The Well-Tempered Ear
The Willy Street Chamber Players give a free virtual concert this Sunday at noon. It will be posted until Dec. 31
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By Jacob Stockinger
The Ear has received the following announcement from The Willy Street Chamber Players (below), a relatively new group that is critically acclaimed for both its adventurous and eclectic, exploratory programming and for its outstanding performances of both the traditional repertoire and new music.
The Willy Street Chamber Players (WSCP) will play a virtual online concert this Sunday, Nov. 15, at noon CST.
Access to the “Beyond the Screen” concert is FREE and no registration is required. It will be available for free online until Dec. 31 on the group’s website. Here is a link to YouTube: https://youtu.be/j5Ved4FqYSQ
Listeners can visit the WSCP website or Facebook page Sunday at concert time for links to the 70-minute performance. Here is a link to the home website: http://www.willystreetchamberplayers.org
The dynamic WSCP program was recorded live, with masks and social distance, at the historic Gates of Heaven Synagogue (below, exterior and interior during the taping) in James Madison Park in downtown Madison.
The concert will premiere on Facebook live and YouTube, providing two ways to watch from the comfort and safety of your own home.
Members of WSCP will be on hand to interact with viewers in real time through the Facebook and YouTube virtual chat during the performance. They will provide spoken program notes.
Then, immediately following the concert, you can join WSCP members for a Q&A “reception” on ZOOM at 1:15 pm.
The concert program is:
Sonata for Violin and Cello (1922) by French composer Maurice Ravel (below)
“Allegro,” the first of Four Pieces for Solo Cello (1983) by Cuban-born composer Tania León (below), which you can hear in the YouTube video at the bottom.
https://en.wikipedia.org/wiki/Tania_León
Canción de Cuna Del Niño Negro (Cradle Song of the Black Baby, 1937) by Cuban composer Amadeo Roldán y Gardes (below), as arranged by Rachel Barton Pine.
https://en.wikipedia.org/wiki/Amadeo_Roldán
“Heart O’ the Hills” from Appalachian Duets, Op. 38, No. 8 (2001) by American composer Maria Newman (below), who is the youngest daughter of famous Hollywood film composer Alfred Newman.
https://en.wikipedia.org/wiki/Maria_Newman
Duo for Violin and Cello, Op. 7 (1914), by Hungarian composer Zoltan Kodaly
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Classical music: Bach Around the Clock 2020 goes virtual and wants your audio-video contribution. Plus TONIGHT, the Wisconsin Chamber Orchestra streams its Dec. 27 concert at the UW
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ALERT: TONIGHT, March 27, at 7:30 p.m., the Wisconsin Chamber Orchestra will be streaming its sold-out premiere performance (below) on Dec. 27 in the Mead Witter Foundation Concert Hall at the UW-Madison’s new Hamel Music Center. If you couldn’t get seats for the in-person performance, you can tune in for FREE tonight.
The program is: “Poet and Peasant Overture” by Suppe; the Introduction and Allegro appassionato, Op. 92, by Robert Schumann with pianist Jason Kutz; the Overture to “Orpheus in the Underworld” by Offenbach; the “Habanera” from the opera “Carmen” by Bizet and “What a movie” from the opera “Trouble in Tahiti” by Leonard Bernstein, both with mezzo-soprano Kitt Reuter-Foss; and the Violin Concerto No. 3 in B minor, Op. 61, by Saint-Saens with Rachel Barton Pine. WCO music director Andrew Sewell conducts.
For a link and portal to the streamed video, go to: https://wisconsinchamberorchestra.org/about/wisconsin-chamber-orchestra-live/
By Jacob Stockinger
The Ear has received the following message from artistic director Marika Fischer Hoyt (below) about the decision to make this year’s Bach Around the Clock a virtual event with a call for community submissions:
The BATC Board of Directors shares the keen disappointment that all music lovers feel at the sudden, shocking collapse of the current concert season.
The BATC 2020 Festival was fully booked, and we had looked forward to 12 hours of music by Johann Sebastian Bach, performed by musicians ranging from young students to adult amateurs to seasoned professionals, all to celebrate the composer’s 335th birthday.
