waltzes, Russian and Hungarian folk themes, and a Spanish dance.
Sergei Rachmaninoff’s Concerto No. 1 for Piano displays a youthful freshness and an assertive, extroverted personality. Indeed, the composer began this work when he was 17! For audience members who delight in keyboard fireworks, this piece will thrill.
Symphony No. 6 by Dmitri Shostakovich, written as war clouds were gathering in Russia, was quite a contrast to Symphony No. 5. Lopsided movement lengths, a lack of obvious theme, and characters of anxiety and desolation reflect the intriguing political situation of the time, as well as Shostakovich’s own remarkably wide emotional compass.
NOVEMBER 7, 8 and 9, 2014
“Scandinavian Wonders” with John DeMain, conductor, and Sarah Chang (below), violin
EDVARD GRIEG, Lyric Suite
JEAN SIBELIUS, Concerto for Violin
CARL NIELSEN, Symphony No. 4 (“The Inextinguishable”)
Over the course of his long career, Edvard Grieg composed 66 Lyric pieces for piano, strongly rooted in the songs, dances, mythology, and spirit of Norway. He selected four of these fragrant and diverse miniatures for an orchestral suite, premiered in 1906.
“…For…10 years it was my dearest wish to become a great virtuoso.” wrote Finnish composer Jean Sibelius in his diary. Unfortunately the composer never reached great proficiency on the instrument, and his Concerto for Violin, awash in Nordic textures, expresses a melancholic farewell to that childhood dream.
As a philosophical guideline to his often raging Symphony No. 4, Danish composer Carl Nielsen said, “Music is life, and, like life, inextinguishable”. Four interlinked movements of frequently agitated energy lead to a climax of ultimate triumph and grand 19th century symphonic tradition.
DECEMBER 5, 6 and 7, 2014
A Madison Symphony Christmas
With John DeMain, conductor; Alyson Cambridge (below), soprano; Harold Meers, tenor; the Madison Symphony Chorus, Beverly Taylor, director; the Madison Youth Choirs, Michael Ross, artistic director; and the Mt. Zion Gospel Choir, Leotha Stanley, director.
John DeMain and the Madison Symphony don their Santa hats for this signature Christmas celebration. This concert is filled with traditions, from caroling in the lobby with the Madison Symphony Chorus to vocal performances by hundreds of members of Madison’s musical community. Christmas classics are interwoven with enchanting new holiday music. The culminating sing-along is Madison’s unofficial start of the holiday season!
FEBRUARY 13, 14 and 15, 2015
“Fliter Plays Chopin” with John DeMain, conductor, and Ingrid Fliter (below), piano
BENJAMIN BRITTEN, Variations on a Theme by Frank Bridge
FREDERIC CHOPIN, Concerto No. 2 for Piano
ROBERT SCHUMANN, Symphony No. 4
Frank Bridge, one of Benjamin Britten’s earliest composition teachers, was certainly responsible for the surpassing clarity, individuality, and discipline in Britten’s most cherished works. Britten’s “Variations” on Bridge’s theme range from passionate to playful, capturing the heartfelt musical admiration of a pupil for his teacher.
From the moment he arrived in Paris at age 21, Frederic Chopin drew the admiration of both the public and esteemed critics, alike. Concerto No. 2 was in fact his first concerto, displaying the composer’s prolific improvisatory and imaginative style.
In composing Symphony No. 4, Robert Schumann departed significantly from the standard Classical form he previously employed, connecting all four movements with recurring musical ideas–a novel proposition at the time.
MARCH 6, 7 and 8, 2015
“Composers in Exile: Creating the Hollywood Sound” with John DeMain, conductor, and Daniel Hope (below), violin
FRANZ WAXMAN, Sinfonietta for Strings and Timpani Ride of the Cossacks from “Taras Bulba”
MIKLÓS RÓZSA, Theme, Variations and Finale; Parade of the Charioteers from “Ben Hur”; Love Theme from “Ben Hur”; Love Theme from “Spellbound”
ERICH KORNGOLD, Concerto for Violin and the Suite from “Captain Blood”
This unique concert features the works of great classical composers before they fled Nazi persecution and also showcases their later brilliant contributions to Hollywood film scores.
Franz Waxman (below) is responsible for a long list of memorable Hollywood scores, including “The Bride of Frankenstein,” “Dr. Jekyll and Mr. Hyde” and “Rebecca.” His Sinfonietta, written for only strings and timpani, is comprised of three wildly different movements. Waxman also composed the soundtrack for the 1962 epic, “Taras Bulba.” “Ride of the Cossacks” is the exhilarating theme to which Taras and his army gallop to Dubno.
