The Well-Tempered Ear

Classical music: A busy week at the UW spotlights choral and vocal music with some wind, brass and guitar music included

November 12, 2017
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By Jacob Stockinger

It’s going to be a busy week at the University of Wisconsin-Madison’s Mead Witter School of Music.

And especially if you are a fan of choral music, there is much to attract you.

Here is run-down by the day:

TODAY

At 3 p.m. in Mills Hall is a FREE concert of Combined Choirs that features the Women’s Chorus (below), the University Chorus and the Masters Singers.

Sorry, no word about the program, but the groups’ past record suggests excellent programs are in store.

TUESDAY

From noon to 1:30 p.m. in Morphy Recital Hall, William Buchman (below), who is assistant principal bassoon of the Chicago Symphony Orchestra and a faculty member at DePaul University in Chicago, will give a master class that is FREE and OPEN TO THE PUBLIC.

At 7:30 p.m. in Music Hall on Bascom Hill, University Opera a FREE Fall Opera Scenes program with UW student singers (below form last year).

Featured are excerpts from four operas and one Broadway musical: “The Marriage of Figaro” by Wolfgang Amadeus Mozart; “Orpheus in the Underworld” by Jacques Offenbach; “Der Freischuetz” (The Marksman or Freeshooter) by Carl Maria von Weber; and “Carousel” by Rodgers and Hammerstein,

WEDNESDAY

At 7:30 p.m. in Mills Hall, the Wisconsin Brass Quintet (below, in a photo by Michael R. Anderson) will give a FREE concert.

Members of the faculty ensemble are Alex Noppe and Matthew Onstad, trumpets; Mark Hetzler, trombone; Tom Curry, tuba; and Daniel Grabois, horn.

The program includes: Johann Schein: Three Psalm Settings; Peter Maxwell Davies, arr. Matthew Onstad: “Farewell to Stromness” (1980), from The Yellow Cake Review; Jan Radzynski: Take Five (1984); Gunther Schuller’s Music for Brass Quintet (1961); and Alvin Etler’s Quintet for Brass Instruments (1966).

For more information, go to http://www.wisconsinbrassquintet.com

THURSDAY

From 10 a.m. until noon in Morphy Recital Hall, the acclaimed Grammy Award-winning guitarist Sharon Isbin (below), who will perform with the Madison Symphony Orchestra this coming weekend, will give a FREE master class that is OPEN TO THE PUBLIC.

FRIDAY

At 8 p.m. in Mills Hall, the Madrigal Singers (below top), under conductor Bruce Gladstone (below bottom, in a photo by Katrin Talbot), will present Part 2 of “Israelsbrünnlein” (Fountains of Israel) by the Baroque composer Johann Hermann Schein.

According to program notes, “Johann Hermann Schein’s collection of 26 motets from 1623 has long been considered the most important set of motets in the early 17th century. Schein (below), frustrated that there wasn’t a true counterpart of the Italian madrigal to be found in German music, set out to marry the expressiveness of the madrigal to German texts.

“In this case, he chose to set sacred and mostly biblical texts, rather than the secular poetry found in most madrigals. His set of spiritual madrigals display both moments of pure joy and exultation as well as heartbreaking sadness and longing.

“Last fall, the Madrigal Singers presented the first 13 of these motets, and this fall, we finish out the collection with motets 14-26.

“This music is incredibly moving and remarkably fresh, revealing a marked sensitivity to the texts and a mastery of musical expression.” (You can hear a sample in the YouTube video at the bottom.)

SATURDAY

At 8 p.m., in Luther Memorial Church (below), 1021 University Avenue, the Low Brass Ensemble will give a FREE recital. No word on composers or pieces on the program.

At 8 p.m. in Mils Hall, the group Chorale, under conductor Bruce Gladstone will present “Songs to Live By.”

Programs notes read: “Music has always had a way to touch our souls the way other things cannot. When paired with poetry that speaks honestly to the human condition, it can lift us out of the merely abstract, touching our souls and offering insight on how we can be better at being human and humane.

“The Chorale offers a choral song-cycle by composer Gwyneth Walker (below) on autobiographical poems by Virginia Hamilton Adair, as well as three works by Elizabeth Alexander:  “How to Sing Like a Planet”; “If You Can Walk You Can Dance”; and “Finally On My Way To Yes.”

“Also on the program is Joshua Shank’s “Rules To Live By,” a heartfelt and moving piece whose text was written by the commissioning ensemble.

