By Jacob Stockinger
Conductor Carl St. Clair (below) returns for a third visit as guest conductor with the MSO to lead a pair of early 19th-century works with 112 musicians performing the largest of Richard Strauss’s symphonic tone poems. (MSO music director and conductor John DeMain is conducting a production of Puccini’s opera “Turandot” in Virginia.)
The program begins with the Egmont Overture by Ludwig van Beethoven, followed by the MSO’s premiere performance of the Trumpet Concerto by Johann Nepomuk Hummel, featuring Helseth. The concert ends with a nod to the awesome splendor of the Bavarian Alps, “An Alpine Symphony,” by Richard Strauss.
The concerts are this weekend on Friday at 7:30 p.m., Saturday at 8 p.m., and Sunday at 2:30 p.m. in Overture Hall, 201 State Street. See below for ticket information.
Beethoven (below top) composed his Egmont Overture in 1810. Both Beethoven himself, and playwright Johann Wolfgang von Goethe (below bottom) upheld the ideals of human dignity and freedom in their works.
Their personal relationship stemmed from Beethoven’s incidental music for a new production of Goethe’s play Egmont in 1810. This play about a nobleman’s betrayal by the Spanish monarchy, is beautifully paired with Beethoven’s music. As Goethe called it, Egmont Overture is a “Symphony of Victory.” (You can hear the dramatic “Egmont” Overture, performed by the Vienna Philharmonic under Leonard Bernstein, in the YouTube video at the bottom.)
Another friend of Beethoven’s, was Johann Nepomuk Hummel (below). Even though they were rivals, their respect for each other’s talent kept the relationship afloat.
Hummel’s Trumpet Concerto is a frisky fanfare with “playful dancelike” episodes laced throughout. This is the first time Hummel’s Trumpet Concerto will be performed by the Madison Symphony Orchestra.
Richard Strauss (below top) composed his Eine Alpensinfonie (“An Alpine Symphony”) from 1911-15. The final score used materials from some of his unfinished works, including an Artist’s Tragedy and The Alps.
Though there are many influences for this piece, the main is Strauss’s love for the Bavarian Alps. In his diary he wrote: “I shall call my alpine symphony: Der Antichrist, since it represents: moral purification through one’s own strength, liberation through work, worship of eternal, magnificent nature.” Antichrist is a reference to an essay by philosopher Friedrich Nietzsche (below bottom), and though the title was dropped for its publication, the work still carries many of Nietzsche’s ideals.
One hour before each performance, Michael Allsen (below, in a photo by Katrin Talbot), the author of MSO program notes and an MSO trombonist as well as a UW-Whitewater Professor of Music, will lead a 30-minute Prelude Discussion in Overture Hall to enhance concertgoers’ understanding and listening experience.
For more background on the music, please visit the Program Notes at: http://www.allsenmusic.com/NOTES/1617/6.Mar17.html.
Single Tickets are $16 to $87 each, available at madisonsymphony.org/helseth 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.
Club 201, MSO’s organization for young professionals, has continued to fulfill its mission for the past 11 years as the premiere organization promoting classical music and networking opportunities to the young professionals’ community in Madison. Tickets are $35 each and include world-class seating in Overture Hall, an exclusive after-party to be held in the Promenade Lounge, one drink ticket and a cash bar.
The conductor as well as musicians from the symphony may also be in attendance to mingle with Madison’s young professionals during the after-party.
The deadline to purchase tickets is Thursday, March 9, pending availability. Tickets can be purchased for this event, as well as the other events throughout the 2016-17 season by visiting the Club 201 page on the MSO’s website at http://www.madisonsymphony.org/club201.
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.
Major funding for the March concerts is provided by: The Madison Concourse Hotel & Governor’s Club, An Anonymous Friend, and Madison Gas & Electric Foundation, Inc. Additional funding is provided by: Audrey Dybdahl, Family and Friends, in loving memory of Philip G. Dybdahl, John A. Johnson Foundation, a component fund of the Madison Community Foundation, Madison Veterinary Specialists, Gary and Lynn Mecklenburg, and the Wisconsin Arts Board with funds from the State of Wisconsin and the National Endowment for the Arts.
By Jacob Stockinger
Jazz and classical music are not so different, says Swiss-born composer Daniel Schnyder.
