By Jacob Stockinger
It’s Valentine’s Day.
If you want to celebrate, there is always chocolate or roses or champagne or a special dinner.
But there is music too.
Many composers come to mind: Johann Sebastian Bach, Antonio Vivaldi, Wolfgang Amadeus Mozart, Ludwig van Beethoven, Franz Schubert, Frederic Chopin, Franz Liszt, Antonin Dvorak, Johannes Brahms, Peter Tchaikovsky, Gabriel Faure, Giacomo Puccini, Claude Debussy, Maurice Ravel, Sergei Prokofiev, and Sergei Rachmaninoff to name a few.
But The Ear thinks one of the most beautiful pieces is a short one, a miniature if you will.
It is the Romance in F-sharp Major, Op. 28, No. 2, by the Romantic German composer Robert Schumann (below with his wife Clara Wieck Schumann). Nobody wrote music about love, music filled with love and yearning, better than Schumann.
Not only does the piece sound intimate.
It IS intimate — with the two thumbs playing the melody a third apart much of the time. It is as if the two thumbs, left and right, are the two lovers.
Little wonder that the composer asked his virtuoso pianist-composer wife Clara to play it for him as he lay dying.
And to top it off, it is not all that difficult to play, so you could learn it and play it for your Valentine.
Here it is, performed in a YouTube video by the late Van Cliburn:
But what about you?
As radio stations like to say ”The Request Line is open!
What piece of classical music – big or small, old or new, hard or easy — would you play or dedicate to your Valentine?
Duets of all kinds seem especially appropriate. But so do songs and symphonies, operas and oratorios, and all kinds of chamber music.
So tell us about your musical gift for Valentine’s Day.
Leave a message in the COMMENT section, with a short explanation and dedicatory comment and perhaps with a YouTube link if possible — the forward it to your Valentine.
The Ear wants to hear.
By Jacob Stockinger
This posting is both a news story and a holiday gift guide of classical recordings you might like to give or get.
It features the classical music nominations for the 59th annual Grammy Awards that were just announced this past week.
As you can see, several years ago, the recording industry decided that the Grammys should put more emphasis on new music and contemporary composers as well as on less famous performers and smaller labels as well as less well-known artists and works. You don’t see any music by Bach, Beethoven or Brahms this year, although you will find music by Mozart, Handel, Schumann and Dvorak. And clearly this is not a Mahler year
The winners will be announced on a live TV broadcast on Sunday night, Feb. 12, on CBS.
“Corigliano: The Ghosts of Versailles” — Mark Donahue & Fred Vogler, engineers (James Conlon, Guanqun Yu, Joshua Guerrero, Patricia Racette, Christopher Maltman, Lucy Schaufer, Lucas Meachem, LA Opera Chorus & Orchestra)
“Dutilleux: Sur Le Même Accord; Les Citations; Mystère De L’Instant & Timbres, Espace, Mouvement” — Alexander Lipay & Dmitriy Lipay, engineers (Ludovic Morlot, Augustin Hadelich & Seattle Symphony)
“Reflections” — Morten Lindberg, engineer (Øyvind Gimse, Geir Inge Lotsberg & Trondheimsolistene)
“Shadow of Sirius” — Silas Brown & David Frost, engineers; Silas Brown, mastering engineer (Jerry F. Junkin & the University Of Texas Wind Ensemble)
“Shostakovich: Under Stalin’s Shadow: Symphonies Nos. 5, 8 & 9” — Shawn Murphy & Nick Squire, engineers; Tim Martyn, mastering engineer (Andris Nelsons & Boston Symphony Orchestra)
PRODUCER OF THE YEAR, CLASSICAL
Marina A. Ledin, Victor Ledin
Judith Sherman (pictured below with the Grammy Award she won last year. She came to Madison to record the double set of new commissions for the centennial of the University of Wisconsin-Madison’s Pro Arte Quartet)
Robina G. Young
BEST ORCHESTRAL PERFORMANCE
“Bates: Works for Orchestra” — Michael Tilson Thomas, conductor (San Francisco Symphony). You can hear excerpts in the YouTube video at the bottom.