SUNDAY

At 5 p.m., in Mills Hall, the UW-Madison Wind Ensemble (below top) and Winds of Wisconsin will give a FREE joint concert.

Scott Teeple will conduct with guest violinist, Professor Soh-Hyun Altino (below bottom, in a photo by Caroline Bittencourt) soloing.

Here is the program:

UW-Madison Wind Ensemble:

“Fanfare for the Uncommon Woman, #2,” by Joan Tower

Concerto for Violin and Wind Ensemble, by Robert Hutchinson with the violinist Park Altino

Winds of Wisconsin:

“Chester Overture for Band,” by William Schuman

“A Child’s Embrace” by Charles Rochester Young

“Vesuvius,” by Frank Ticheli

Combined UW Wind Ensemble and Winds of Wisconsin:

“Folk Dances,” by Dmitri Shostakovich

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Classical music: Despite overly traditional staging, the Madison Opera’s “Carmen” beguiled and bewitched through the outstanding singing

November 7, 2017
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By Jacob Stockinger

The Opera Guy attended Sunday’s sold-out performance of “Carmen” by the Madison Opera and filed the following review, with photos by James Gill:

By Larry Wells

When I learned that Madison Opera was going to produce Bizet‘s “Carmen,” I was not surprised. It is annually one of the most frequently performed operas internationally, and it is a surefire vehicle for filling seats. It is safe.

On the other hand, once one watches repeated performances of an old favorite, the appeal can diminish. One advantage of an opera is that novel approaches to the production can prevent a warhorse from becoming stale.

I would love to say that the approach both musically and dramatically to this production of “Carmen” broke new ground, but it did not. In fact, the production was as traditional as could be. (Below is the main set, rented from the Lyric Opera of Kansas City.)

I attended a performance of “Carmen” in Tucson a couple of years ago, and the conductor Keitaro Harada breathed new life into the familiar music through interesting tempi and finely nuanced dynamics.

Maestro John DeMain (below, in a photo  by Prasad) conducted the Madison Symphony Orchestra in a perfectly fine and occasionally uplifting manner, but there was little new to learn from his approach. The purely instrumental entr’actes shimmered, but during the rest of the opera the singing was at the forefront.

Maestro Harada (below), whom Madison should be actively courting, is currently conducting “Carmen” in Sofia, and the accompanying publicity clip in the YouTube video at the bottom (bear with the Bulgarian commentary) shows that the production is unconventional in its approach although it clearly is still “Carmen.” I would have enjoyed something other than the ultra-traditional staging and sets experienced here in Madison.

At times the production was so hackneyed and hokey that I chuckled to myself – ersatz flamenco dancing, the fluttering of fans, all of the cigarette factory girls with cigarettes dangling from their lips, unconvincing fight scenes, annoying children running across the stage, dreary costumes that hardly reminded me of Seville. And I could go on.

Yet “Carmen” has a way of drawing one in despite oneself. The music is marvelous, and the singing was uniformly excellent.

The four principals were luminous both in their solo pieces and ensembles. Cecelia Violetta López as Micaëla (below right) was lustrous in her two arias as well as in her duet with Sean Panikkar’s Don José (below left).

Panikkar started the performance off with little flair, but from the time he became besotted with Carmen toward the end of the first act he was on fire. He then maintained a high degree of passion and zest in his vocal performance.

Corey Crider (below right) was a wonderful Escamillo, singing his toréador role with great élan despite his unfortunate costumes.

And Aleks Romano (below) as Carmen made the most of her complex character. Her singing was luscious, and her acting – particularly her use of her expressive eyes – was terrific.

Likewise, the lesser roles – Thomas Forde as Zuniga, Benjamin Liupaogo as Remendado, Erik Earl Larson as Dancaïre, a radiant Anna Polum as Fransquita, and Megan Le Romero as Mercédès – were equally well sung. The ensemble work in the quintet at the end of Act II and in the card scene was outstanding.

The chorus (below) sounded terrific throughout, although the women’s costumes and the stage direction made the choristers appear ludicrous as times.

When all is said and done, “Carmen” still beguiled me by drawing me into its characters’ complex psychologies and motivations. Likewise, its music still bewitched me in much the same way as Carmen inexplicably bewitched hapless Don José (below).

But I seem to always wish for more – more compelling productions, more daring music making, more risk-taking.