For Schnyder, it is more than an academic matter. He puts his point of view into action in his acclaimed chamber opera “Charlie Parker’s Yardbird,” which deals with the life of the bebop saxophone player and jazz giant. (You can see the YouTube trailer for the productions by Opera Philadelphia and the Apollo Theater in Harlem at the bottom.)
The Madison Opera will offer the work’s Midwest premiere when it stages the chamber opera this Friday night (NOT Saturday night, as first mistakenly posted here) at 8 p.m. and Sunday afternoon at 2:30 p.m. Both performances are in the Capitol Theater of the Overture Center. (Performances photos below are from the world premiere at Opera Philadelphia.)
Here is a link to more general information about the opera, tickets, the cast and the production:
Daniel Schnyder (below) — who will perform a FREE concert of the music of Charlie Parker and do a question-and-answer session on this Thursday night at 7:30 p.m. (NOT 7 p.m. as mistakenly first stated here) in Morphy Hall on the UW-Madison campus — also agreed to an email interview with The Ear:
What was the work’s genesis and what gave you the idea for “Charlie Parker’s Yardbird”? Are you a big jazz fan and did you see the work as a way to meld the jazz and classical styles of music?
I am a jazz fan. I am also a jazz musician and I love to compose, play and improvise in the jazz idiom. I have recorded more than 30 jazz CDs.
I love to combine jazz and classical music. I just finished a symphony for orchestra and big band, a commission by the Temple University in Philadelphia.
The idea from the very beginning was to write an opera for Lawrence Brownlee, the great African-American tenor. Opera Philadelphia asked me to write a work for him and we tried several libretto options. After hearing a recital by Larry singing gospel songs, I came up with the idea to write an opera about Charlie Parker’s life.
How would you describe the musical style of the opera in terms of tonality and melody, and its accessibility to the general public? What were the audience reactions in Philadelphia and New York City?
In both places, the audiences were very moved by the story and the music. The topic hit a nerve, something our society has to reflect upon, a general issue that concerns us all as a nation.
The music itself is not hard to listen to and moves swiftly. For the orchestra and singers, the opera is rather challenging, since Charlie Parker (below) was a virtuoso. The music moves fast and often in off-beat rhythms that are unusual for classical musicians. There are also a lot of odd meters and tricky patterns that sometimes connect to Parker’s music and sometimes relate to the music that came after him.
The audience will have a ball. There are 12-tone music passages reflecting on new music and opera — mostly in Nica’s parts — but there are a lot of R&B influences and jazz and Latin music grooves.
It would be false to see the opera as a patchwork of different musical sequences and styles. It is my music that is based on all these influences. The opera can be described as a modern music carpet with lots of colors of today’s music, rather than a quilt.
In what ways do you see the characters and the story as offering lessons and being relevant to today?
I guess this is obvious: Our society has to understand that different cultures and different ethnic backgrounds enrich America and are fundamental to its culture and success.
If we go down the path of segregation, divisiveness and disrespect, we all will lose. Jazz is the great coming together of different heritages, the roots of America, and it conquered the world.
We still erect barriers in society and music that are detrimental to growth and innovation. Other contemporary issues are also important in the opera, such as being a single parent, drug addiction and faith.
The opera also highlights that jazz musicians at the time could not earn money from recorded music, something that is true again today. The stealing of royalties from Parker and Dizzie Gillespie were different from today’s issues of streaming, but the problem of jazz musicians not receiving money for their creative works stays the same.
In the opera, Parker discusses the very nature of music, its volatility and the fact that you cannot physically possess it. This is one of the reasons why he wants to write the music down on paper. He wants to make it abstract, but realizes that he loses some of the essence of what he wants to say. That is the dilemma of the composer.
He also reflects on the notation system, which was not designed for jazz. He sings: “How can I put down these black dots on white paper, how can I capture these sheets of sound?”
The opera reflects on American history, but it simultaneously relates to today’s world. This is not just some nice story about the past; it is about us.
Quite a few other productions have been planned. What do you think explains the work’s popularity? Do you think it attracts new audiences to opera?
There might be many different reasons for that:
1) There are very few operas using the modern jazz idiom.
2) There are very few operas in which the leading roles are African-American.
3) The opera is flexible; it can be produced with a moderate budget in a lot of different venues. It is mobile, which is similar to L’Histoire du Soldat (The Soldier’s Tale) by Igor Stravinsky. It also has a length of just over 100 minutes.