Sadly, that was not to be.
But thinking outside of the box, the Board has decided to try something new: the BATC 2020 Virtual Festival.
We invite local musicians to submit video or audio recordings of themselves singing or playing a selection by Bach. If you’d like, you can also talk at the beginning of your recording, explaining what music by Bach (below) means to you, and why you chose this particular piece. Or feel free to write your thoughts on this subject, and we’ll include that text with your recording.
We reach out especially to those who were scheduled to perform at this year’s festival, and those who have performed with us in the past. But we are very happy to include newcomers to our BATC community as well.
Performers can click on Performers Guide for Media Submissions to find instructions for audio or video file submission.
We request that files be of musical selections 20 minutes or less. If a piece is longer than that, please record the piece in two files.
Our tech team will preview clips for technical quality, upload them to the BATC YouTube channel, and post them on our website and then on our Facebook page, for everyone to enjoy.
BATC plans to launch the Virtual Festival this Saturday, March 28, at 10 a.m., the time the original in-person Festival was scheduled to begin.
We will add new videos every day at 10 a.m., as long as submissions keep coming in. (Below are the Suzuki Strings of Madison performing during a past BATC.)
The BATC Board hopes this Virtual Festival gives local musicians an outlet for sharing their talent and passion with the warmly appreciative local community.
Live music nourishes the soul of performer and audience member alike, and the transcendent, life-giving joy woven into the music of Bach is something we need, now more than ever. (Below is a performance from last year’s Bach Around the Clock.)
For more information, go to: https://bachclock.com and https://www.facebook.com/batcmadison
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Classical music: The Wisconsin Chamber Orchestra and guest soloists will give a FREE public concert on Friday, Dec. 27, in the new Hamel Music Center at the UW-Madison to honor arts patrons Sandy and Jun Lee
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By Jacob Stockinger
If you are looking for a non-holiday concert to go to during Christmas week, the Wisconsin Chamber Orchestra (below, in a photo by Mike Gorski) — which just performed a sold-out “Messiah” and is about to play the score for Madison Ballet’s production of “The Nutcracker” — has a surprise gift for you.
On Friday, Dec. 27, at 8 p.m. in the Mead Witter Foundation Concert Hall of the new Hamel Music Center, 740 University Ave., at the UW-Madison, the WCO and three guest soloists will give a FREE “Winter Celebration” concert that is open to the public. (Donations to the WCO are suggested.)
The occasion is to celebrate the 50th wedding anniversary of Sandy and Jun Lee (below), who are generous patrons of the arts in Madison.
The three guest artists for the concert are:
UW-Madison piano graduate Jason Kutz (below), who performs with the Willy Street Chamber players and other groups, will play the Introduction and Allegro Appassionato, Op. 92, by Robert Schumann.
Local mezzo-soprano opera star Kitt Reuter-Foss (below), who has sung at the Metropolitan Opera, will sing the “Habanera” from Bizet’s “Carmen” and “What a Movie” from Leonard Bernstein’s “Trouble in Tahiti.” (You can hear the famous “Habanera” in the YouTube video at the bottom.)
Renowned Chicago violinist Rachel Barton Pine, who has played several times with the WCO and just two months ago performed with the Madison Symphony Orchestra, will play the Violin Concerto No. 3 in B Minor, Op. 61, by Camille Saint-Saens.
In addition, the WCO, under the baton of music director Andrew Sewell (below, in a photo by Alex Cruz), will perform the “Poet and Peasant” Overture by Franz von Suppe; and the Overture to “Orpheus in the Underworld” by Jacques Offenbach.
Although the concert is free, tickets are required. You can go to this link to register by putting in your name and other required information: https://wisconsinchamberorchestra.org/performances/winter-celebration/
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Classical music: This weekend guest violinist Rachel Barton Pine solos with the Madison Symphony Orchestra in an all-Russian program
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By Jacob Stockinger
This weekend the acclaimed Chicago violinist Rachel Barton Pine (below) makes her debut with the Madison Symphony Orchestra playing Khachaturian’s Violin Concerto in D minor.
