The Well-Tempered Ear

Classical music: The Middleton Community Orchestra announces an ambitious 2020-21 season with new guest soloists and conductors, but with no Middleton venue

March 30, 2020
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By Jacob Stockinger

Amid all the concert cancellations due to COVID-19 comes good news.

The mostly amateur and critically acclaimed Middleton Community Orchestra (MCO, below) — which has canceled and postponed concerts for the remainder of this season — has announced its five-concert line-up for the 2020-21 season.

It is undeniably ambitious on several counts.

But unfortunately it usual venue — the Middleton Performing Arts Center that is attached to Middleton High School — will be undergoing renovations.

That means that the MCO will be using other venues besides its home base (below) for its 11th season.

The new venues include the Mead Witter Foundation Concert Hall (below) in the new Hamel Music Center, 740 University Ave., at the UW-Madison, which will host three of the concerts.

Also included for the other two concerts are the brand new McFarland Performing Arts Center (below)  – where the MCO will give the center’s inaugural public concert on Oct. 7 — and Madison Memorial High School.

Concert dates and times are usually Wednesdays at 7:30 p.m. They are Oct. 7, Dec. 16, Feb. 17, April 2 (Friday) and May 26. Admission will remain $15 with free admission for students. And, as usual, post-concert meet-and-greet receptions will be held at all performances.

The ambitious new season includes some familiar faces but also some new names.

On Oct. 7, pianist Thomas Kasdorf (below) will open the season by performing the Piano Concerto No. 2 by Rachmaninoff; and then, on May 26, he will close the season with the Piano Concerto No. 1 by Beethoven as the first installment of a complete cycle of Beethoven piano concertos.

On Oct. 7, UW professor and Pro Arte Quartet first violinist David Perry (below top) will make his MCO debut in the Violin Concerto No. 4 by Mozart; and on Dec. 16, Madison Symphony Orchestra concertmaster Naha Greenholtz (below bottom) will return to play the Violin Concerto by Brahms.

On April 2, the Festival Choir of Madison (below), under its director Sergei Pavlov, will makes its MCO debut in the movie-score cantata “Alexander Nevsky” by Prokofiev.

And the teenage winners of the second Youth Concerto Competition, to be held next December, will perform with the orchestra on Feb. 17.

The conductor for three concerts will be Kyle Knox, the music director of the Wisconsin Youth Symphony Orchestras (WYSO) and associate conductor of the Madison Symphony Orchestra (MSO).

A frequent MCO guest conductor, Knox has also agreed to become the ensemble’s new principal conductor and artistic adviser. (In the YouTube video at the bottom, you can hear Kyle Knox conducting the MCO last December in Wagner’s Overture to the opera “Die Meistersinger von Nürnberg” (The Master Singers of Nuremberg) at the UW’s Hamel Music Center.)

Two guest conductors will be making their MCO debuts: UW-Whitewater professor Christopher Ramaekers (below top) on Oct. 7 and Edgewood College professor Sergei Pavlov (below bottom) on April 2.

Some repertoire still hasn’t been decided. For up-to-date information, as well as information about how to audition for the MCO, how to subscribe to its email newsletter and how to support it, go to the newly redesigned website at: https://middletoncommunityorchestra.org

“We will also try to schedule the concert with this year’s Youth Concerto Competition winners for this summer, even if it means going to an outdoor venue,” says MCO co-founder and co-artistic director Mindy Taranto. The winners are: violinists Ava Kenny and Dexter Mott, and cellist Andrew Siehr.

Adds Taranto: “We are really excited about the lineup of guest soloists and new conductors, and are especially grateful to Kyle Knox for his continued association with us. We’re going to have a fantastic year.”

 


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Classical music: Acclaimed native son Kenneth Woods returns this weekend to conduct the Madison Symphony Orchestra. He talks to The Ear about what Madison meant to him and his international career

March 2, 2020
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By Jacob Stockinger

This weekend, native Madisonian Kenneth Woods (below) returns from his home in the UK to conduct three performances of the Madison Symphony Orchestra.

The concerts feature two MSO debuts: the prize-winning young Canadian violinist Blake Pouliot performing Mendelssohn’s Violin Concerto in E minor; and the acclaimed guest conductor, Kenneth Woods, leading the orchestra for the MSO premiere of Haydn’s Symphony No. 96, “Miracle” plus Richard Strauss’ tone poem Ein Heldenleben (A Hero’s Life).

Performances will be held in Overture Hall on Friday night, March 6, at 7:30 p.m.; Saturday night, March 7, at 8 p.m.; and Sunday afternoon, March 8, at 2:30 p.m.

Single tickets are $19-$95 each and are on sale now, along with discounted tickets, at: https://madisonsymphony.org/event/the-miracle/; through the Overture Center Box Office at 201 State Street; or by calling the Box Office at (608) 258-4141. Fees apply to online and phone sales.

You can view program notes for this concert online at http://bit.ly/msomar2020programnotes

A Prelude Discussion by Randal Swiggum will take place one hour before each concert.