“Ibert: Orchestral Works” — Neeme Järvi, conductor (Orchestre De La Suisse Romande)
“Prokofiev: Symphony No. 5 In B-Flat Major, Op. 100” — Mariss Jansons, conductor (Royal Concertgebouw Orchestra)
“Rouse: Odna Zhizn; Symphonies 3 & 4; Prospero’s Rooms” — Alan Gilbert, conductor (New York Philharmonic)
“Shostakovich: Under Stalin’s Shadow – Symphonies Nos. 5, 8 & 9” (below) — Andris Nelsons, conductor (Boston Symphony Orchestra)
BEST OPERA RECORDING
“Corigliano: The Ghosts of Versailles” (below) — James Conlon, conductor; Joshua Guerrero, Christopher Maltman, Lucas Meachem, Patricia Racette, Lucy Schaufer & Guanqun Yu; Blanton Alspaugh, producer (LA Opera Orchestra; LA Opera Chorus)
“Handel: Giulio Cesare” — Giovanni Antonini, conductor; Cecilia Bartoli, Philippe Jaroussky, Andreas Scholl & Anne-Sofie von Otter; Samuel Theis, producer (Il Giardino Armonico)
“Higdon: Cold Mountain” — Miguel Harth-Bedoya, conductor; Emily Fons, Nathan Gunn, Isabel Leonard & Jay Hunter Morris; Elizabeth Ostrow, producer (The Santa Fe Opera Orchestra; Santa Fe Opera Apprentice Program for Singers)
“Mozart: Le Nozze Di Figaro” — Yannick Nézet-Séguin, conductor; Thomas Hampson, Christiane Karg, Luca Pisaroni & Sonya Yoncheva; Daniel Zalay, producer (Chamber Orchestra of Europe; Vocalensemble Rastatt)
BEST CHORAL PERFORMANCE
“Himmelrand” — Elisabeth Holte, conductor (Marianne Reidarsdatter Eriksen, Ragnfrid Lie & Matilda Sterby; Inger-Lise Ulsrud; Uranienborg Vokalensemble)
“Janáček: Glagolitic Mass” — Edward Gardner, conductor; Håkon Matti Skrede, chorus master (Susan Bickley, Gábor Bretz, Sara Jakubiak & Stuart Skelton; Thomas Trotter; Bergen Philharmonic Orchestra; Bergen Cathedral Choir, Bergen Philharmonic Choir, Choir of Collegium Musicum & Edvard Grieg Kor)
“Lloyd: Bonhoeffer” — Donald Nally, conductor (Malavika Godbole, John Grecia, Rebecca Harris & Thomas Mesa; the Crossing; below)
“Penderecki Conducts Penderecki, Volume 1” — Krzysztof Penderecki, conductor; Henryk Wojnarowski, choir director (Nikolay Didenko, Agnieszka Rehlis & Johanna Rusanen; Warsaw Philharmonic Orchestra; Warsaw Philharmonic Choir)
“Steinberg: Passion Week” — Steven Fox, conductor (The Clarion Choir)
BEST CHAMBER MUSIC/SMALL ENSEMBLE PERFORMANCE
“Fitelberg: Chamber Works” — ARC Ensemble
“Reflections” — Øyvind Gimse, Geir Inge Lotsberg & Trondheimsolistene
“Serious Business” — Spektral Quartet
“Steve Reich” — Third Coast Percussion (below)
“Trios From Our Homelands” — Lincoln Trio
BEST CLASSICAL INSTRUMENTAL SOLO
“Adams, J.: Scheherazade.2” — Leila Josefowicz; David Robertson, conductor (Chester Englander; St. Louis Symphony)
“Daugherty: Tales of Hemingway” — Zuill Bailey; Giancarlo Guerrero, conductor (Nashville Symphony)
“Dvořák: Violin Concerto & Romance; Suk: Fantasy” — Christian Tetzlaff; John Storgårds, conductor (Helsinki Philharmonic Orchestra)
“Mozart: Keyboard Music, Vols. 8 & 9” – Kristian Bezuidenhout
“1930’s Violin Concertos, Vol. 2” – Gil Shaham; Stéphane Denève, conductor (The Knights & Stuttgart Radio Symphony Orchestra)
BEST CLASSICAL SOLO VOCAL ALBUM
“Monteverdi” — Magdalena Kožená; Andrea Marcon, conductor (David Feldman, Michael Feyfar, Jakob Pilgram & Luca Tittoto; La Cetra Barockorchester Basel)
“Mozart: The Weber Sisters” — Sabine Devieilhe; Raphaël Pichon, conductor (Pygmalion)
“Schumann & Berg” — Dorothea Röschmann; Mitsuko Uchida, accompanist
“Shakespeare Songs” — Ian Bostridge; Antonio Pappano, accompanist (Michael Collins, Elizabeth Kenny, Lawrence Power & Adam Walker)
“Verismo” — Anna Netrebko; Antonio Pappano, conductor (Yusif Eyvazov; Coro Dell’Accademia Nazionale Di Santa Cecilia; Orchestra Dell’Accademia Nazionale Di Santa Cecilia)
BEST CLASSICAL COMPENDIUM
“Daugherty: Tales of Hemingway; American Gothic; Once Upon A Castle” — Giancarlo Guerrero, conductor; Tim Handley, producer
“Gesualdo” — Tõnu Kaljuste, conductor; Manfred Eicher, producer