I do look forward to this coming spring’s production of “Florencia en el Amazonas.” The recording is captivating, and the opera’s performances have pleased a wide variety of audiences by all accounts. And it is something new. Hallelujah!

Did you go to “Carmen”? 

What did you think?

The Ear wants to hear.


Classical music: Should the Madison Symphony Orchestra return to a traditional Opening Gala concert with a guest soloist and big pieces, and move the all-orchestra concert to a later date?

October 28, 2017
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By Jacob Stockinger

You can’t blame longtime music director and conductor John DeMain (below, in a photo by Peter Rodgers) for wanting to put the spotlight on the players of the Madison Symphony Orchestra that he has built up over nearly 25 years.

After all, the orchestra members play well and respond superbly to DeMain’s direction, no matter what you might think of his programming and interpretations. He is proud of them with good reason.

So The Ear can easily understand why for the past few years DeMain has chosen to use an all-orchestra concert, with its principals taking the place of guest soloists, to open the season.

Yet DeMain also likes to emphasize the challenges he faces in selling tickets, filling seats and keeping the MSO a commercially successful orchestra.

The Ear noticed that this year, the all-orchestra opening concert of works by Bach-Stokowski, Mendelssohn and Berlioz, with principal violist Christopher Dozoryst as soloist, seemed to draw a smaller and less enthusiastic audience than the second concert did last weekend.

That second concert included the “Mother Goose” Suite by Ravel, the surefire “New World” Symphony by Dvorak and the Piano Concerto by Samuel Barber with guest pianist Olga Kern (below). The audience wildly cheered her and her flashy, virtuosic playing until it received an encore (the Prokofiev etude heard in the YouTube video at the bottom.)

So the question came to The Ear:

Should the MSO return to a traditional Gala Opening, with a surefire program and a high-profile guest soloist, and leave the all-orchestra concert until the second concert of the season?

The Ear checked out what other orchestras do.

This year, The Chicago Symphony Orchestra opened with violinist Anne-Sophie Mutter in the Tchaikovsky Violin Concerto. The Los Angeles Philharmonic opened with a gala program that featured pianists Yuja Wang and Jean-Yves Thibaudet teaming up in an all-Mozart program. The San Francisco Orchestra featured superstar cellist Yo-Yo Ma.

The Philadelphia Orchestra programmed pianist Emanuel Ax and the music of Beethoven, Brahms and Leonard Bernstein, whose centennial is being celebrated this season. The Boston Symphony Orchestra opened with Frederica von Stade, plus other singers, in an all-Bernstein program.

True, the Sheboygan Symphony also used the all-orchestra opener, and The Ear is sure there are many other orchestras, including some prominent ones, that do the same.

But it got The Ear to wondering. So he asked some other loyal MSO fans what they thought about returning to a traditional Gala Opening – one that announces to potential subscribers that great soloists will be featured during the season – and then moving the all-orchestra concert to a different date.

All the people he spoke to agreed that such a move would probably draw bigger audiences and capture the public’s attention better. One loyal patron even said that by going to the all-orchestra opening, the MSO (below, in a photo by Greg Anderson) was “just being cheap.”

Plans are probably already being made for next season, so it is likely too late to make any changes that soon.

But what about the 2018-19 season?

What do you think?

Should the Madison Symphony Orchestra return to a traditional Gala Opening that features big-name soloists and well-known pieces?

Should it move the all-orchestra concert with principal soloists to, say, the second concert of the season?

Or should things stay the way they are?

Which way do you think would be more commercially successful and sell more seats for that concert and for the rest of the season?

And which way would be more artistically satisfying?

The Ear wants to hear.


Classical music education: Madison Area Youth Chamber Orchestra performs an “encore” concert of music by Corelli, Mozart and Britten this Friday night

July 18, 2017
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By Jacob Stockinger

The Ear has received the following announcement to post:

“The Madison Area Youth Chamber Orchestra (MAYCO, below) is a summer training orchestra dedicated to providing an intensive chamber orchestra experience for advanced high school and college musicians, ages 12-35.

“MAYCO was founded in 2011 by music director Mikko Rankin Utevsky (below). The ensemble prepares a full program over the course of each of its one-week summer sessions, culminating in a public concert.

“We had planned for last summer’s “Finale!” concert to be MAYCO’s last, but at the urging of disappointed students, we decided to stage a comeback. Student response has been incredible, and we hope to keep the program alive into the future.