Guest conductor Kenneth Woods is a busy and versatile musician. He is the Principal Conductor of the English Symphony Orchestra and the artistic director of both the Colorado MahlerFest and the Elgar Festival in England. (You can hear Woods conducting Carl Maria von Weber’s “Oberon” Overture in the YouTube video at the bottom.) 

Woods has won accolades for rediscovering and recording the music of the Austrian-British composer Hans Gàl. Woods, who has played guitar in a rock band, is also a professional cellist who solos with orchestras and plays chamber music. He writes a respected blog. And he currently plays and records in the Briggs Piano Trio for Avie Records.

For much more information about Kenneth Woods, including his blog “A View From the Podium,” go to: https://kennethwoods.net/blog1/

Woods recently spoke via email to The Ear about what Madison has meant to him and to his international career.

How did living in Madison play a role in your decision to become a professional musician?

Madison offered me a chance to hear music at an early age. I was taken to watch a rehearsal of the Wisconsin Youth Symphony Orchestra as a very young kid, maybe three or four years old. That made a huge impression on me, especially seeing the rehearsal process. Later, my parents took us to all the UW Symphony Orchestra concerts for years.

There’s really no reason not to take young kids to concerts! For me, a love of live music led to a love of recorded music, listening to records at home, and from there, to an interest in playing music as a kid.

We were lucky to have a very strong music program in the Madison public schools when I was growing up here. The orchestras at Memorial High School played some really impressive repertoire under Tom Buchhauser (below top, in a photo by Jon Harlow). The UW Summer Music Clinic made being a musician social – it was a great immersion with one’s peers.

Most important, however, was probably the Wisconsin Youth Symphony Orchestras (WYSO). Playing under Jim Smith (below bottom) was the most fantastic education in orchestral playing one could hope for. He and Tom are a big part of why I became a conductor.

Madison in those days wasn’t a super-pressurized scene, like one might encounter around the big pre-college programs in New York or LA. But what I might have missed in terms of conservatory-level instrumentalists in every corridor, one made up in terms of feeling like you could find your own path. By the time I was in high school, I pretty much knew music was that path.

How did your experiences in Madison help prepare you for that career?

I learned so much about rehearsing from Jim Smith. In his first year, we worked on Dvorak’s 8th Symphony pretty much all year. Every week, he opened our ears to new facets of the music. I’ve never forgotten that.

I went off to Indiana University to do my Bachelor’s degree, but returned to Madison for a Master’s, when I studied cello with UW-Madison professor Parry Karp (below top).

Those were wonderful years for me. I learned an enormous amount from Parry as both a cello teacher and chamber music coach (and especially as a person).

I played in fantastic chamber groups, did lots of wacky new music and had solo opportunities. UW Symphony Orchestra conductor David Becker (below bottom) even gave me my first meaningful chance to rehearse an orchestra when he had me take a couple of rehearsals on the Copland Clarinet Concerto.

And I played in both the Madison Symphony Orchestra and the Wisconsin Chamber Orchestra. I came away from that time with both new skills and new confidence.

What does returning to your hometown to conduct the Madison Symphony Orchestra mean to you?

It’s both very exciting and a little surreal. Under the leadership of John DeMain (below top, in a photo by Greg Anderson), the MSO (below bottom, in a photo by Peter Rodgers) has come so far since the time I was in it. And the new hall is such a treasure for all of Wisconsin – it’s practically a different orchestra.

I still have many friends and former mentors in the orchestra and it’s going to be wonderful to see them all and make music together again after so long.

But it’s more than a homecoming. It’s a chance to celebrate where we’ve all been and what we’ve all done the last 20 years or so. My musical life has mostly been in the UK for a long time, so to re-connect with my musical roots here is rather magical.

What are your major current and upcoming projects?

The English Symphony Orchestra (below) represents the biggest chunk of my musical life. This year we’re celebrating Beethoven’s 250th birthday and the orchestra’s 40th anniversary.

The ESO has a special commitment to new and unknown music, and right now we’re in the midst of something called the 21st Century Symphony Project, which involves commissioning, premiering and recording nine new symphonies by diverse composers. It’s one of the most ambitious commissioning projects I’ve ever heard of, let alone been involved in.

I’m also excited about this year’s Colorado MahlerFest in Boulder, where we’re focusing on Mahler’s Symphony No. 2 “Resurrection” this May, which will crown a week of music exploring themes of color and visual art with music by Wagner, Messiaen and British composer Philip Sawyers.

Is the MSO program special to you?

I must say that it was incredibly generous of John DeMain to offer me such a fantastic program. Not every music director is gentleman enough to let a guest have Ein Heldenleben.

What would you like the public to know about your approach to music and about the specific works by Haydn, Mendelssohn and Richard Strauss?

Haydn’s music is maybe the richest discovery of my adult life. I didn’t get it as a kid, largely because most performances I heard were so dull.

His music is so varied, and his personality so complex, one mustn’t try to reduce him down to a simplistic figure. The late symphonies, of which this is one of the finest, are inexhaustible sources of wisdom, beauty, humor and sanity.

The Mendelssohn is really an astonishing piece. I’ve probably conducted it as much as any piece of music, with so many different soloists, all of whom had hugely different temperaments, personalities, sounds and approaches.