The concert by the orchestra (below, in a photo by Peter Rodgers) opens with Prokofiev’s Suite from Lieutenant Kijé and concludes with Shostakovich’s Symphony No. 9.
Performances will be held in Overture Hall, 201 State St., on Friday night, Oct. 18, at 7:30 p.m.; Saturday night, Oct. 19, at 8 p.m.; and Sunday afternoon, Oct. 20, at 2:30 p.m. in Overture Hall. Tickets are $19-$95. See below for details.
“There will be great discoveries in our all-Russian concert, starting with the MSO debut of virtuoso violinist Rachel Barton Pine playing the Khachaturian Violin Concerto, a big, bold and beautiful work in its MSO premiere,” said MSO music director and conductor John DeMain (below, in a photo by Greg Anderson). Lieutenant Kijé is sure to delight you with its wonderful melodies and infectious rhythms. Shostakovich has become a favorite with our audiences, and his ninth symphony is delightfully upbeat.”
Lieutenant Kijé is the fictional protagonist of an anecdote about the reign of Emperor Paul I of Russia. The story was used as the basis of a novella by Yury Tynyanov published in 1928 and filmed in 1934, with music by Sergei Prokofiev (below). The plot is a satire on bureaucracy and is often parodied in fictional works making fun of bureaucracies, most famously in the form of the M*A*S*H television episode “Tuttle,” featuring a fictional captain of similar provenance. (You can hear the popular “Troika” episode in the YouTube video at the bottom.)
Many of the themes in Violin Concerto in D minor are evocative of the native Armenia of Aram Khachaturian (below). Although the folk melodies aren’t played explicitly, one can hear the Armenian roots through the oriental essence of the scales and the rhythmic range of the featured dances. The piece won the Stalin Prize in 1941, becoming one of Khachaturian’s favorites.
Shostakovich’s Symphony No. 9 is entirely unlike his other symphonies. In fact, it completely disregards the expectations for its programmatic elements. Shostakovich’s prior two symphonies are thematically tied to the ongoing war, therefore the public presumed that the ninth symphony would be a grand culmination to Stalin and mark the end of World War II. Instead, the composer (below) produced a short, neo-classical work that generated an abundance of controversy.
ABOUT RACHEL BARTON PINE
In both art and life, violinist Rachel Barton Pine (below) – who has performed in Madison before with the Wisconsin Chamber Orchestra — has an extraordinary ability to connect with people.
Celebrated as a leading interpreter of great classic and contemporary works, her performances combine her innate gift for emotional communication and her scholarly fascination with historical research. She plays with passion and conviction, thrilling audiences worldwide with her dazzling technique, lustrous tone, and infectious joy in music-making.
A prolific recording artist, she has also championed the works of female composers and African-American composers.
Pine was also recently named the recipient of the Cedille Records Musical Partnership Award for her Rachel Barton Pine Foundation. The Foundation was recognized as an organization that has demonstrated an extraordinary commitment to the classical music community in Chicago. Cedille noted the Foundation’s “support of the Chicago musical community’s most valuable asset — its musicians and composers.”
Pine was presented with the award by U.S Supreme Court Justice Ruth Bader Ginsburg whose son, Jim Ginsburg, founded Cedille Records. Pine began her Foundation in 2001 to provide instruments and instruction to children who might not otherwise be able to afford them.
You can read the Artist Story online about how Rachel Barton Pine overcame severe injuries and her own personal adversity to achieve her goals: https://madisonsymphony.org/19-20-artist-story-rachel-barton-pine-overcomes-adversity/
CONCERT, TICKET AND EVENT DETAILS
The lobby opens 90 minutes prior to each concert.
One hour before each performance, retired MSO trombonist and UW-Whitewater professor Michael Allsen (below, in a photo by Katrin Talbot) will lead a 30-minute Prelude Discussion in Overture Hall to enhance concertgoers’ understanding and listening experience. It is free to ticket holders.
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.
Program notes for the concerts are available online: http://bit.ly/msooct19programnotes.