4) As mentioned above, the opera hits a nerve; it is about our time and about us.
5) Charlie Parker is a legend, but very few people really know about him and his music. People are intrigued.
6) The music is very accessible; it can be played on the radio without getting boring or incomprehensible. Some modern operas rely a lot on light, staging and special visual effects. This opera works more like Carmen or a Verdi opera, told through the music.
7) It is an opera, not a musical. It only uses a song format in a few instances. The opera is composed in an open and evolving format, connected by leitmotifs similar to Wagner’s operas.
The music definitely has a lot of jazz influences, but the format is mostly one not used in jazz music. That creates a new experience. It does not fit into one of the known “drawers” of music, so it can be tempting to try to compare it to their pieces but it sticks out as musically different.
8) The opera is composed very close to the sound and rhythms of the words. Hence you can understand a lot. The language is very direct and clear, close to spoken language. That helps. You can actually understand a lot of the lyrics without reading the supertitles.
I tried to avoid the Strauss or Wagner effect of creating something where the mix of complex language and complex music creates something beautiful but often incomprehensible. French and Italian operas are better in this regard. “Yardbird” has a message that needs to be understood.
9) There are many riddles in the opera – musical riddles, but also hidden messages and references in the text – that can be explored. The opera plays in a twilight zone between death and life. This is also intriguing.
Is there something else you would like to say about yourself and the opera?
I enjoyed writing the opera very much. It was a great pleasure and an honor to reflect on one of the great music geniuses in American history.
ALERT: This week’s FREE Friday Noon Musicale in the Atrium Auditorium of the First Unitarian Society of Madison, 900 University Bay Drive, features acoustic guitarists Helen Avakian and Dave Irwin in music by Ralph Towner, Giberto Gil and Helen Avakian. The concert takes place from 12:15 to 1 p.m.
By Jacob Stockinger
Here is a link with many more details about the performances, the play, the cast and tickets:
Stage director Doug Scholz-Carlson (below), the artistic director of the Great River Shakespeare Festival who has directed “Romeo and Juliet” as both an opera and a play, agreed to an email interview with The Ear about the differences:
You have directed “Romeo and Juliet” as both a play and an opera. How do the two experiences differ, and what are your most favorite and least favorite parts of doing each?
The opera is based closely on the play, so much of what is essential remains true for both versions.
The biggest difference for me is that the opera focuses on the emotional heart of the love story. Thanks to the music by Gounod (below), the audience experiences what it feels like to be young, impulsive and in love.
The music can reach our emotions directly, so that the opera becomes a truly personal experience for the audience. I don’t think you can see the opera and not find yourself transported to that time in your life when you first fell in love. Romeo and Juliet sing a moving duet in the YouTube video at the bottom.)
Because of the important role of the chorus, the opera also gives the audience the sense of the entire community that surrounds the young people. We see the tragedy through the eyes of the adults in the families who are unable, or unwilling, to help their children grow up.
The play by Shakespeare offers more subtlety in the journey of Romeo and Juliet’s relationship and more context for the adults in their lives. While the opera offers a huge emotional experience through the two main characters, the play creates more nuances in the relationships between many individuals in the story.
In our production, I hope audiences will discover that we have added back many of these relationships through visual storytelling.
What should audiences know about how Gounod’s opera differs from Shakespeare’s play? Do you have a personal preference between the two and why?
I don’t have a preference. I truly love them both for different reasons.
I love the wordplay in the tragedy by Shakespeare (below). Each character is sketched clearly and specifically through the way they use language. We see in the language why Romeo and Juliet find the perfect match in each other. Even smaller characters like the servant Peter have a full life in the play.
The play has a relentless energy. There are so many times in the story that things could turn out well — and so many ways in which the two lovers might never have met. You come away from the play with a profound sense that the combination of events that make up our lives is, in a way, a miracle.
Through Gounod’s music, the opera delivers an emotional experience that can’t be duplicated in any other way in the theater.
I’d be tempted to draw the distinction that the play appeals to the head while the opera appeals to the heart — but that would be unfair to both. Both the play and the opera are a complete experience. They are both profound ways to experience a timeless story.
What else would you like to say about this production in specific or about “Romeo and Juliet” in general?
We keep telling and retelling the story of Romeo and Juliet because it plays out our worst fears. What happens when what we hate becomes more important than what we love? I imagine we’ve all been asking ourselves that question given the current political environment.