I’ve played it with some of the greatest violinists in the world and with young students. Somehow, whoever is playing, it always leaves me, and the audience, smiling. I’m pretty sure we can continue that streak with Blake Pouliot (below, in a photo by Jeff Fasano).

The Strauss is a rich, personal, wise, funny and moving work. It’s always a challenge, particularly bringing out all the astonishing detail in the score, but it’s also a real joy to perform. If the Mendelssohn always leaves me smiling, the Strauss always leaves me smiling with a tear in my eye.

 


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Classical music: A busy week brings FREE concerts of violin, orchestra, percussion, band, cello and bassoon music to the UW-Madison

February 16, 2020
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ALERT: This afternoon at 2:30 p.m. in Overture Hall is your last chance to hear John DeMain lead the Madison Symphony Orchestra with guest soloists violinist Pinchas Zukerman and cellist Amanda Forsyth in music by Brahms, Berlioz and Copland. Here is a positive review from Michael Muckian for Isthmus: https://isthmus.com/music/masterful-sounds-on-a-miserably-cold-night/ 

For more information about the program, soloists and tickets, go to: https://welltempered.wordpress.com/2020/02/10/classical-music-this-weekend-the-madison-symphony-orchestra-celebrates-valentines-day-with-violinist-pinchas-zukerman-and-cellist-amanda-forsyth-in-the-romantic-double-concerto/

By Jacob Stockinger

The coming week at the UW-Madison will be busy with FREE concerts of violin, orchestral, percussion, band, cello and bassoon music.

Here is the lineup:

MONDAY

At 6:30 p.m. in the Collins Recital Hall at the new Hamel Music Center, 740 University Ave., you can hear a FREE performance of the popular Violin Concerto by Beethoven.

It is a student performance of the entire Beethoven Violin Concerto with the orchestra. The conductor is doctoral candidate Ji Hyun Yim (below) who is studying with UW conducting professor Oriol Sans. It is a concert of friends who enjoy playing together. The violinist soloist is Rachel Reese.

Then at 7:30 p.m. in the Mead Witter Foundation Concert Hall, the Chamber Percussion Ensemble (below) – formerly the Western Percussion Ensemble – will give a FREE concert of contemporary music.

The conductor is director and UW-Madison percussion professor Anthony DiSanza, who is also the principal percussionist with the Madison Symphony Orchestra.

The program is “A Forest from a Seed.” Featured is post-minimalist music by composers not named Steve Reich. No specific works or composers are named.

Says DiSanza (below, in a photo by Katherine Esposito): “From the seed of minimalism (1964-1972), a deep and exhilarating repertoire has blossomed. Join us as we explore 40 years of diverse and engaging post-minimalist percussion chamber music.”

The Chamber Percussion Ensemble, he adds, “is dedicated to the performance of significant and engaging works for the Western percussion ensemble tradition, emphasizing core repertoire and works by emerging composers.”

TUESDAY (not Wednesday, as originally and incorrectly posted)

At 7:30 in the Mead Witter Foundation Concert Hall, the UW Concert Band (below) will give a FREE concert under director and conductor Corey Pompey. For the complete program, go to: https://www.music.wisc.edu/event/uw-concert-band-3/

THURSDAY

At 7:30 p.m. in Collins Recital Hall, UW cello professor Parry Karp (below), who plays in the UW’s Pro Arte Quartet, will give a FREE recital.

Piano accompanists are Bill Lutes; Martha Fischer; Frances Karp, the mother of Parry Karp; and Thomas Kasdorf.

The program is:

Robert Schumann: “Five Pieces in Folk Style” for Piano and Cello, Op. 102 (You can hear the first of the five pieces in the YouTube video at the bottom.)

Johannes Brahms: Sonata in F Minor for Piano and Clarinet, Op. 120 No. 1 (arranged for piano and cello by Parry Karp)

Robert Kahn (below): Three Pieces for Piano and Cello, Op. 25

Richard Strauss: Andante from “Le Bourgeois Gentilhomme” (The Bourgeois Gentleman), Op. 60

Ernest Bloch: “Schelomo” – a Hebraic Rhapsody for Cello and Orchestra

FRIDAY

At 8 p.m. in Collins Recital Hall, UW-Madison bassoon professor Marc Vallon (below) and friends – fellow faculty members and students — will perform a FREE concert of chamber music.

Joining Vallon, who plays in the acclaimed UW Wingra Wind Quintet, are: pianist Satoko Hayami; percussionist Todd Hammes; bassoonist Midori Samson; flutist Iva Ugrcic, clarinetist Alicia Lee; trumpeters Jean Laurenz and Gilson Luis Da Silva; trombonist Cole Bartels; and Travis Cooke.

Composers to be performed are: Robert Schumann; Alexander Ouzounoff; Sophia Gubaidulina (below); and Igor Stravinsky. No word about titles of specific works on the program.