- Single Tickets are $19-$95 each and are on sale now at: https://madisonsymphony.org/event/rachel-barton-pine-plays-khachaturian/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
- Subscriptions for the 2019–2020 season are available now. Learn more at: https://madisonsymphony.org/19-20
Discounted seats are subject to availability, and discounts may not be combined.
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Classical music: The Madison Symphony Orchestra is offering an unlimited, season-starting single ticket sale with 20 percent off, through this Saturday
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By Jacob Stockinger
For the first time ever, the Madison Symphony Orchestra (below, in a photo by Peter Rodgers) is offering a sale on tickets to the first three concerts this season.
You will get 20 percent off if you buy tickets through the Overture Center box office in person, by phone (608 258-4141) or online at https://www.overture.org/events
The discount code to say or use is FIRST3SYMPHONY.
Be forewarned: You will NOT find the ticket sale on the MSO website.
There is no limit of how many tickets you can buy, says MSO marketing director Peter Rodgers who also said the traditional holiday ticket sale, with two-tiered discount pricing, will take place as usual from Dec. 16 through Dec. 31.
The season-starting sale runs through this coming Saturday, Aug. 31. You can get discounted single tickets to the concerts on Sept. 27-29, Oct. 18-20 and Nov. 8-10 with performances on Fridays at 7:30 p.m., Saturday at 8 p.m. and Sunday afternoons at 2:30 p.m.
Ticket prices range from $19-$95, up about 2 percent from last year to keep up with inflation, Rodgers added.
Why isn’t the sale on the MSO website?
“We did it digitally and in a printed brochure that we mailed out just to try and reach out to either season subscribers or people who have already bought single tickets before and have already been to the symphony,” says Rodgers. “We just wanted to give some people a little nudge. But anyone can take advantage of the sale.”
Rodgers also said that the inaugural sale is not being held because ticket sales are slow. “Ticket sales for this season are competitive with last season’s,” he said, adding that some buyers might use the sale to get tickets as birthday gifts or for other special occasions.
Although there is no limit to the number of single tickets an individual can buy, Rodgers said that once you get to 10, you are better off going with the usual 25 percent off group rate.
MSO music director John DeMain (below, in a photo by Greg Anderson) will conduct all performances of the first three concerts.
The September concerts open the season with MSO organ soloist Greg Zelek (below) and features the Overture to the opera “Tannhauser” by Richard Wagner; the “Toccata Festiva” by Samuel Barber; the tone poem “Prelude to the Afternoon of a Faun” by Claude Debussy; and the Symphony No. 7 by Antonin Dvorak.
The October concerts feature guest violinist Rachel Barton Pine. The all-Russian and all-20th century program includes the Violin Concerto by Aram Khachaturian; the Symphony No. 9 by Dmitri Shostakovich; and the Suite from “Lieutenant Kije,” for trumpet and orchestra, by Sergei Prokofiev.
The November concerts feature guest pianist Joyce Yang. The program is the Symphony No. 2 by Robert Schumann; the Piano Concerto No. 3 by Sergei Prokofiev; and “Newly Drawn Sky” by the Pulitzer Prize-winning and Grammy Award-winning contemporary American composer Aaron Jay Kernis, who teaches at the Yale University School of Music. (You can hear “Newly Drawn Sky” in the YouTube video at the bottom.)
For more details about the three opening concerts and the entire 2019-20 season, including complete programs, go to: https://madisonsymphony.org/concerts-events/2019-2020-symphony-season-concerts/
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Classical music: Amy Beach turns 150. Read about the woman and her music
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By Jacob Stockinger
Amy Beach (1867-1944, below) was a pioneering American composer who fought against sexism in her lifetime and who benefitted greatly from the rediscovery of women artists during the feminist revival of the 1970s and 1980s.
But here is a link to the most comprehensive story The Ear has yet read about Beach and her music, which is still neglected and not getting the attention it deserves, especially the larger and more ambitious works. (You can find many on YouTube and other streaming services.)
The story marked the 150th anniversary of her birth and appeared last Sunday in The New York Times.