Neither the opera nor the play ever explains why the Capulets hate the Montagues.
It doesn’t matter. Both families allow their hatred of each other to become more important than their love for their children. The Capulets and Montagues pay a terrible price to learn that lesson, but it is a lesson we all need to learn over and over again.
By Jacob Stockinger
It will be sung in French with English subtitles and will last about three hours with one intermission.
Tickets are $18-$130.
With soaring arias, impassioned scenes and plenty of sword fights, Gounod’s gorgeous opera brings the famous tragic tale of young love to vivid life.
Set in 14th century Verona, Italy, the opera follows the story of Shakespeare’s legendary star-crossed lovers. The Montague and Capulet families are caught in a centuries-old feud.
One evening, Romeo Montague and his friends attend a Capulet ball in disguise. The moment Romeo spots Juliet Capulet, he falls in love, and she returns his feelings. Believing they are meant for one another, they proclaim their love, setting in motion a chain of events that will change both their families.
“Romeo and Juliet is one of the most famous love stories in Western literature,” says Kathryn Smith (below, in a photo by James Gill), the general director of Madison Opera. “Gounod’s operatic version of it is equally beloved, and it’s exciting to present an amazing cast that brings such vocal and dramatic depth to their story.
“I’m also delighted that we are performing the opera the same weekend that Shakespeare’s First Folio goes on display at the University of Wisconsin-Madison‘s Chazen Museum of Art, enabling our community to enjoy a very Shakespearean weekend.”
Gounod’s operatic adaption of the tragedy of “Romeo & Juliet” premiered in 1867 at the Théâtre Lyrique in Paris. While Gounod is now better known for “Faust,” “Romeo and Juliet” was a bigger success at its premiere, and has stayed in the repertoire for 150 years due to its beautiful music, genuine passion mingled with wit, and exciting fight scenes.
“Having conducted Gounod’s Faust so often, I’m thrilled to finally have the opportunity to conduct his romantic masterpiece,” says John DeMain (below, in a photo by Prasad), the artistic director of Madison Opera who will conduct the two performances.
“The vocal and orchestral writing is lyrical and downright gorgeous,” DeMain adds. “We have a glorious cast, the Madison Opera Chorus and the Madison Symphony. What more could a conductor ask for!” (You can hear Anna Netrebko sing Juliet’s famous aria “Je veux vivre” — “I want to live” – in the popular YouTube video at the bottom.)
Madison Opera’s cast features both returning artists and debuts.
John Irvin (below top) and Emily Birsan (below bottom) return to sing the title roles of Romeo and Juliet. Irvin sang Count Almaviva in the 2015 production of The Barber of Seville, while Birsan returns from singing at Opera in the Park 2016 and Musetta in last season’s La Bohème.
Sidney Outlaw, who sang at this past summer’s Opera in the Park, makes his mainstage debut as Romeo’s friend, Mercutio. Liam Moran, who sang Colline in last season’s La Bohème, sings Frère Laurent, who unites the two lovers in the hope of uniting their families. Madisonian Allisanne Apple (below) returns as Gertrude, Juliet’s nurse.
Making their debuts are Stephanie Lauricella as Romeo’s page, Stephano; Chris Carr as Tybalt, Juliet’s cousin; Philip Skinner as Lord Capulet; and Benjamin Sieverding as the Duke of Verona. Former Madison Opera Studio Artist Nathaniel Hill returns as Gregorio, while current Studio Artist James Held sings the role of Paris.
Directing this traditional staging is Doug Scholz-Carlson (below), who directed Gioaccchino Rossini’s “The Barber of Seville,” Aaron Copland’s “The Tender Land” and Benjamin Britten‘s “The Turn of the Screw” for Madison Opera. Scholz-Carlson is the artistic director of the Great River Shakespeare Festival and has directed the original “Romeo and Juliet,” among many Shakespeare plays.
He will discuss the differences between staging “Romeo and Juliet” as a play and as an opera in another posting tomorrow.
For more information about the production, the cast and tickets, go to:
ALERT: This afternoon at 2:30 p.m. in Overture Hall is your last chance to hear the Madison Symphony Orchestra with violinist-composer Henning Kraggerud (below). The popular “Pastorale” Symphony by Ludwig van Beethoven is also on the program. Here are some reviews, all positive:
Here is the review that John W. Barker wrote for Isthmus:
And here is the review written by Greg Hettmansberger for his blog “What Greg Says”:
By Jacob Stockinger
The Ear, who is an avid amateur pianist, ran across these 10 tips for productive practicing – something he can always use.