“This summer, we will present a single concert, “Encore!”, featuring works of Wolfgang Amadeus Mozart, Benjamin Britten and Arcangelo Corelli.

“The program of bewitching atmosphere and stark contrasts will be performed this Friday night, July 21, at 7:30 p.m. in the Atrium Auditorium (below in a photo by Zane Williams) of the First Unitarian Society of Madison, 900 University Bay Drive.

“The program opens with Corelli’s vivacious Concerto Grosso Op. 6, No. 4 in D major. Corelli’s Baroque concerti grossi all feature a solo group (“concertino”) of two violins and cello opposed by the full string band (the “ripieno”).

“Our performance will feature MAYCO concertmaster Thalia Coombs (below), principal cellist (and former conducting apprentice) Majestica Lor, and violinist Glen Kuenzi (a returning high school player now entering the UW School of Music, selected by audition).

“Benjamin Britten’s nocturnal Serenade, written for his partner, tenor Peter Pears, and virtuoso hornist Dennis Brain, sets an enchanting array of English poetry, including texts by William Blake, John Keats and Ben Jonson.

“Set in seven movements bookended by a Prologue and Epilogue for unaccompanied horn, the work traverses a wide range of emotions and orchestral colors. Joining the orchestra will be tenor Dennis Gotkowski, a recent doctoral graduate of the UW) and hornist Joanna Schulz (below, a current DMA candidate), who plays with the Wingra Wind Quintet.

“The concert will conclude with Mozart’s Symphony No. 40, the so-called “Great” G minor. Long beloved for its tempestuous character and affective power, it captivates players and audiences alike with its intense chromaticism and unrelenting darkness. It is a tremendously compelling piece, and we are excited to perform it this week. (You can hear the famous opening depicted with an unusual bar graph in the YouTube video at the bottom.)

“Tickets are $10 cash at the door; by donation for students.

“More information about the MAYCO and its programming can be found on our website, http://mayco.org


Classical music: Madison Symphony Orchestra names Greg Zelek as its new principal organist

June 30, 2017
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By Jacob Stockinger

The Ear has received the following important news:

The Madison Symphony Orchestra (MSO) has announced that Greg Zelek (below) will become Principal Organist and Curator of the Overture Concert Organ, beginning Sept. 1, 2017.

Zelek will succeed Samuel Hutchison, who retired after 16 years in the position. Hutchison will remain active in an advisory role during the transition to his successor.

MSO Music Director John DeMain said “Greg Zelek’s decision to move to Madison and become our principal organist, is a testimony to the international reputation both the instrument and organ programs have gained in the past 12 years. Greg is simply a phenomenal virtuoso on the instrument and will be a wonderful addition to the symphony, the organ program, and the community.”

Samuel Hutchison (below) said:  “Greg comes to Madison as one of the brightest lights of a new generation of concert organists. His effortless facility at the organ console coupled with highly creative programming ideas will provide great excitement for our organ audiences. I anticipate his tenure with great enthusiasm as he launches the new season of organ concerts with his inaugural recital on August 26.”

Greg Zelek is recognized as one of the most exciting young organists in the American organ scene. The South Florida Classical Review praised Zelek for his “effortless facility on the instrument.” He has performed with orchestras as both a soloist and professional ensemble member throughout the US, including appearances with the Miami Symphony Orchestra and Metropolitan Opera Orchestra in Carnegie Hall.

He was the organist in the Metropolitan Opera’s production of Faust, and performed twice with the New World Symphony, including a performance of Lukas Foss’s Phorion, under Michael Tilson Thomas. Zelek was chosen by The Diapason magazine as one of the top “20 Under 30” organists in 2016, a feature which selects the most successful young artists in the field.

Zelek has appeared in multiple venues throughout the US, including a performance of Cochereau’s Bolero for Organ and Percussion in Alice Tully Hall. He closed the WQXR Bach Marathon at St. Peter’s Lutheran Church, which was streamed live on New York City’s only classical music station.

A proponent of new music for the organ, Greg (below) has premiered and performed works by fellow Juilliard composers and faculty, including Wayne Oquin’s Reverie and Samuel Adler’s Partita for Organ in concerts. Awards he has received include First Prize in both the 2012 Rodgers North American Classical Organ Competition and the 2012 West Chester University Organ Competition, and selection as a 2010 NFAA Young Arts Silver Medal Winner.