 


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Classical music: This weekend, the Madison Symphony Orchestra celebrates Valentine’s Day with violinist Pinchas Zukerman and cellist Amanda Forsyth in the Romantic “Double Concerto” by Brahms

February 10, 2020
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By Jacob Stockinger

This coming weekend, the Madison Symphony Orchestra, under the baton of John DeMain, will celebrate Valentine’s Day.

The program “Romantic Encounter” examines the brashness of French composer Hector Berlioz’s Le Corsaire” Overture, as well as the thundering seriousness of American composer Aaron Copland’s Symphony No. 3.

The husband-and-wife duo (below) of violinist Pinchas Zukerman, and cellist Amanda Forsyth make their return to Madison to reprise their performance of German composer Johannes Brahms’ Double Concerto for Violin and Cello in A minor. (You can hear the passionate slow movement in the YouTube video at the bottom.)

Performances will be held in Overture Hall, 201 State Street, on Friday, Feb. 14, at 7:30 p.m.; Saturday, Feb. 15, at 8 p.m.; and Sunday, Feb. 16, at 2:30 p.m.

Tickets are $19 to $95. See below for details.

Says maestro DeMain (below, in a photo by Greg Anderson) about the world-renowned duo: “The married team of Pinchas Zukerman and Amanda Forsyth return to recreate their exciting interpretation of the Brahms Double Concerto for violin, cello and orchestra.

“One of Berlioz’s finest overtures, the exhilarating Le Corsaire opens the concert. And Aaron Copland’s majestic, powerful and lyrical Third Symphony — which is one of Copland’s great masterpieces and includes his Fanfare for the Common Man — is heard on the second half of the program.”

Eight minutes long, Berlioz’s swashbuckling Le Corsaire” was composed in Nice, France, after the final break-up of his marriage. The composer resided in a tower above the sea, which explains the ruined fortification’s depiction in his overture. “Corsaire” translates to “a ship used for piracy,” but this meaning is not related to the work.

 The Double Concerto was Brahms’ final work for orchestra. He composed the concerto for his old but estranged friend, violinist Joseph Joachim, as well as for cellist Robert Hausmann. With few recent precedents, the closest comparison to this work would be the Baroque concerto grosso, in which a soloist or small group is contrasted with an entire ensemble.

Copland’s monumental Symphony No. 3 was commissioned by conductor Serge Koussevitsky and the Boston Symphony Orchestra. The work perfectly reflects the spirit of post-war America and impressively holds the title of “Greatest American Symphony.” In writing this piece, Copland (below) borrowed from himself by incorporating his triumphant Fanfare for the Common Man.

ABOUT PINCHAS ZUKERMAN

With a celebrated career encompassing five decades, Pinchas Zukerman reigns as one of today’s most sought-after and versatile musicians — violin and viola soloist, conductor and chamber musician. He is renowned as a virtuoso, admired for the expressive lyricism of his playing, singular beauty of tone, and impeccable musicianship, which can be heard throughout his discography of over 100 albums.

Born in Tel Aviv, Zukerman came to the United States where he studied at the Juilliard School with Ivan Galamian as a recipient of the American-Israel Cultural Foundation scholarship. He received the National Medal of Arts from President Ronald Reagan and is a recipient of the Isaac Stern Award for Artistic Excellence in Classical Music.

ABOUT AMANDA FORSYTH

The Canadian and Juno Award-winning Amanda Forsyth is considered one of North America’s most dynamic cellists. She has achieved her international reputation as soloist, chamber musician and was principal cello of Canada’s National Arts Centre Orchestra from 1999 to 2015. Her intense richness of tone, remarkable technique and exceptional musicality combine to enthrall audiences and critics alike.

PROGRAM NOTES, TICKETS AND EVENT DETAILS

The lobby opens 90 minutes prior to each concert. The MSO recommends that concert attendees arrive early for each performance to make sure they have time to pass through Overture Center’s security stations, and so they can experience the Prelude Discussion that takes place one hour before each concert.

Program notes are available at: http://www.allsenmusic.com/NOTES/1920/5.Feb20.html

Discounted seats are subject to availability, and discounts may not be combined.  

Major funding for the February concert has been provided by NBC 15; The Madison Concourse Hotel and Governor’s Club; Marvin J. Levy; Fred and Mary Mohs; Nancy Mohs; and David and Kato Perlman.

Additional funding has been provided by Robert Benjamin and John Fields; Boardman and Clark LLP; Forte; Barbara Melchert and Gale Meyer; and the Wisconsin Arts Board with funds from the State of Wisconsin and the National Endowment for the Arts.

 


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Classical music: What concerts or performances in 2019 did you most like, and do you most remember and want to praise?

January 12, 2020
7 Comments

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By Jacob Stockinger

The concert season’s winter intermission will soon draw to a close.

So this is a good time to recall favorite concerts and performances of last year.

But let’s be clear.

This is a not a request to name “The Best Concerts of 2019.”

Calling them the most memorable concerts doesn’t necessarily mean they were the best.

Perfection or “the best” sounds so objective, but can really be quite personal and subjective. So much can depend not only on the music and the performers, but also on your own mood and your taste or preferences.

So please share the concerts or performances that you most liked and enjoyed, the one that most still linger in your mind. And, if you can pin it down, tell us why you liked them so much and why they linger for you.