He knew some of them before. But it never hurts to review the basics. That’s why they are called the basics.
He thought that you too – no matter what instrument you play or if you sing – would find them helpful too.
And if you don’t play or sing, maybe these tips will still enhance your appreciation of the hard work that goes into playing and practicing.
So here they are:
If you have some practice tips of your own to add, just leave them in the COMMENT section.
The Ear wants to hear.
And to play better.
ALERT: In case you haven’t yet heard, the winners (below) of the fourth annual Handel Aria Competition, held on Friday night in Mills Hall and accompanied by the Madison Bach Musicians, have been announced.
Eric Jurenas (center), countertenor, won First Prize; Christina Kay (right), soprano, won Second Prize; and Nola Richardson (left), soprano, won Third Prize and Audience Favorite.
By Jacob Stockinger
The Ear left the concert hall thinking: Well, this will be an easy review to write.
Just give it an A-plus.
An easy A-plus.
This year, the MEMF is celebrating the 400th anniversary of the death of poet and playwright William Shakespeare (below top) and the 45-year reign of Queen Elizabeth I (below bottom), who oversaw the English Renaissance.
And the program – performed before a large house of perhaps 450 or 500 enthusiastic listeners — was perfectly in keeping with the festival’s theme. It used sacred music rather than stage music or secular music, which will be featured later in this week of concerts, workshops and pre-concert lectures.
In fact, the program of New York Polyphony was based on two of the group’s best-selling CDs for BIS Records and AVIE Records: “Tudor City” and “Times Goes by Turns.” It was roughly divided into two masses, one on each half. (You can hear a sample in the YouTube video at the bottom.)
Adding to the variety was that each Anglican or Roman Catholic-based mass was a composite, with various sections made up like movements written by different composers. Thrown in for good measure were two separate short pieces, the “Ave Maria Mater Dei” by William Cornysh and the “Ave verum corpus” of William Byrd.
The Mass on the first half featured music by Byrd, John Dunstable, Walter Lambe and Thomas Tallis. The second half featured works music by Tallis, John Pyamour, John Plummer and excerpts from the Worcester Fragments. The section were typical: the Kyrie, Gloria in Excelsis, Credo, Sanctus, Benedictus and Agnus Dei.
There was nothing fancy about this concert, which marked the Wisconsin debut of New York Polyphony and which spotlighted superbly quiet virtuosity. The four dark-suited men, who occasionally split up, just stood on stage and opened their mouths and sang flawlessly with unerring pitch and superb diction.
A cappella or unaccompanied singing is hard work, but the four men made it seem easy. The countertenor, tenor, baritone and bass each showed confidence and talent plus the ability to project clarity while not overshadowing each other. This was first-class singing.
The beautiful polyphony of the lines was wondrous to behold even, if like The Ear, sacred music from this era – with its chant-like rather than melodic qualities – is not your favorite fare.
New York Polyphony provided a good harbinger of the treats that will come this week at the MEMF from groups like the Newberry Consort of Chicago with soprano Ellen Hargis (below top) and the Baltimore Consort (below bottom) as well as from the faculty and workshop participants. On Friday night is an appealing program that focuses on Shakespeare’s sonnets and music.
And on Saturday night at 7:30 p.m., with a pre-concert lecture at 6:30 p.m., will be the All-Festival concert. That is always a must-hear great sampler of what you perhaps couldn’t get to earlier in the week. This year, it will feature the music as used in a typical Elizabethan day.
Here is a link to the MEMF website:
And here is a link the website of New York Polyphony if you want to hear more:
By Jacob Stockinger
You can check out all the details of the festival at: http://www.madisonearlymusic.org
The co-directors of the festival – the wife-and-husband team of singers Cheryl Bensman Rowe and Paul Rowe (below, in a photo by Katrin Talbot and signaled in the answers by the initials CBR and PR) took time out from the hectic preparations to answer an email Q&A with The Ear.