“Vaughan Williams: Discoveries” — Martyn Brabbins, conductor; Andrew Walton, producer
“Wolfgang: Passing Through” — Judith Farmer & Gernot Wolfgang, producers; (Various Artists)
“Zappa: 200 Motels – The Suites” — Esa-Pekka Salonen, conductor; Frank Filipetti & Gail Zappa, producers
BEST CONTEMPORARY CLASSICAL COMPOSITION
“Bates: Anthology of Fantastic Zoology” — Mason Bates, composer (Riccardo Muti & Chicago Symphony Orchestra)
“Daugherty: Tales of Hemingway” — Michael Daugherty, composer (Zuill Bailey, Giancarlo Guerrero & Nashville Symphony)
“Higdon: Cold Mountain” — Jennifer Higdon, composer; Gene Scheer, librettist (Miguel Harth-Bedoya, Jay Hunter Morris, Emily Fons, Isabel Leonard, Nathan Gunn & the Santa Fe Opera)
“Theofanidis: Bassoon Concerto” — Christopher Theofanidis, composer (Martin Kuuskmann, Barry Jekowsky & Northwest Sinfonia)
“Winger: Conversations With Nijinsky” — C. F. Kip Winger, composer (Martin West & San Francisco Ballet Orchestra)
ALERT: This week’s FREE Friday Noon Musicale at the First Unitarian Society of Madison, 900 University Bay Drive, features Shannon Farley, viola, with Chris Allen, guitar; Leah King and Jason Kutz, piano; Elspeth Stalter Clouse and Ela Mowinski, violin; Leslie Damaso, mezzo-soprano; and Morgan Walsh, cello. They will perform the Piano Quintet in A Major, Op. 81, by Antonin Dvorak; Three Songs for Mezzo-soprano, viola and piano by Frank Bridge; “Beau Soir” (Beautiful Evening) for guitar and viola by Claude Debussy; and a Romance for violin by Amy Beach as arranged for viola and piano. The concert runs from 12:15 to 1 p.m.
By Jacob Stockinger
Can the past help us understand and weather the present time with its conflicts and chaos?
In fact her latest album, for the Erato-Warner label, of arias from Baroque operas from the 17th and 18th centuries is dedicated to that proposition. The album’s title is “In War and Peace: Harmony Through Music” (below).
It includes arias from opera by George Frideric Handel (one of which you can hear in the YouTube video at the bottom), Henry Purcell, Niccolo Jommelli, Leonardo Leo and Claudio Monteverdi, and it features two world premiere recordings as well as familiar works.
She boils much of her viewpoint down to one question: In the widest of chaos, how can you find peace?
Sure seems timely, given foreign wars and domestic political strife.
Here is a link with the interview and some fetching music:
Listen to it.
See what you think.
Then let the rest of us know what you think, and whether you agree or disagree, and whether you have other works that come to mind.
The Ear wants to hear.
By Jacob Stockinger
You have to hand it to early music advocate, scholar, conductor and performer Grant Herreid (below), who once again was a major player in the 17th annual Madison Early Music Festival, which wrapped up this past Saturday night.
What could have been a scissors-and-paste job to wrap up the celebration of music in Shakespeare and Elizabethan England was turned by the creative Herreid into an event that was thoroughly enjoyable and thoroughly inventive.
What the final All-Festival Concert did was to bring together what seemed a very large number of students, faculty and guest performers.
Then what the combined forces did was offer a sampler of a typical Elizabethan day. That day included the usual routines from waking up, exercising and going to bed, but also included prayers, romance and entertainment.
It used snippets from plays by William Shakespeare (below) and snippets by many composers of the period including Thomas Tomkins, Anthony Holborne, Thomas Morley, Orlando Gibbons, Thomas Weelkes, John Bennet, John Coperario, Thomas Ravenscroft, John Dowland and Thomas Tallis as well an anonymous composers and reconstructions.
The formula must have appealed because it drew a large and enthusiastic audience.