There are so many excellent groups and concerts, so much fine classical music, in the Madison area that there should be lots of candidates.

Here are several performances or complete concerts that The Ear remembers with special fondness.

The MADISON SYMPHONY ORCHESTRA (below, in a photo by Peter Rodgers) held a season-long celebration of the 25th anniversary of John DeMain’s tenure as its music director and conductor. The big event came at the end: Mahler’s massive Symphony No. 8 – the so-called “Symphony of a Thousand” – that brought together the MSO and the MSO Chorus as well as the Madison Youth Choirs and the UW-Madison Choral Union.

It proved an impressive, overwhelming and moving display of coordination and musicianship, a testament to how far DeMain (below, in a photo by Prasad) has brought the orchestra.

(Also memorable on the MSO season were pianist Marc-Andre Hamelin in Ravel’s jazzy Piano Concerto in G Major and UW-Madison pianist Christopher Taylor in the Leonard Bernstein’s “Age of Anxiety” symphony during the MSO tribute to Bernstein, with whom DeMain worked closely.)

The WISCONSIN CHAMBER ORCHESTRA (below, in a photo by Mike Gorski), under its veteran music director Andrew Sewell, continues to test its own limits and surpass them. Particularly impressive was the last concert of the winter season with Shostakovich’s Symphony No. 14 featuring two outstanding soloists: soprano Mary Mackenzie and bass Timothy Jones.

The playing of the difficult score was precise but moving, and the singing blended beautifully. It made one understand why during this season – when the orchestra marks 60 years and maestro Sewell (below, in a photo by Alex Cruz) marks his 20th season — the WCO has deservingly graduated to two performances of each Masterwork concert (one here on Friday nights followed by one in the Milwaukee suburb of Brookfield on Saturday night).

Also memorable was an impressive concert by the mostly amateur but critically acclaimed MIDDLETON COMMUNITY ORCHESTRA. The Ear likes amateur musicians, and for their 10th anniversary concert they really delivered the goods in Dvorak’s famous Symphony No. 9 “From the New World” and, with fabulous guest soloist J.J. Koh (below — principal clarinet of the Madison Symphony Orchestra — in Mozart’s sublime Clarinet Concerto.

But it wasn’t only large-scale works that The Ear remembers.

Three chamber music concerts continue to stand out.

During the summer, the WILLY STREET CHAMBER PLAYERS and guest UW-Madison pianist Christopher Taylor (both below) delivered a performance of Dvorak’s Piano Quintet in A Major that would be hard for any group to match, let alone surpass, for its tightness and energy, its lyricism and drama.

The same goes for the veteran PRO ARTE QUARTET at the UW-Madison, which this fall started its complete cycle of Beethoven’s 16 string quartets in the new Hamel Music Center to celebrate the Beethoven Year in 2020 when we mark the 250th anniversary of the composer’s birth.

The quartet played early, middle and late quartets with complete mastery and subtlety. Treat yourself. Don’t miss the remaining five concerts, which resume in February and take place over the next year at the Hamel center and also at the Chazen Museum of Art, from where they will also be live-streamed.

Finally, The Ear will always remember the wholly unexpected and thoroughly captivating virtuoso accordion playing he heard last summer by Milwaukeean Stas Venglevski (below) at a concert by the BACH DANCING AND DYNAMITE SOCIETY. Venglevski performed music by Johann Sebastian Bach, Igor Stravinsky and Astor Piazzolla in a new and enthralling way.

Unfortunately, for various reasons The Ear missed many other concerts – by the Madison Opera and the University Opera among others – that promised to be memorable performances.

But perhaps you can fill him in as we start 2020 concerts next weekend.

What concerts in 2019 did you like most and do you most remember and praise? Why?

The Ear wants to hear.


Posted in Classical music
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Classical music: The Madison Symphony Orchestra performs its annual gala Christmas concert this weekend and also offers a FREE community carol sing this Saturday morning

December 12, 2019
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By Jacob Stockinger

As Charles Dickens might say, the Madison Symphony Orchestra knows how to keep Christmas well.

Over many years, “A Madison Symphony Christmas” has become a  popular and major annual kickoff to the holiday season in the Madison area by embracing the season with Christmas classics and new music.

Much of the event’s appeal derives from the diversity and range of the performers. This year it again features the full orchestra plus the Madison Symphony Chorus, the Madison Youth Choirs and the Mount Zion Gospel Choir.

In addition, two opera stars who have performed with the Madison Opera — tenor Mackenzie Whitney (below top) and soprano Michelle Johnson (below bottom)– return to the stage for this annual family-friendly tradition. For biographies of the two singers, go to: https://madisonsymphony.org/event/a-madison-symphony-christmas-2019/

MSO principal harpist Johanna Wienholts (below) is a featured soloist in a concerto by George Frideric Handel.

“A Madison Symphony Christmas” takes place in Overture Hall, 201 State Street, on this Friday night, Dec. 13, at 7:30 p.m.; Saturday night, Dec. 14, at 8 p.m.; and Sunday afternoon, Dec. 15, at 2:30 p.m.