He won First Prize, as well as the “Bach Prize,” at the East Carolina University Organ Competition, and was a prizewinner in the Albert Schweitzer Organ Festival. Most recently, Greg was the Audience Prize winner and finalist in the 2016 Longwood Gardens International Organ Competition. (You can hear Greg Zelek perform Johann Sebastian Bach’s famous Toccata and Fugue in D Minor in the YouTube video at the bottom.)

Greg’s engagements have included serving as the Music Director and Organist at the Episcopal Church of St. Matthew and St. Timothy in New York City; Organ Scholar at Hitchcock Presbyterian Church in Scarsdale, New York; Music Director of Corpus Christi Catholic Church in Miami; and summer organist for San Pedro Apostol Church in Ramales de la Victoria, Spain.

He is completing an Artist Diploma as a student of Paul Jacobs at the Juilliard School. A recipient of the inaugural Kovner Fellowship, Greg also received his bachelor’s and master’s degrees from Juilliard.

Zelek is enthused about the opportunity and says. “I’m deeply honored to have received this unique opportunity with the Madison Symphony Orchestra. I look forward to building on Sam Hutchison’s outstanding work of promoting and elevating the art of organ music in performance and the magnificent Klais organ (below) to new heights.”


Classical music: The Bach Dancing and Dynamite Society opens its 26th season with a bang worthy of its name. Plus, TONIGHT the Willy Street Chamber Players open the summer season of the Rural Musicians Forum in Spring Green

June 12, 2017
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A REMINDER: Tonight at 7:30 p.m. in the Hillside Theater at Frank Lloyd Wright’s Taliesin compound in Spring Green, six members of the Willy Street Chamber Players will open the summer season of the Rural Musicians Forum. The program features works by Johannes Brahms, American composer Charles Ives, and Argentine composer Alberto Ginastera. A free-will donation will be requested. The Hillside Theater is located at 6604 County Highway 23, Spring Green. For more information about the Rural Musicians Forum, go to: http://ruralmusiciansforum.org/home

By Jacob Stockinger

This guest review is by a new contributor, Kyle Johnson (below). As a pianist since elementary school, Johnson has devoted most of his life to music. Born and raised in Lexington, Kentucky, he is now a doctoral candidate in piano performance at the UW-Madison, where he studies with Christopher Taylor and specializes in modern and contemporary music. He participates in many festivals and events around the U.S. and Europe. Recently, he co-founded the Madison-based ensemble Sound Out Loud, an interactive contemporary music ensemble. For more information, visit: www.kyledjohnson.weebly.com

By Kyle Johnson

The Bach Dancing and Dynamite Society’s 26th season — themed “Alphabet Soup” for 26 letters — began on Friday evening at the historic Stoughton Opera House (below bottom) with a program of underprogrammed French, German and Russian works.

BDDS is led by artistic directors (below) Stephanie Jutt, UW-Madison’s newly-retired flute professor and principal flute of the Madison Symphony Orchestra, and Jeffrey Sykes, pianist of the San Francisco Piano Trio who studied at the UW-Madison. The two musicians assembled a “dynamite” group of musicians for their opening concert.

First on the program was Médailles antiques (Old Medals) for flute, violin and piano from 1916 by Philippe Gaubert (below). Like the weather throughout the day on Friday, the piece provided a sunny and spry start to the program in the centennial year of World War I.

At times, I wanted the ends of phrases to have a little more stretch and grace to them. However, the richness of sound from each musician, as well as the ensemble’s superb blend, made up for any small qualm I may have had.

The next piece, Gideon Klein’s String Trio (1944), featured three “apprentice” musicians from BDDS’s Dynamite Factory. Violinist Misha Vayman (below top), violist Jeremy Kienbaum (below middle) and cellist Trace Johnson (below bottom) are the program fellows for this year’s series.

Striking about the work was Klein’s musical optimism amid stark reality – the piece was written at the Auschwitz concentration camp just a few months before the death of the composer (below).

The Dynamite Factory artists gave a spirited rendition of the weighty work, which at times resembles the rollicking intensity of Bela Bartok’s folk dances.

Before the intermission, the audience was treated to Sergei Prokofiev’s chilling Sonata No. 1 in F Minor, Op. 80, for violin and piano. Like the preceding piece, Prokofiev’s sonata was written during the strife of World War II. (You can hear the first movement, played by Maxim Vengerov, in the YouTube video at the bottom.)