Here is a link:
https://www.nytimes.com/2017/09/01/arts/music/amy-beach-women-american-composer.html
And here, introduced and played by Rachel Barton Pine in a YouTube video, is one of her last and more minor works: a lovely Romance for violin and piano. It remains one of The Ear’s favorites.
Tags: American, Amy Beach, anniversary, artist, Arts, Beethoven, birth, Brahms, Chamber music, choral music, Classical music, Compact Disc, composer, doctor, Dvorak, Europe, feminism, feminist, Gaelic, George Whitfield Chadwick, Jacob Stockinger, John Knowles Paine, Madison, Music, neglect, New Hampshire, Orchestra, Piano, Rachel Barton Pine, revival, Romance, Saint-Saens, Sexism, Sonata, song, songs, streaming, The New York Times, United States, University of Wisconsin-Madison School of Music, University of Wisconsin–Madison, Viola, Violin, vocal music, Wisconsin, woman, women, YouTube
Classical music education: Wisconsin Youth Symphony Orchestras performs “Sounds of the Season” with area high school choirs on TV once again on Christmas Eve and Christmas Day. Plus, WYSO names Randal Swiggum as its new interim music director
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By Jacob Stockinger
The Wisconsin Youth Symphony Orchestras has two pieces of news to report:
As in past years, WYSO will perform its popular one-hour, commercial-free “Sounds of the Season” concerts on TV on NBC 15 this weekend.
Three WYSO groups will be featured: the Youth Orchestra (below top), the Youth Brass Choir (below middle) and the Percussion Ensemble (below bottom).
There will be one performance on Christmas Eve at 10 p.m., and then two performances on Christmas Day at 8 a.m. and 12:30 p.m.
The orchestra and ensembles will also be joined by choirs from area high schools. Sorry, but The Ear can’t find word of which ones.
You can hear part of Leroy Anderson’s “Sleigh Ride” as performed by WYSO on “Sounds of the Season” in the YouTube video at the bottom.
For more information, photos and audiovisual clips from a last year’s “Sounds of the Season,” go to:
http://www.nbc15.com/content/misc/NBC15-Sounds-Of-The-Season-2016-406076915.html
In addition WYSO has named an interim replacement for outgoing music director James Smith (below), who is retiring from WYSO as well as from the University of Wisconsin-Madison at the end of this season.
Here are details from WYSO’s executive director Bridget Fraser:
“WYSO is very pleased to announce that Randal Swiggum (below) has been appointed WYSO Interim Artistic Director and Youth Orchestra Conductor for the 2017-2018 season.
“Randy is well-known to many WYSO students already, whether through Summer Music Clinic, the recent Wisconsin Middle Level Honors orchestra, or Suzuki Strings of Madison. He prepared the WYSO Youth Orchestra for its 2012 Overture Center performance of “To Be Certain of the Dawn,” and has subbed in with Philharmonia Orchestra and chamber music rehearsals.
“Randy is in his 19th season as Artistic Director of the award-winning Elgin Youth Symphony Orchestra, a large program similar to WYSO, which draws students from 70 different communities in suburban Chicago.
“Under his direction, the EYSO has collaborated with renowned artists like Midori, Yo-Yo Ma and Rachel Barton Pine, as well as Grammy-winning chamber ensemble eighth blackbird. The EYSO has appeared on NPR’s “From the Top” and at the Ravinia Festival, where they will return to perform again in 2018.
“The Illinois Council of Orchestras has twice named him Conductor of the Year and awarded its prestigious Programming of the Year Award to the EYSO.
“A frequent guest conductor of orchestral and choral festivals, Randy recently conducted the Scottish National Youth Symphony in Glasgow, All-State Orchestras in Georgia and Illinois, the American Mennonite Schools Orchestra Festival, Northern Arizona Honors Orchestra, the APAC Orchestra Festival in Seoul, and both the Wisconsin Middle Level Honors Choir and Orchestra, among many others.
“Randy also works with a number of professional orchestras, designing and conducting concerts for young people. Last year, he led the Madison Symphony in his original “Symphony Safari: What Nature Teaches Us About the Orchestra,” attended by several thousand middle school students in Overture Hall.