According to Miklos Rózsa (below), his “Theme” was conceived in the manner of a Hungarian folk song, then treated in variations of contrasting feeling, and summarized in a wild and swift finale. The 1934 work earned him his first international success. By the late 1940’s Rózsa was an Oscar-winning, film score composer, and joined the staff of Metro-Goldwyn-Meyer. His thrilling score for the 1959 film “Ben Hur” is one of his lasting achievements, earning him his third and final Oscar.
The Concerto for Violin, written by Erich Wolfgang Korngold (bel0w top) in 1945, perfectly blends the two musical lives of the composer, unapologetic in both its rigorous craftsmanship and its Hollywood charm. “Captain Blood” was a milestone for Korngold, as it was his first fully symphonic movie score. Produced in only three weeks, the music evidences his most professional and imaginative effort.
APRIL 10, 11 and 12, 2015
“Piano Genius” with John DeMain, conductor, and Christopher Taylor (below), piano
JOHANN SEBASTIAN BACH, Concerto No. 4 for Clavier
FRANZ LISZT, Concerto No. 1 for Piano
ANTON BRUCKNER, Symphony No. 7
Concerto No. 4 by Johann Sebastian Bach is part of a set of six concertos, dated to 1738. The piece was originally written for harpsichord and is ripe with movement and ornamentation. Bach’s concertos laid a crucial formal and harmonic groundwork for centuries of composition to follow.
Franz Liszt’s Concerto No. 1 for Piano is more than a century-long leap forward in time. Liszt’s Romantic genius is unabashedly on display, with thick orchestration, cadenzas that range from delicate to thundering, and lush harmonies.
Anton Bruckner was a country man, transplanted into bustling cosmopolitan Vienna, and he and his music were unlikely successes with audiences and critics. His music was said to “compel the element of the divine into our human world”.
MAY 8, 9 and 10, 2015
“Ode to Joy” with John DeMain, conductor; concertmaster Naha Greenholtz (below top), violin; Melody Moore, soprano; Gwendolyn Brown, contralto; Eric Barry, tenor; Morris Robinson (below bottom), bass; and the Madison Symphony Chorus, Beverly Taylor, director.
LEONARD BERNSTEIN, “Serenade” (after Plato’s “Symposium”)
LUDWIG VAN BEETHOVEN, Symphony No. 9 (“Choral”)
Leonard Bernstein’s “Serenade” for violin and orchestra, resulted from a rereading of Plato’s charming dialogue, “The Symposium.” The music dances through a series of inter-related “speakers” at a banquet (Phaedrus, Aristophanes, Erixymachus, Agathon, and Socrates), praising love.
Ludwig van Beethoven’s last and monumental Symphony No. 9 stands apart from his other symphonies by virtue of its humanistic message, enormous scale and organic unity of design. The mammoth fourth movement, operating like a symphony in miniature, is like nothing else in symphonic music. Four soloists, full chorus, the entire orchestra, and the famous “Ode to Joy” theme will conclude the Madison Symphony Orchestra’s season. (You can hear a populist flash mob version of the “Ode to Joy” at the bottom in a popular YouTube video that had almost 4-1/2 million hits.)
Single tickets for individual concerts have increased slightly and are $16 to $84 each, and go on sale Aug. 16. They are available at www.madisonsymphony.org/singletickets and through the Overture Center Box Office at 201 State Street or call the Box Office at (608) 258-4141.
New subscribers can receive savings up to 50%. For more information and to subscribe, visit www.madisonsymphony.org/newsub or call (608) 257-3734.
Groups of 15 or more can save 25% by calling the MSO office at (608) 257-3734. For more information visit, www.madisonsymphony.org/groups
Discounted seats are subject to availability, and discounts may not be combined.
You can also check out the official MSO website announcement of the new season by visiting:
http://www.madisonsymphony.org/14-15
The Madison Symphony Orchestra engages audiences of all ages and backgrounds in live classical music through a full season of concerts with established and emerging soloists of international renown, an organ series that includes free concerts, and widely respected education and community engagement programs. Find more information at www.madisonsymphony.org.
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Music education news: The third annual Madison Boychoir Festival – with a FREE public concert – takes place this Saturday at Edgewood High School and Edgewood College. Plus, Madison Youth Choirs names Boris Frank as its new Executive Director.
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A REMINDER: ON FRIDAY FROM 12:15 TO 1 P.M. AT THE FIRST UNITARIAN SOCIETY, 900 UNIVERSITY BAY DRIVE, THE FREE WEEKLY FRIDAY NOON MUSICALE WILL FEATURE MADISON HARPSICHORDIST TREVOR STEPHENSON (BELOW) IN SOLO KEYBOARD WORKS BY HANDEL, INCLUDING THE FAMOUS “HARMONIOUS BLACKSMITH” VARIATIONS, THE SUITE IN D MINOR (WITH A WELL-KNOWN SARABANDE) AND OTHER SHORT WORKS.