Prokofiev labeled one passage at the end of the first movement as “wind passing through a graveyard”; the passage (a series of quick violin scales) returns at the close of the piece. Under the hands of violinist Carmit Zori (below top) and pianist Jeffrey Sykes (below bottom), the sonata seemed both devastating and human.

A brief, unprogrammed presentation began the second half of the concert, which was a performance of “Arrival of the Queen of Sheba” from the oratorio Solomon by George Frideric Handel.

The work was lauded and produced by the Fourth Earl of Sandwich in the mid-1700s. Fittingly, during the music, characters clad in 18th-century attire roamed the Stoughton Opera House to hand out sandwiches.

Last on the program was Johannes Brahms’s Piano Quartet No. 2 in A Major, Op. 26, played by violinist Zori; Pro Arte Quartet violist Sally Chisholm (below top); Toronto Symphony principal cellist Joseph Johnson (below bottom); and pianist Sykes.

The quartet brimmed with musical swells and overlapping layers of sound. There are a number of memorable themes that allow the listener to simply ride the wave of sound throughout the 40-minute work.

All of the musicians were fully deserving of the ovation (below, in a photo by Kyle Johnson) they received in Stoughton, as all technical demands were met with superb musicality and passion.

Future BDDS concerts run through June 25 and are not to be missed! For more information about programs and about performers, performance dates, times and venues, go to www.bachdancing.org


Classical music: The 26th season of the Bach Dancing and Dynamite Society chamber music festival opens this weekend with two programs in three locations

June 6, 2017
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By Jacob Stockinger

The Bach Dancing and Dynamite Society (BDDS) presents its 26th annual summer chamber music festival — Alphabet Soup — starting this weekend.

It will run from this Friday, June 9, through Sunday, June 25. The festival features 12 concerts over three weekends, and each weekend offers two different programs.

Concerts will be performed in The Playhouse at the Overture Center in Madison, the Stoughton Opera House in Stoughton and the Hillside Theater at Taliesin in Spring Green.

In the three-weekend festival, you can hear great classical masterpieces and fine contemporary works. A roster of musicians with national and international reputations will perform.

The venues are suitably intimate for chamber music: The Playhouse (below top) at the Overture Center at 201 State St.; the jewel box historic Stoughton Opera House (below middle) at 381 East Main St.; and Frank Lloyd Wright’s Hillside Theater (below bottom) at Taliesin on County Highway 23 in Spring Green.

Added attractions include stories about the music, mystery guests and even door prizes. As BDDS puts it, “It’s chamber music with a bang!”

BDDS is led by co-artistic directors and performers flutist Stephanie Jutt (below right), who is principal flute with the Madison Symphony Orchestra and who just retired from the UW-Madison faculty; and pianist Jeffrey Sykes (below left), who graduated from the UW-Madison and teaches in Berkeley, California,  where he is a member of the San Francisco Trio. Nineteen guest artists will also perform in the festival.

This season’s theme is Alphabet Soup, because it’s the 26th year and there are 26 letters in the alphabet. Each program is named after a combination of letters used in everyday language. Sometimes the musical interpretation of those letters is literal and sometimes it’s quite loose.

Musicians for Week One include three veteran string players: Naumberg Award-winning violinist Carmit Zori (below top); Madison’s very own violist Sally Chisholm (below middle) of the Pro Arte Quartet; and the Toronto Symphony Orchestra’s principal cellist Joseph Johnson (below bottom).

They will be joined by young artists who are participants in the newly formed Dynamite Factory, a BDDS program for nurturing and furthering the talents of three exceptional young musicians — violist Jeremy Kienbaum, violinist Misha Vayman and cellist Trace Johnson.

In one of two “sandwich” programs this weekend, PB&J, Carmit Zori will play the haunting Violin Sonata in F minor by Sergei Prokofiev and the program includes the heavenly Piano Quartet in A Major of Johannes Brahms.

The Dynamite Factory artists are featured in the emotional String Trio by Gideon Klein (below), a work he wrote at the Auschwitz concentration camp shortly before his death. (You can hear the trio by Gideon Klein in the YouTube video at the bottom.)

PB&J will be performed at the Stoughton Opera House on Friday, June 9, at 7:30 p.m.; and in Spring Green at the Hillside Theater, Sunday, June 11, at 2:30 p.m.