“Next February, he returns for a fourth season with the Milwaukee Symphony Orchestra in its acclaimed “Teen Partner” series, conducting the Gloria by Francis Poulenc.
“He also appears next spring with the Chippewa Valley Symphony, conducting his “Beethoven Superhero” concert, which has been popular with teachers, students and parents alike, with the Elgin Symphony and The Florida Orchestra (Tampa).
“As an author and lecturer, Randy works with teachers around the country and internationally, most recently with international school teachers in Hong Kong and at Carnegie Hall, where last summer he returned for a fourth season teaching its Music Educator Workshops, and leading members of the National Youth Orchestra of the USA.
“Randy is a proud UW-Madison graduate and lives in Madison, where you can find him on Monday nights working with the Madison Boychoir (in the Madison Youth Choirs) alongside colleague Margaret Jenks.
“WYSO is truly fortunate to have such a dedicated and tireless educator guiding its artistic vision next season.”
Tags: Arizona, Artistic director, Arts, Bach, Baroque, Beethoven, brass, Carnegie Hall, Carol, Carols, Cello, Chamber music, Chicago, Choir, choral music, Christmas, Christmas Day, christmas eve, Classical music, clinic, commercials, concerto, Early music, eighth blackbird, Elgin, Georgia, Grammy, Holiday, holiday music, Hong Kong, honors, ILLINOIS, Jacob Stockinger, Johann Sebastian Bach, Leroy Anderson, Madison, Madison Boychoir, Madison Symphony Orchestra, Madison Youth Choirs, Midori, Music, Music education, NBC 15, NPR, Orchestra, Overture Center, percussion, Rachel Barton Pine, Ravinia, Scotland, Season, seasonal, seasonal music, Sleigh Ride, suburbs, Suzuki Strings, teachers, Television, TV, United States, University of Wisconsin-Madison School of Music, University of Wisconsin–Madison, Viola, Violin, vocal music, Wisconsin, Wisconsin Chamber Orchestra, Wisconsin Youth Symhony Orchestras, Wolfgang Amadeus Mozart, WYSO, Yo-Yo Ma, YouTube
Classical music: These women composers should be household names
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By Jacob Stockinger
It may be known more for basketball, for March Madness and the Big Dance.
But March is also Women’s History Month.
Before it ends, The Ear wanted to share a terrific story about women composers that appeared in the Smithsonian Magazine.
It discusses women composers who should be household names like Johann Sebastian Bach or Wolfgang Amadeus Mozart.
Who are they?
Can you guess their names and match them to the photos?
Have you heard their works?
Read the story and see for yourself.
Here is a link:
And at bottom is a YouTube video with a beautiful and tuneful example of one woman composer as well as background about a great but unknown female American violinist, who is championed by the Chicago violinist Rachel Barton Pine (below), who herself has performed several times with the Wisconsin Chamber Orchestra.
And leave what you think about a specific composer or women in music in general in the COMMENT section.
The Ear wants to hear.
Tags: Amy Beach, Arts, Bach, Barbara Strozzi, basketball, Big Dance, Chamber music, Chicago, Clara Schumann, Classical music, Elizabeth Maconchy, Jacob Stockinger, Johann Sebastian Bach, Madison, March Madness, Music, NCAA, NCAA Men's Division I Basketball Championship, Orchestra, photos, Piano, Rachel Barton Pine, United States, University of Wisconsin-Madison School of Music, University of Wisconsin–Madison, Violin, vocal music, Wisconsin Chamber Orchestra, Wolfgang Amadeus Mozart, Women's History Month, YouTube
Classical music: The Wisconsin Chamber Orchestra again proves that it’s not just for summer pops listening anymore as it opens its winter season to the full house its deserves.
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By Jacob Stockinger
Can it really be that the Wisconsin Chamber Orchestra –- The Little Orchestra That Could -– is finally getting the long overdue recognition and larger audiences that it deserves? One hopes so, and it certainly seems so.