By Jacob Stockinger
More than by taking piano or string lessons, chances are that most children and young people are first exposed to the joy of making music, and of classical music, through singing. The human voice, after all, is the original instrument.
So it strikes The Ear as worthwhile for the public to know about a major event in music education that will take place this weekend in Madison. Kids today just don’t get enough good press about their achievements — unless maybe it is in sports.
The Madison Youth Choirs (MYC) and the Edgewood College Music Department will present their third annual Madison Boychoir Festival on Saturday, January 14.
The event is a day-long celebration of high-quality choral music for young singers. The gathering will culminate in a FREE AND PUBLIC festival concert (below, a photo of the 2011 concert) at 4:30 p.m., with over 300 boys in grades 2-12, at Edgewood High School‘s Wilke Gymnasium, 2219 Monroe St., on Madison near west side.
Here are a comment and a press release from Michael Ross, artistic director of Madison Youth Choirs, with more details:
“The Madison Youth Choirs and Edgewood College are excited to be helping create a strong culture of singing and music education, especially during this time of increasing budget cuts to school music programs. With the support of the incredibly dedicated music teachers from throughout the area we are working to build not only future musicians, but more importantly future music enthusiasts and audience members.”
Adds Ross:
“This is an amazing gathering of hundreds of young singers. “The festival welcomes singers from throughout Dane County and Southern Wisconsin. (Registration for this year is already closed.)
Singers are placed into one of three festival choirs, based on their age:
“Choir 1: 2nd-5th graders, hosted by MYC’s Purcell Choir, conducted by Margaret Jenks.
“Choir 2: 6th-8th graders, hosted by MYC’s Britten and Holst Choirs, conducted by Randal Swiggum (below).
“Choir 3: 9th-12th graders, hosted by MYC’s Ragazzi Choir, conducted by Dr. Albert Pinsonneault and Michael Ross.
“Conductors (a workshop from 2011’s festival is below) will work with singers on vocal technique, teach music for the festival’s afternoon concert (no advance preparation for the festival is necessary for the participants), encourage singers to meet new people, and most importantly generate enthusiasm about choral music and excitement about the uniqueness of singing in a choir.
“Rehearsals will take place in classrooms throughout the Edgewood College campus and will be open for observation by music educators, voice teachers, parents and chaperones in attendance. The young singers have not prepared works in advance, so the complete program is not known yet.
The combined festival choirs (300+ boys, grades 2-12) will perform: “Shosholoza,” a traditional South African song, arranged by Albert Pinsonneault, and “Plato’s Take” by Randal Swiggum.
“Plato’s Take,” was written for the first Madison Boychoir Festival. Its text comes from Plato (it is sung in Ancient Greek) and the translation is “Of all the wild animals, the boy is the hardest to handle.”
Also, the high school men’s choir will likely perform the oldest known round (that we have written evidence of), “Sumer is icumen in,” from the 13th century.
“The Madison Boychoir Festival is generously supported by Dane County Cultural Affairs Commission with additional support from Edgewood College.
“About Madison Youth Choirs (MYC): Madison Youth Choirs strives to create a community of young musicians dedicate to musical excellence through which we inspire enjoyment, enhance education, and nurture personal, musical, and social development, by the study and performance of high-quality and diverse choral literature.
“To this end, we focus on the process and provide singers a rich rehearsal experience where thoughtful discussion and activities lead to larger connections and a music education that becomes a springboard for understanding the world.”
The Ear thinks this is a big leap, but a very laudable goal.
In related news, the Madison Youths Choirs has named Boris Frank (below) as its new executive director.
Says Michael Ross, the group’s artistic director: “We’re also excited about having Boris join us. I really feel we’re sort of a secret in Madison — although we have doubled in size over the last 10 years and will serve over 450 kids this year.
“I look forward to working with Boris to not only increase our public profile, but also diversify funding sources–all in service to being a part of building a strong music education for kids in the Madison area.”
The Well-Tempered Ear 
Classical music: What is your favorite saying about music? Choose from a website with thousands
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By Jacob Stockinger
Do you have a favorite saying or quotation about music?
The Ear does.
“Without music, life would be a mistake.”
That observation comes from the 19th-century German philosophy Friedrich Nietzsche (below).
And there are many, many more with sources ranging from Socrates and Plato to Duke Ellington and J.K. Rowling.
If you don’t already have one in mind, here is a link to a website with hundreds or even thousands to choose from.
http://www.goodreads.com/quotes/tag/music
Take a look.
Make a pick. Or two. Or three.
And leave your choice, along with why you like it, in the COMMENT section.
The Ear wants to hear.
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