A second “sandwich” program, BLT, features the emotionally complex Cello Sonata (featuring Joseph Johnson) by Benjamin Britten (below top); all of the artists working together in the great “London” Symphony by Franz Joseph Haydn as arranged by Haydn’s contemporary and impresario Johann Peter Salomon (below bottom); and the beautiful string sextet “Souvenir de Florence” by Peter Tchaikovsky.

BLT will be performed at The Playhouse, Overture Center for the Arts, on Saturday, June 10, at 7:30 p.m. and at the Hillside Theater, Taliesin, Spring Green, on Sunday, June 11, at 6:30 p.m. 

For the seventh year, BDDS will perform two FREE family concerts, interactive events intended for all ages.

One event takes place 11–11:45 AM, on Saturday, June 10, in The Playhouse of the Overture Center.  The other will be at the Central Library Bubbler on this Thursday afternoon, June 8, from 4 to 5 p.m.

This is a performance for families with children of all ages and seating will be first come, first served. CUNA Mutual Group, Pat Powers and Thomas Wolfe and the Overture Center underwrite these performances.

Photos by Dick Ainsworth of BDDS performances and behind-the-scenes are on exhibit in The Playhouse Gallery through July 9.

Single general admission tickets are $43. Student tickets are always $10.

Tickets can also be purchased at Overture Center for the Arts, (608) 258-4141, www.overturecenter.org (additional fees apply). Tickets are available at the door at all locations.

For more information about the group, performers and programs, including audiovisual clips, go to: http://bachdancing.org


Classical music: Globe-trotting conductor Edo de Waart bids farewell to Madison and the Milwaukee Symphony Orchestra this Sunday afternoon at the Wisconsin Union Theater with music by Mozart, Bloch and Elgar

May 17, 2017
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By Jacob Stockinger

Music director and conductor Edo de Waart is coming to the end of his widely praised eight-year tenure at the Milwaukee Symphony Orchestra, after which he will become a conductor laureate of the MSO.

The busy and energetic 75-year-old de Waart (below, in a photo by Jesse Willems) started  his career as a assistant principal oboist of the Concertgebouw and rose to become an acclaimed symphony and opera conductor. Currently, he is also the music director of the Royal Flemish Philharmonic and the New Zealand Symphony Orchestra. In the past, he held major posts in Hong Kong, San Francisco, St. Paul, Minneapolis, Santa Fe, New York, Houston, Sydney, Rotterdam and Amsterdam among many others.

For more on de Waart, go to his Wikipedia entry:

https://en.wikipedia.org/wiki/Edo_de_Waart

Unless they go to Milwaukee on the following weekend — Friday, Saturday and Sunday, May 26-28 — to hear de Waart conduct Gustav Mahler’s mammoth Symphony No. 3 as his final farewell, listeners in the Madison area will likely have their last chance to hear the formidable de Waart and the accomplished Milwaukee players (below, with concertmaster Frank Almond on the left) this coming Sunday afternoon.

At 2:30 p.m. in Shannon Hall at the Wisconsin Union Theater, de Waart and the MSO will perform the Overture to the opera “Don Giovanni,” K. 527, by Wolfgang Amadeus Mozart; Ernest Bloch’s “Schlomo: A Hebraic Rhapsody” with MSO principal cellist Susan Babini (below); and Sir Edward Elgar’s Symphony No. 1, Op. 55.

There will also be a free pre-concert lecture at 1:30 p.m. by Randal Swiggum.

Tickets run from $15 to $49. For more information, including ticket prices and purchasing outlets, audiovisual links and links to reviews and background stories, go to:

https://union.wisc.edu/events-and-activities/event-calendar/event/milwaukee-symphony-orchestra/

The Ear has always been impressed not only with the quality of de Waart’s conducting, but also with his choice of soloists and his creative approach to programming. He has fond memories of other performances in Madison by the MSO, which used to tour here regularly.

The distinguished de Waart, a native of the Netherlands, has enjoyed critical acclaim in his international career across Europe, Asia and North America. For a while, this acclaimed world-class musician who has made so many award-winning recordings and performed so many guest stints around the world, was even a neighbor who lived in Middleton, a suburb of Madison, where his wife is from.

Plus, de Waart has a fine philosophy of making music and leading an orchestra, as you can hear in the YouTube video below that was made when he first took over the reins of the Milwaukee Symphony Orchestra:


Classical music: the Madison Symphony Orchestra recognizes local musicians with awards

June 30, 2016
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By Jacob Stockinger

The Ear has received the following news:

Several local musicians received prestigious awards from the Board of Directors of the Madison Symphony Orchestra (MSO) at the board’s recent June meeting in recognition of their musical contributions.