Here is a link to Part 1 that appeared yesterday:
Today is the last of two parts:
Why was the theme of the “Shakespeare 400: An Elizabethan Celebration” chosen for this year’s festival? What composers and works will be highlighted?l
CBR: We chose the theme to honor the 400th anniversary of the death of William Shakespeare and the musical connections in his plays and sonnets, which also reflect the world of Queen Elizabeth I.
How does Elizabethan music differ from its counterparts in, say, Italy, France and Spain. What is the historical origin and role of the music from that era?
PR: The most familiar music from this time, the madrigal, is “borrowed” from the Italians. There were several Italian composers who came to England to instruct the English in their music. The most famous collection of these pieces is called “Musica transalpine” or Italian madrigals “Englished.”
The lute song also originated in Italy but was taken to new poetic heights by John Dowland and his compatriots.
The English composers did create a unique style of sacred music with William Byrd (below top) and Thomas Tallis (below bottom) as the greatest of these Elizabethan composers.
What music and composers of the era have been most neglected and least neglected by historians and performers? What big things should the public know about Elizabethan music?
PR: Audience members may be less familiar with the vocal and instrumental consort music of this era. Many of these pieces were not intended for public performance, but were played as home or parlor entertainment. The pieces were designed to be very flexible and could be played with a variety of voices and instruments.
The reign of Queen Elizabeth I (below) with her active encouragement of the arts was a peak of artistic achievement in the long history of the British Empire. Music, poetry, dance and theater all thrived for more than 20 years and produced some of the greatest masterworks of Western culture, including the plays of Shakespeare.
Can you tell us about the All-Festival concert program on Saturday night, July 16?
CBR: The All-Festival Concert will feature MEMF students and faculty performing a new program created exclusively for MEMF by Grant Herried (below), “Shakespeare’s Musical World: A Day in the Life of Elizabethan London.
The program is organized by times of the day with speeches from different plays of Shakespeare. Musical reflections include several wonderful pieces by Orlando Gibbons including “The Cries of London,” “O Come Let Us Sing Unto the Lord” and a setting of the “Magnificat” by Orlando Gibbons, “Music Divine” by Thomas Tomkins, a motet by Thomas Tallis, and other works by Thomas Weelkes, Thomas Morely, John Coperario and John Dowland.
Retired UW-Madison history professor John W. Barker will be giving the 6:30 p.m. pre-concert lecture on “Queen Elizabeth I: The Politician” in the Elvehjem Building of the Chazen Museum of Art.
Are there other sessions, guest lectures and certain performers or performances that you especially recommend for the general public?
PR: We would like to encourage everyone to see all the concerts and experience the entire week. It’s like stepping back in time to a different era—a living history lesson complete with an authentic sound track.
Is there anything else you would like to add?
CBR and PR: Check out our website for more details about everything. There is a lot to hear, see, and experience! You can purchase tickets: online; at the Vilas Hall Box Office; at the Wisconsin Union Theater Box Office (Memorial Union); by calling 608-265-ARTS (2787); or the door. For more information about the MEMF concert series and workshop, please visit our website: http://www.madisonearlymusic.org
By Jacob Stockinger
Starting this Friday night and over the next three weekends, the Bach Dancing and Dynamite Society (below top and bottom), marking its 25th anniversary season, will perform dozens of chamber music works, some familiar and some unfamiliar.
See for yourself:
Do you like to listen to the same work ahead of time before going to hear it live at a concert?
Some people urge listeners to do just that.
In fact the Madison Symphony Orchestra often has links to the same works it will perform, and conductor John DeMain has urged listeners to familiarize themselves with the music to appreciate it better.
The Madison Symphony Orchestra is not alone in taking that approach.
But The Ear disagrees.
He generally avoids listening to the same music that he is about to hear live.
He prefers to go into the live event with no preconceptions or comparisons so that it can stand on its own terms.
He prefers to let the music and the performance of it take him fresh – if they are capable of doing that.
It is more like hearing the music anew.
And he does the same with drama. He prefers to see a Shakespeare play at, say, American Players Theater in Spring Green or at the University of Wisconsin-Madison, with no preparation except perhaps some program notes. So he doesn’t read the play before going to the performance.
It seems kind of like eating the same food at home before you go to the restaurant, or watching the same movie before you go to the cinema.
Yet good cases can be made for both approaches.
So The Ear wants to know: What do you like doing and why?
Leave a comment.
The Ear wants hear.
By Jacob Stockinger
He is generally acknowledged as the greatest writer of all time and of any culture.