Tickets are $19 to $95 with discounts available. See below for details.

NOTE: On this coming Saturday morning, Dec. 14, at 11 a.m., Greg Zelek (below, in a  photo by Peter Rodgers) — the Madison Symphony Orchestra’s Principal Organist and Curator of the Overture Concert Organ — leads a FREE Community Carol Sing in Overture Hall. All ages are welcome, and no tickets or reservations are needed. Learn more at: https://madisonsymphony.org/event/free-community-carol-sing-2019/

Music director and conductor John DeMain (below) offers the following preview of the MSO concert:“This is the biggest celebration of the season in Madison and beyond. It has four different choruses and choirs as well as amazing soloists from the orchestra, the world of opera and Broadway.

“The huge Madison Symphony Orchestra will play your favorite Christmas music, and there is a great carol sing-along featuring the Overture Hall organ playing with the MSO. After this concert, you’ll want to celebrate Christmas all year long.”

The program begins with classical styles in the first half, culminating in Handel’s “Hallelujah” Chorus (heard in the YouTube video at the bottom.) The concert climaxes with a Gospel music finale, and a chance for the audience to sing along.

Works to be performed include John Rutter’s version of “O Come, O Come Emmanuel”; the “Magnificat” by Johann Sebastian Bach; Franz Schubert’s “Wiegenlied” (“Lullaby”); and music by Charles Gounod, J. S. Bach, Felix Mendelssohn, Adolphe Adam, Dan Goeller and Randol Alan Bass.

The older voices of the Madison Youth Choirs (below) are featured in works by composer Stephen Hatfield, including a version of the traditional English “Apple-Tree Wassail.”

The Madison Symphony Chorus (below, in a photo by Greg Anderson) and soloists present of medley of familiar holiday favorites, including “Let It Snow! Let It Snow! Let It Snow!”

Finally, the Mount Zion Gospel Choir (below, in a photo by Bob Rashid) sings arrangements for choir and orchestra by co-director Leotha Stanley, including “The Joy of Christmas,” Stanley’s version of “Silent Night,” and a newly composed song by Stanley, “Christmas Hope.”

CONCERT, TICKET AND EVENT DETAILS

The lobby opens 90 minutes prior to each concert. The MSO recommends concert attendees arrive early for each performance to make sure they have time to pass through Overture Center’s security stations — and participate in singing carols with the Madison Symphony Chorus that take place in the Overture Hall lobby (below) 45 minutes before the concerts.

Program notes are available online for viewing in advance of the concerts: http://bit.ly/msodec19programnotes

  • Single Tickets are $19-$95 each and are on sale now at: https://madisonsymphony.org/event/a-madison-symphony-christmas-2019/through the Overture Center Box Office at 201 State Street, or by calling the Box Office at (608) 258-4141. Fees apply to online/phone sales.
  • Groups of 10 or more can save 25% by calling the MSO office at (608) 257-3734. For more information, visit, https://www.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 $15 or $20 tickets. More information is at: https://www.madisonsymphony.org/studentrush
  • Seniors age 62 and up receive 20% savings on advance and day-of-concert ticket purchases in select areas of the hall.
  • Flex-ticket booklets of 8-10 vouchers for 19-20 symphony subscription concerts are available. Learn more at: https://madisonsymphony.org/flex

Discounted seats are subject to availability, and discounts may not be combined. 

 


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Classical music: Friday night, the UW Concert Choir marks the assassination of JFK and the opening of Hamel Music Center. Plus, WYSO gives a Wisconsin premiere with a returning alumna as soloist

November 21, 2019
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ALERT: This Friday night, Nov. 22, at 7 p.m. in Mills Hall, the Wisconsin Youth Symphony Orchestra’s Youth Orchestra, under conductor Kyle Knox, will present a concert with two guest artists performing the Wisconsin premiere of the Double Concerto for Clarinet and Bassoon composed for them by American composer Jonathan Leshnoff, who is known for his lyricism. (Sorry, there is no word about other works on the program.) Tickets are $10, $5 for 18 years and under, and are available at the door starting at 6:15 p.m.)

The two soloists are principals with the Pittsburgh Symphony Orchestra. The bassoonist is Nancy Goeres, a Lodi native who is a returning WYSO alumna. If you want to read an interview with her and get more background, you can’t do better for a preview than the piece by Greg Hettmansberger for Madison Magazine and Channel 3000. Here is a link: https://www.channel3000.com/madison-magazine/arts-and-culture/wisconsin-youth-symphony-welcomes-two-special-guests/1143372727

By Jacob Stockinger

At 8 p.m. this Friday, Nov. 22, in the Mead Witter Foundation Concert Hall, the UW-Madison Concert Choir (below) will perform its first solo concert in the new Hamel Music Center.

Conductor Beverly Taylor (below), the director of choral activities at the UW-Madison who will retire at the end of this academic year, sent the following announcement:

“The a cappella program is entitled “Fall Favorites: Houses and Homecomings.”

“This year I’m particularly picking some of the pieces I like the best from my years here, although I’ll still add a few new things.