Since it was such an ensemble effort, it is difficult to single out individuals for praise or criticism.
Instead, The Ear simply wants to mention a few of his favorite things with photos to illustrate them.
Here is what The Ear liked:
He liked that the entire 90-minute program of sacred and secular music was done without an intermission. Once you were in the zone, you didn’t have to leave it and then have to get back into it. Plus, the unity of the day was preserved.
He liked the diverse and always highly accomplished singing.
He liked seeing the unusual period string and wind instruments that are beautiful as well as useful.
He liked how the entire hall, not just the main stage, was used, including the balconies from which a fanfare opened the concert:
He liked the many “actors” who stepped to the edge of the Mills Hall stage and did an exceptional job reading the excerpts of Shakespeare that were kept short and to the point:
He liked the period and very energetic dancing with handkerchiefs and leg bells:
There was more. But you get the idea.
Once again, if you can’t make it to other concerts in the Madison Early Music Festival’s annual week-long schedule, try to make it to the impressive All-Festival Concert at the end.
In 17 years, it has never disappointed.
That is a record to be envied and praised.
ALERT: In case you haven’t yet heard, the winners (below) of the fourth annual Handel Aria Competition, held on Friday night in Mills Hall and accompanied by the Madison Bach Musicians, have been announced.
Eric Jurenas (center), countertenor, won First Prize; Christina Kay (right), soprano, won Second Prize; and Nola Richardson (left), soprano, won Third Prize and Audience Favorite.
By Jacob Stockinger
The Ear left the concert hall thinking: Well, this will be an easy review to write.
Just give it an A-plus.
An easy A-plus.
This year, the MEMF is celebrating the 400th anniversary of the death of poet and playwright William Shakespeare (below top) and the 45-year reign of Queen Elizabeth I (below bottom), who oversaw the English Renaissance.
And the program – performed before a large house of perhaps 450 or 500 enthusiastic listeners — was perfectly in keeping with the festival’s theme. It used sacred music rather than stage music or secular music, which will be featured later in this week of concerts, workshops and pre-concert lectures.
In fact, the program of New York Polyphony was based on two of the group’s best-selling CDs for BIS Records and AVIE Records: “Tudor City” and “Times Goes by Turns.” It was roughly divided into two masses, one on each half. (You can hear a sample in the YouTube video at the bottom.)
Adding to the variety was that each Anglican or Roman Catholic-based mass was a composite, with various sections made up like movements written by different composers. Thrown in for good measure were two separate short pieces, the “Ave Maria Mater Dei” by William Cornysh and the “Ave verum corpus” of William Byrd.
The Mass on the first half featured music by Byrd, John Dunstable, Walter Lambe and Thomas Tallis. The second half featured works music by Tallis, John Pyamour, John Plummer and excerpts from the Worcester Fragments. The section were typical: the Kyrie, Gloria in Excelsis, Credo, Sanctus, Benedictus and Agnus Dei.
There was nothing fancy about this concert, which marked the Wisconsin debut of New York Polyphony and which spotlighted superbly quiet virtuosity. The four dark-suited men, who occasionally split up, just stood on stage and opened their mouths and sang flawlessly with unerring pitch and superb diction.
A cappella or unaccompanied singing is hard work, but the four men made it seem easy. The countertenor, tenor, baritone and bass each showed confidence and talent plus the ability to project clarity while not overshadowing each other. This was first-class singing.
The beautiful polyphony of the lines was wondrous to behold even, if like The Ear, sacred music from this era – with its chant-like rather than melodic qualities – is not your favorite fare.
New York Polyphony provided a good harbinger of the treats that will come this week at the MEMF from groups like the Newberry Consort of Chicago with soprano Ellen Hargis (below top) and the Baltimore Consort (below bottom) as well as from the faculty and workshop participants. On Friday night is an appealing program that focuses on Shakespeare’s sonnets and music.
And on Saturday night at 7:30 p.m., with a pre-concert lecture at 6:30 p.m., will be the All-Festival concert. That is always a must-hear great sampler of what you perhaps couldn’t get to earlier in the week. This year, it will feature the music as used in a typical Elizabethan day.
Here is a link to the MEMF website:
And here is a link the website of New York Polyphony if you want to hear more:
By Jacob Stockinger
The Green Lake Festival of Music sent the following news to The Ear:
“Get Read, Set, Play!” is the theme of Green Lake Festival of Music’s 10th Thomas E. Caestecker Free Family Concert Series at the Ripon Public Library (Tuesday, June 14), Caestecker Public Library (Tuesday, June 21), and the Princeton Public Library (Tuesday, June 19).