Last Friday night on the Capitol Theater of the Overture Center, the Wisconsin Chamber Orchestra opened its new winter season to a full and enthusiastic house.
So perhaps the tide is indeed turning and the WCO will not continue to be hamstrung by its own success, by which I mean its historic role and pops repertoire in the always popular summertime Concerts on the Square. The WCO should be taken more seriously by the area’s classical fans.
Friday saw a full house – but not necessarily a sold-out house since the WCO generously offers tickets to students and others in need -– which was what they deserve, and have deserved, for a longtime.
The ensemble’s playing proved nothing short of terrific, and the soloists – violinist Rachel Barton Pine and violist Matthew Lipman – proved nothing short of spectacular.
Here are the points that The Ear took away.
1. The music of the famous 18th-century composers Wolfgang Amadeus Mozart (below top) and Franz Joseph Haydn (below bottom) can by now seem so safe and so predictable. The Classical-era style is that well established. So it is high praise to the WCO ‘s longtime music director and conductor Andrew Sewell, who his starting his 15th season, that these most established of Classical composers again seemed vital and even, at times, daring and radical. No music box Mozart from the WCO!
Sewell’s readings of both composers is not timid in any way, but robust and energetic. Not that Sewell (below) sacrifices the elegance and balanced proportion that we expect to hear in Classical compositions. But he also brings an approach that features up-beat tempi, sharply accented beats, long phrases and an emphasis on dissonant harmonies that helped listeners see how such staple Classical composers were innovative revolutionaries in their day and helped pave the way to modernity.
Really, at one point during Haydn’s late Symphony No. 96 “The Miracle” The Ear could look down the road of music history and see not only Ludwig van Beethoven and Franz Schubert coming, but even Gustav Mahler (below), with his use of peasant dances, harmonic suspensions and dissonances, and a kind of tightly knit theme-and-variations method of composing and adding to the music’s momentum.
2. The WCO knows how to book outstanding and exciting soloists. Chicago violinist Rachel Barton Pine (below), playing a violin once chosen by Johannes Brahms himself, showed superb tone and musicianship with just the right splash of head-turning virtuosity. But she can sing too, and she held the audience in her hand when she played the famous quiet Lullaby by Brahms as an encore.
One very discerning listener whom The Ear knows thought that Barton Pine’s stellar rendition of Camille Saint-Saens’ showpiece “Introduction and Rondo capriccioso” was the best version of the several he had heard in three performances over the past several months. It helped, I think, that you could watch the playing as well as hear the piece. As the composer Igor Stravinsky used to advise: Listen with your eyes.
Similarly the violist Matthew Lipman (below), who was making his WCO debut, did a terrific job. He may look about 16, but he plays like a seasoned veteran with confidence and fine tone.
The two string players excelled in the Double Concerto for Violin and Viola by Benjamin Britten -– but more about that performance and work later. Yet what really brought the string duo a prolonged standing ovation was their encore: the famous solo Passacaglia for Violin and Viola by George Frideric Handel, as arranged by Johan Halvorsen. (You can hear a version of this great violin and viola piece, with Itzhak Perlman and Pinchas Zukerman, in a YouTube video at the bottom.) What fun it was to hear it live!
3. The hybrid programming proved typical of Andrew Sewell, who likes to combine the familiar with the unknown. So Mozart’s popular Overture to the opera “The Marriage of Figaro” and the well-known late Haydn symphony were balanced out by the rarely programmed Violin Concerto No. 5 by the mid-19th century Romantic Belgian composer Henri Vieuxtemps (below), a competent but, to The Ear’s ears, not a particularly inspired composition. I think I can wait another decade or two before hearing a repeat performance.
The Double Concerto for Violin and Viola by the young Benjamin Britten is another matter. I need to hear it again, and that will not be easy since it is not often programmed or recorded.
But the hallmarks of mature Britten (below) all seemed there, if not yet seamlessly assembled. The music sounded modern but accessible, clearly not academic. This was real music, not what The Ear calls R&D Music — Research and Development Music — that is designed more to make a point or win tenure than to please the ear or touch the heart.