The English poet and playwright William Shakespeare (below) died 400 years ago today – on April 23, 1616 — in his hometown of Stratford-on-Avon where he returned to after his stage career in London. He was 52 years old.
You may have heard that a touring copy of the rare 1623 First Folio edition of his plays, on loan from the Folger Shakespeare Library in Washington, D.C., will be on display this fall at the Chazen Museum of Art at the University of Wisconsin-Madison. Dates of the exhibit are Nov. 3-Dec. 11, 2016.
Here is a link with more information:
And this summer’s Madison Early Music Festival will focus on Shakespeare and music of the Elizabethan Age when it is held from July 9 to July 16.
Here is more information about that event:
Today, what The Ear wants to know is what is your favorite piece of music inspired by Shakespeare?
The Overture to “A Midsummer Night’s Dream” by Felix Mendelssohn? (The Ear loves that richly atmospheric work. You can hear it, complete with the braying of the “rude mechanical” human who is transformed into a donkey — in a YouTube video at the bottom)
The operas ”Otello” or “Falstaff” by Giuseppe Verdi?
The opera versions of “Romeo and Juliet” by Hector Berlioz and Charles Gounod?
The incidental music to “Henry V,” “Hamlet” and “Richard III” by William Walton?
Franz Schubert’s song “Where is Sylvia”?
The “Romeo and Juliet” Fantasy Overture by Tchaikovsky?
Various setting of songs and ditties in Shakespeare’s plays?
If you need something to jog your memory about possible choices, here is a link:
Leave your choice, with a YouTube link if possible, in the COMMENTS section.
The Ear wants to hear.
ALERT: Today — as of midnight plus one minute — the Madison Symphony Orchestra is announcing its new season for 2016-17. The eight-concert season features many returning soloists, 13 first-time performances for the MSO, two multi-media events and another Beyond the Score that was so popular when it premiered several years ago. Here is a link to check it out for yourself:
The Ear has received the following note:
THE OAKWOOD CHAMBER PLAYERS PRESENT: Children’s Games
Join the Oakwood Chamber Players (below) as they continue their concert season with the theme of playful whimsy in a concert entitled Children’s Games on Saturday, March 5, at 7 p.m. and Sunday, March 6, 1:30 p.m.
Tickets can be purchased with cash or personal checks at the door – $20 general admission, $15 seniors and $5 students. Visit www.oakwoodchamberplayers.com or call (608) 230-4316 for more information.
Children over 6 years of age will receive free admission to either performance.
The concerts will both be held at the Oakwood Center for Arts and Education, 6209 Mineral Point Road, on Madison’s far west side..
The concert title is drawn from the composition Jeux d’enfants or Children’s Games by French composer Georges Bizet (below). You can hear the original version played by sister Katia and Marielle Labeque in a YouTube video at the bottom.
Originally a 12-movement work written for two pianos, a representative suite has been arranged by the Oakwood Chamber Players for woodwind quintet. It includes the energetic march “Trompette et tambour”; the compelling melodic exchanges in “Petit mari, petite femme”; “La toupie” which depicts the frantic spinning of a top; the lulling berceuse of “La poupee”; and the exhilarating galop dance form in “Le bal.”
The title of this work is inspired by a poignant toast given by a character in the best-selling romantic novel The Bridges of Madison County by Robert Waller The work includes a prologue followed by eight brief variations based on historic compositional styles enlivened by 20th-century technique.
The woodwind quintet includes two guest artists: flutist Dawn Lawler (below top) and oboist Jennifer Morgan (below bottom).
The ensemble’s performance will also include the engaging, tongue-in-cheek composition “One, Two, Buckle My Shoe” by American composer Irving Fine (below) who sets up delightful dueling interplays between two woodwinds (oboe and clarinet) and two string instruments (violin and cello).
Overall, the program will provide a fascinating combination of compelling and entertaining compositions.
This is the fourth of five concerts in the Oakwood Chamber Players 2015-2016 “Play” season series titled Play. Summer Splash on May 14 and 15 will be final concerts of the season.
The Oakwood Chamber Players is a group of Madison-area professional musicians who have rehearsed and performed at Oakwood Village for over 30 years.
The Oakwood Chamber Players are a professional music ensemble proudly supported by Oakwood Lutheran Senior Ministries and the Oakwood Foundation.