“The “Houses” part is primarily “Behold I Build an House” by American composer Lukas Foss (below), which was written for the dedication of Marsh Chapel at Boston University, and which I thought was a good piece for the opening of the Hamel Music Center.

“We’re also performing the wonderful -and difficult —“Take Him, Earth, for Cherishing,” which British composer Herbert Howells (below top) wrote in memory of John F. Kennedy (below bottom). You’ll notice our concert is also on Nov. 22, the same day in 1963 when JFK was assassinated in Dallas, Texas. (You can hear the Howells work in the YouTube video at the bottom.)

“Besides these two big works are wonderful motets by Orlando di Lasso, Maurice Duruflé, Heinrich Schütz and Melchior Vulpius, plus some African, American and African-American folk songs.”

 


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Classical music: Tuesday night brings concerts of band music as well as organ and violin duets

October 21, 2019
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By Jacob Stockinger

This Tuesday night, Oct. 22, will see concerts of band music and organ-violin duets.

Here are details:

ORGAN AND VIOLIN CONCERT

At 7:30 p.m. in Overture Hall, the Overture Concert Organ Series, sponsored by the Madison Symphony Orchestra and organized by MSO principal organist Greg Zelek, offers a concert of music for organ and violin.

The organist is Michael Hey (below right), a Wisconsin native who won first prize at an organ competition in Shanghai, China, and is the organist at the famed St. Patrick’s Cathedral in New York City.

The violinist is Christiana Liberis (below left) who recently toured with the rock band The Eagles.

Tickets are $20.

The program includes music by Johann Sebastian Bach, Sir Edward Elgar, Maurice Ravel, Charles-Marie Widor, Giovanni Battista Vitali, Naji Hakim and Fritz Kreisler.

In the YouTube video at the bottom, you can hear the duo perform a haunting version of the popular “Gymnopedie No. 1” by Erik Satie

For information, including specific works on the program and detailed biographies about the performers, go to: https://madisonsymphony.org/event/organ-michael-hey-christiana-liberis/

UW-MADISON CONCERT BAND

At 7:30 p.m. in the new Mead Witter Foundation Concert Hall of the  Hamel Music Center, 740 University Avenue, the UW-Madison Concert Band (below) will perform a FREE concert.

The band will perform under director Scott Teeple (below) and guest conductor Ross Wolf.

The program includes:

“Lux Arumque” by Eric Whitacre
“Firefly” by Ryan George
“Colonial Song” by Percy Grainger/ed. Mark Rogers
“Huntington Tower Ballad” by Ottorino Respighi
“George Washington Bridge” by William Schuman

For information, go to: https://www.music.wisc.edu/event/uw-concert-band-and-winds-of-wisconsin/


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Classical music: The 10th anniversary concert of the Middleton Community Orchestra hit all the right notes – including a surprise of high beauty

October 13, 2019
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By Jacob Stockinger

Last Wednesday night at the Middleton Performing Arts Center, the mostly amateur but critically acclaimed Middleton Community Orchestra (below, in a photo by Brian Ruppert) celebrated its 10th anniversary.

The MCO hit all the right notes. And there were many of them, both big and small.

But perhaps the biggest one was also the quietest one.

It came during the repetition section near the end of the heart-rending slow movement of the Clarinet Concerto in A Major, K. 622, by Mozart.

The Ear knows the piece and considers it one of the most perfect compositions ever written. But suddenly he heard the familiar work in a fresh way and with a new appreciation, thanks to the talented guest soloist J.J. Koh, who is principal clarinet of the Madison Symphony Orchestra. (You can hear the slow movement in the YouTube video at the bottom.)

The movement was going beautifully when suddenly, Koh (below) brought the dynamics down to almost a whisper. It felt prayer-like, so quiet was the sound. Yet it was completely audible. The tone was rich and the notes on pitch, even though Koh sounded as if he were barely breathing. It was a heart-stopping, breathtaking moment of high beauty.

It takes a virtuoso to play that softly and that solidly at the same time. And Koh was backed up with the same subtlety by the fine accompaniment provided by the scaled-down orchestra under conductor Steve Kurr.

The sublime result was nothing short of haunting, a musical moment that The Ear will remember and cherish as long as he lives.

And he wasn’t alone. A complete silence fell over the appreciative audience as Koh and the MCO were playing, and at intermission it was what everybody was talking about and wondering at. You just had to be there. It was the kind of musical experience that makes a live performance so engaging and unforgettable.

That moment of communion between soloist and ensemble by itself was enough to tell you how very much the MCO, which improves with each performance, has accomplished in its first decade.

There were other noteworthy moments too.

Of course tributes had to be paid.

So the evening started off with some brief background and introductory words from the co-founders and co-artistic directors Larry Bevic and Mindy Taranto (below).

Then Middleton Mayor Gurdip Brar (below) came on stage to read his official 10th anniversary proclamation and to urge people to applaud. He proved a jovial, good-natured cheerleader for the large audience of “good neighbors” that included many children.