In all, it was a delightful night of music-making, and if you are not going to the Wisconsin Chamber Orchestra, you are only cheating yourself of great pleasure and great performances.
Reviews, of course, are by nature subjective. So here is another one you can compare this review to:
It is a review by the highly respected John W. Barker (below) for Isthmus:
http://www.isthmus.com/daily/article.php?article=43770&sid=c9ccfe0ad418291bab1d31cde0181d49
Tags: Arts, Beethoven, Benjamin Britten, Brahms, Camille Saint-Saëns, chamber orchestra, Chicago, Classical era, Classical music, concerto, Franz Joseph Haydn, Franz Schubert, George Frideric Handel, Haydn, Henri Vieuxtemps, Introduction and Rondo Capriccioso, Jacob Stockinger, lullaby, Mahler, Matthew Lipman, modernism, Mozart, opera, Orchestra, Overture Center, passacaglia, Rachel Barton Pine, Romantic, Schubert, Stravinsky, theme and variations, Viola, Violin, Violin concerto, viols, Wisconsin Chamber Orchestra, Wolfgang Amadeus Mozart, YouTube
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The Well-Tempered Ear 
Salon Piano Series cancels the rest of this season but offers a free monthly video from past concerts
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PLEASE HELP THE EAR. IF YOU LIKE A CERTAIN BLOG POST, SPREAD THE WORD. FORWARD A LINK TO IT OR, SHARE IT or TAG IT (not just “Like” it) ON FACEBOOK. Performers can use the extra exposure to draw potential audience members to an event. And you might even attract new readers and subscribers to the blog.
By Jacob Stockinger
The Ear has received the following announcement from the Salon Piano Series that take place at Farley’s House of pianos:
Dear friends,
How we’ve missed seeing you, since last we were able to gather – in February, for pianist Shai Wosner (below, in a photo by Marco Borggreve) and his recital of heart-stopping Schubert, Scarlatti, Rzewski and Beethoven.
Since then, our pianos have sat silent, waiting for the day we can safely reopen and welcome you back.
For now, although it breaks our hearts, we do need to stay dark through the rest of the 2020-21 season, for everyone’s safety. Our highest priority is the well-being of our artists, audience and staff.
But rest assured that we are rescheduling all of our postponed performances:
Drew Petersen (below) (https://www.brownpapertickets.com/event/4275242) will perform next October.
Jazz great Bill Charlap (below) (https://www.brownpapertickets.com/event/4275248) will perform in June.
We are working to schedule Sara Daneshpour, violinist Rachel Barton Pine, Niklas Sivelov and John O’Conor over the next two seasons.
In the meantime, while we can’t gather in person, we’re pleased to announce the launch of a monthly video series featuring some of our past and upcoming artists.
December brings us the incomparable Shai Wosner and in January, Adam Neiman (below).
During these uncertain times, we appreciate remembering time spent together enjoying music.
Please take a break from your day to see and hear Shai Wosner (below) performing Domenico Scarlatti’s Sonata in C Minor, K. 230, and Frederic Rzewski’s Nano Sonata No. 12.
The video was recorded live at Farley’s House of Pianos as part of the Salon Piano Series on Feb. 23, 2020.
Click here or at the bottom for the YouTube video: https://www.youtube.com/watch?v=-MCxr5ioV4o&feature=youtu.be
Last March, Shai Wosner released a 2-CD album (http://www.shaiwosner.com/recordings.html) of Schubert late piano sonatas. The album’s producer is nominated for a Grammy Award for the album.
Over the years, you have supported the intimate Salon Piano Series with your attendance, individual sponsorships and donations (https://salonpianoseries.org/donate).
We look forward to bringing you more world-class musical performances in our unique salon setting again soon.
In the meantime, these performances are a way to recapture the live concert experience, including commentary from artistic director Tim Farley, with videography by Tom Moss.
Those on our e-newsletter list, available at our website at https://salonpianoseries.org/contact.html, will receive a video link each month, and the videos are also available on our social media channels.
Stay safe, stay healthy and keep listening.
Sincerely,
The Salon Piano Series Board of Directors
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