These family-friendly concerts are appropriate for ages 5 to 95—virtually anyone who desires a lively introduction to fine music presented in an entertaining format by the Festival’s outstanding artists, the Ancora String Quartet (below top).
Members of the critically acclaimed string quartet are Robin Ryan and Leanne Kelso League, violins; Marika Fischer Hoyt, viola; and Benjamin Whitcomb, cello. Wes Luke (below bottom) is substituting for League, who is participating in an out-of-state festival. Some of the members teach at the UW-Whitewater and perform with the Madison Symphony Orchestra, the Wisconsin Chamber Orchestra, the Willy Street Chamber Players and other ensembles.
For more information about the Ancora, visit: http://ancoraquartet.com/about-us/
A special feature of this series is the coordinated programs that the libraries of Green Lake, Princeton and Ripon are offering in conjunction with the concerts. These three free 45-minute concerts start at 2 p.m. All children must be accompanied by an adult. No tickets are required, and seating begins at 1:30 p.m.
The 45-minute program includes short works and excerpts by Franz Schubert (the Quartettsatz or Quartet Movement); Felix Mendelssohn; Peter Tchaikovsky (Andante Cantabile); Dmitri Shostakovich; Sir Arthur Sullivan (Romance); Joaquin Turina (“Bullfighter’s Prayer”); and Joachim Raff.
The Ancora String Quartet will perform on Ripon College’s quartet of stringed instruments built by Madison Luthier Lawrence LaMay in the 1960’s. The late Ripon College conductor Ray Stahura acquired these notable instruments in the late 1990’s.
Teaming up with the National Library theme, “Wholeness, fitness, sports,” the Ancora String Quartet will talk about the physicality, discipline, and sheer fun of playing a stringed instrument. And we will share stories about Lawrence LaMay from people who knew him and play his instruments. The audience is encouraged to bring their own stringed instruments to show the quartet.”
This series is made possible by the generous sponsorship of Tom Caestecker (below) as a free service to the community. The concerts and related library programs are designed to reach out to parents, kids and seniors. They offer a brief, lighthearted introduction to music with an up close and personal experience with the performers. Tom Caestecker said, “I can’t think of a better pairing than music and books.”
Other free sponsored community concerts include the Ancora String Quartet at the Berlin Public Library (Tuesday, June 28), Oshkosh Public Library (Tuesday, July 12), and the Children’s Museum of Fond du Lac (Tuesday, July 26).
The Green Lake Chamber Music Camp and concert series is funded in part by the Arts Midwest Touring Arts Fund, a program of Arts Midwest, funded by the National Endowment for the Arts, with additional funding from the Wisconsin Arts Board, the Crane Group and General Mills Foundations. Other funding comes from the Horicon Bank, Oshkosh Area Community Foundation, and private/corporate donations. Wisconsin Public Radio provides promotional support.
Please visit www.greenlakefestival.org for the most current calendar of events or to purchase tickets. Tickets to other Festival concerts are also available by calling the office at 920-748-9398. You can also stop by one of the following ticket outlets: Green Lake Bank (Green Lake) and Ripon Drug (Ripon).
Discount packages and single tickets can also be purchased in person at the new Green Lake Festival of Music office in the Thrasher Opera House (below) at 506 Mill St. in Green Lake. The Festival entrance is the left door off the parking lot, and the reception area is down the hall. Tickets bought in advance will save the $5 surcharge added to a ticket bought at the concert.
By Jacob Stockinger
He is generally acknowledged as the greatest writer of all time and of any culture.
The English poet and playwright William Shakespeare (below) died 400 years ago today – on April 23, 1616 — in his hometown of Stratford-on-Avon where he returned to after his stage career in London. He was 52 years old.
You may have heard that a touring copy of the rare 1623 First Folio edition of his plays, on loan from the Folger Shakespeare Library in Washington, D.C., will be on display this fall at the Chazen Museum of Art at the University of Wisconsin-Madison. Dates of the exhibit are Nov. 3-Dec. 11, 2016.
Here is a link with more information:
And this summer’s Madison Early Music Festival will focus on Shakespeare and music of the Elizabethan Age when it is held from July 9 to July 16.
Here is more information about that event:
Today, what The Ear wants to know is what is your favorite piece of music inspired by Shakespeare?