Margaret Rupp Cooper Award

The Margaret Rupp Cooper Award is presented in honor of the Symphony’s original harpist, who performed in the first concert in 1926 through the 50th anniversary season. The award is presented annually to two orchestra members based upon years of service, commitment to the orchestra, and musicianship. This year’s awardees were Naha Greenholtz, MSO Concertmaster, and Josh Biere, MSO Principal Tuba.

Naha Greenholtz (below, in a photo by Chris Hynes) has now completed her fifth season as concertmaster with the MSO. A graduate of the Juilliard School and winner of the prestigious Concertmaster Academy Fellowship at Cleveland State University, she has held numerous concertmaster positions and has participated in music festivals as both a performer and music director.

Naha Greenholtz 2014 CR Chris Hynes

Josh Biere (below) joined the Madison Symphony Orchestra as Principal Tuba in 2013. He also holds the principal tuba chair with the Kenosha (Wisconsin) Symphony and regularly performs with the Chicago Composers Orchestra. Mr. Biere holds degrees from Illinois Wesleyan University and Northwestern University.

Josh Biere tuba MSO

Marie Spec Award

The Marie Spec Award honors the Symphony’s long-time first violinist, who also played in the first performance in 1926. The award consists of a fund that provides both the concertmaster and Madison Symphony Chorus accompanist with an annual bonus. MSO Concertmaster Naha Greenholtz and Chorus Accompanist Dan Lyons received this year’s award.

A Chicago native, Dan Lyons (below) holds performance degrees from DePaul University and a doctoral performance degree from UW-Madison. He has performed solo, concerto and chamber recitals throughout the Midwest. In addition to serving as the accompanist and chorus manager for the Madison Symphony Chorus, he maintains a private teaching studio and continues to accompany throughout the Madison area.

Dan Lyons

Ann Stanke Award

The Ann Stanke Award is presented in honor of the former Madison Symphony Chorus accompanist and manager for her years of excellent service. This year’s award was presented to chorus member Bob Gentile.

Bob Gentile, a lifelong music educator, has sung in the bass section of the Madison Symphony Chorus for over 15 years, has served as President and Vice-President, and has shown valued leadership with his counsel, wisdom, good humor and kindness.

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 concert series, and diverse educational and community engagement programs. Learn more at: www.madisonsymphony.org

 


Classical music: Baltimore Symphony Orchestra music director and conductor Marin Alsop lends her late parents’ valuable violin and cello as living memorials to them and as a way to help musicians in her orchestra.

February 21, 2015
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By Jacob Stockinger

Perhaps you have read about the rapidly escalating cost of great musical instruments.

That puts a lot of younger or less well-known, cash-strapped players in a difficult spot.

For quite a while, banks and other financial institutions as well as museums and historical institutions such as the Smithsonian Institution have been putting the investment-quality instruments on loan to younger players whose playing deserves the instrument.

But individuals can do so too.

Take the case of the pioneering conductor Marin Alsop (below), a protégée of Leonard Bernstein who now heads the Baltimore Symphony Orchestra and the Sao Paulo State Symphony in Brazil, and who is being mentioned as a prominent candidate to follow Alan Gilbert when he steps downs from the podium of the New York Philharmonic in 2017.

Marin Alsop

When both her parents, who were distinguished professional musicians, died last year, they left behind valuable string instruments — a violin and a cello.

stradivari-solomon-ex-lambert

Cello and bow

Alsop didn’t want to sell the instruments.

But she also didn’t want them to lie unused and defeat their original purpose.

So Alsop (below, in a photo by Gabriella Dumczek of The New York Times) decided to turn the violin and cello into living memorials by placing them on loan with players in her Baltimore orchestra -– a move that has benefitted everyone and the instruments as well.

Here is a story from The New York Times:

http://www.nytimes.com/2015/02/14/arts/music/at-baltimore-symphony-a-cello-and-a-violin-make-more-than-music.html?_r=0

It gives you ideas about what might be done on the local level, where some very fine instruments – including pianos — could benefit some very young but very fine local players who otherwise couldn’t afford to have them.

Marin Alsop  2015 CR Gabriella Demczuk NYT


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