When the music finally arrived, conductor Kurr (below) raised the curtain with his own original 14-minute episodic composition celebrating the “Good Neighbor City” of Middleton. It proved a fitting work for the occasion that evoked both the Midwestern harmonies of Aaron Copland and the brassy film scores of John Williams.

After intermission, the full 90-member MCO under Kurr returned and turned in a performance of Antonin Dvorak’s popular “New World” Symphony that did them all proud.

The tempo was energetic with a strong, constant pulse that didn’t falter. As usual, the string and wind sections proved outstanding – and still seem to get better each time.

But the real star this time was the brass, whose prominent part in the Dvorak symphony is hard to play. Playing consistently on pitch and expressively – they were clearly well-rehearsed — the brass boosted the whole performance and raised it to a new level. Which is exactly what the anniversary concert demanded and received.

The Ear wasn’t alone in being impressed.

A professional musician visiting from San Francisco said simply:  ”They are much better than our community orchestra.”

Is there better homage to pay to a 10th anniversary concert and to make listeners look forward to hearing more? If you aren’t going to MCO’s affordable and appealing concerts, you are only cheating yourself.

For more information about the complete season, including programs, performers, guest soloists and how to join or support the MCO, go to: http://middletoncommunityorchestra.org

If you went, what did you think of the opening anniversary concert?

Leave your opinions and good wishes in the comment section.

The Ear wants to hear.


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Classical music: The Madison Symphony Orchestra opens its new season with a strong and memorable concert that had something for everyone — with no outside help from a guest artist

October 4, 2019
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ALERT: On this Saturday, Oct. 5, from 4 to 5 p.m., cellist Amit Peled will teach a master class at Farley’s House of Pianos, 6522 Seybold Road, near West Towne Mall, where he will instruct local students. This is a FREE event that the public is invited to observe, and is part of the two concerts by Peled and pianist Daniel del Pino. For more information, go to:

https://welltempered.wordpress.com/2019/09/29/classical-music-cellist-amit-peled-and-pianist-daniel-del-pino-open-the-salon-piano-series-this-friday-and-saturday-nights-with-music-by-beethoven-strauss-and-others/

By Jacob Stockinger

Many orchestras, including the Madison Symphony Orchestra (below, in a photo by Peter Rodgers), often use the opening concert of a new season as a chance to lure audiences by wowing them with some big-name guest soloist.

But last weekend maestro John DeMain (below, in a photo by Greg Anderson) once again preferred to show off his own ensemble. And it worked, making for a memorable concert.

The MSO opener had something for everyone, and what you saw as the highlight probably depended more on your personal taste or preference than on the overall impressively tight playing and singing of the MSO, its principals and its chorus.

It seemed clear that, for most listeners the MSO’s young organist Greg Zelek (below, in a photo by Peter Rodgers) filled the role of the impressive imported star or guest artist.

The virtuosic Zelek is simply so good that he managed to turn a second-rate piece by Samuel Barber into a first-rate crowd-pleaser that brought huge applause and a long standing ovation, then an encore and another standing ovation.

As music, the concerto-like “Toccata Festiva” (1960) is simply not on par with Barber’s Violin Concerto or his Adagio for Strings or his Overture to “The School for Scandal.” It is 15 minutes of mostly loud and bombastic music meant to show off the new organ that it was commissioned for.

The King of Instruments seems to invite such bragging. And the boyish, vest-clad Zelek milked the score by Barber (below) for all it was worth, including an astounding three-minute cadenza played only with the feet. It’s hard to argue with such dramatic success.

If you preferred more serious fare, there was the Symphony No. 7 in D minor by Antonin Dvorak (below). Last spring, DeMain announced his fondness for Dvorak – in the spring the MSO will perform his Requiem.

DeMain’s feeling for Dvorak showed in a convincing and engaging performance of this darker, non-programmatic Brahmsian work that goes beyond the Czech folk dances, folk song-like melodies and nature mimicry of Dvorak’s other major symphonies and chamber music.

If you wanted exciting Romanticism, it would be hard to beat Wagner’s rhythmic strings soaring in the Overture to the opera “Tannhauser” by Richard Wagner (below). And that flowed into Wagner’s sensual “Venusberg” music that featured the MSO chorus singing offstage.

But The Ear thinks that the best measure of musicianship – orchestral, instrumental or vocal — is not how loudly they can play or sing, but how softly.

For that reason, he found the standout work at the concert to be “Prelude to The Afternoon of a Faun” by Claude Debussy (below). The balance among various sections proved ideal at expressing subtlety. You could hear everything combining to make a distinctive and atmospheric tonal color.

For example, it is hard to imagine more sensual playing of the opening theme than how principal flutist Stephanie Jutt (below) did it. The performance and interpretation projected the exact kind of impressionistic seductiveness that the composer meant for it to have. For sheer beauty of sound, it took the top spot. (You can see a graphic depiction of Debussy’s score in the YouTube video at the bottom.)

Still, there seemed to be more than the usual number of empty seats. Was it the rainy weather? The football weekend? Or do people still miss the thrill of hearing a well-known guest artist opening the season?

What do you think?

What was your favorite piece on the opening MSO program? And why?

The Ear wants to hear.


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