The Overture to “A Midsummer Night’s Dream” by Felix Mendelssohn? (The Ear loves that richly atmospheric work. You can hear it, complete with the braying of the “rude mechanical” human who is transformed into a donkey — in a YouTube video at the bottom)
The operas ”Otello” or “Falstaff” by Giuseppe Verdi?
The opera versions of “Romeo and Juliet” by Hector Berlioz and Charles Gounod?
The incidental music to “Henry V,” “Hamlet” and “Richard III” by William Walton?
Franz Schubert’s song “Where is Sylvia”?
The “Romeo and Juliet” Fantasy Overture by Tchaikovsky?
Various setting of songs and ditties in Shakespeare’s plays?
If you need something to jog your memory about possible choices, here is a link:
Leave your choice, with a YouTube link if possible, in the COMMENTS section.
The Ear wants to hear.
By Jacob Stockinger
The Ear has received word about an intriguing and appealing performance this weekend:
On this Saturday night at 7:30 p.m., Cantus (below top, in a photo by Curtis Johnson), the critically acclaimed, nine-voice men’s vocal ensemble based in the Twin Cities, will perform at the Stoughton Opera House (below middle and bottom), known for its historical restoration and its fine acoustics.
Love has been the inspiration for artistic expression since the dawn of time. It is such a complex idea that the ancient Greeks broke it down into four different kinds: romantic, familial, friendly and unconditional or spiritual love.
Weaving together repertoire and interstitial remarks, Cantus regards this unquantifiable emotion from all sides.
The program spans multiple historical eras and cultural traditions.
Each of those works is paired with newly commissioned works exploring each of the four loves (romantic, familial, friendly and spiritual) by Pulitzer Prize-winner David Lang (below top, in a photo by Peter Serling) as well as Roger Treece (second below), Joseph Gregorio (third below) and Ysaye Barnwell (below bottom).
The program brims with Cantus’s trademark programming juxtaposition, including pairing the Beach Boys’ “Their Hearts were Full of Spring” with “Wedding Qawwali” by the Grammy Award- and Academy Award-winning Indian composer A. R. Rahman (below) and Michael McGlynn’s setting of the traditional Gaelic “Ceann Dubh Dilis (Her Sweet Dark Head)” in a set about romantic love.
While seemingly disjointed on its face, the variety of repertoire throughout blends seamlessly and highlights the universality of Love – our greatest and most fragile gift.
For more information about Cantus, including biographies, photos, videos and audio samples, visit this link:
Here is a YouTube video about the program, with musical samples, to be performed in Stoughton:
By Jacob Stockinger
This coming week has some big musical events, including the Madison Opera’s production of Giacomo Puccini’s opera “La Bohème” on Friday night and Sunday afternoon; and the annual two days of fall concerts by the Wisconsin Youth Symphony Orchestras on Saturday and Sunday. Both of those events will be previewed at length later this week.
But there is also some very appealing music on a smaller scale, including a solo piano recital, a violin and piano recital, a guitar recital, and a chamber music concert that features piano trios.
Here are the four stand-out events:
On Tuesday night at 8 p.m. in Mills Hall, Canadian-born pianist Joel Hastings will give a FREE guest artist concert.
His program features five transcriptions by Franz Liszt (1811-1886): Il m’aimait tant – Mélodie; Die Gräberinsel der Fürsten zu Gotha – Lied von Herzog Ernst, zu Sachsen-Coburg- Gotha; Spanisches Ständchen – Melodie von Graf Leó Festetic Romance du Comte Mikaïl Wielhorsky; Die Zelle in Nonnenwerth – Elegie/ Also included is piano music by Jean Roger-Ducasse (1873-1954) including Barcarolle No. 1, Chant de l’Aube, Sonorités and Rythmes; and Twelve Etudes, Op. 8, by Alexander Scriabin (1872-1915).
Joel Hastings (below), who teaches at Florida State University in Tallahassee, was the winner of the 2006 Eighth International Web Concert Hall Competition and the 1993 International Bach Competition at the Kennedy Center in Washington, D.C. After his performance at the 10th Van Cliburn International Piano Competition in Fort Worth, Texas, one reporter designated Hastings the “audience favorite” while another declared, “the kinetic fingers of this young Canadian reminded me strongly of his late countryman, Glenn Gould.”
Hastings will also give a FREE and PUBLIC master class on Wednesday, Nov. 11, from noon to 2 in Morphy Hall.
For more information about events at the UW-Madison including student performances, visit:
The UW-Madison Guitar Ensemble (below) will perform a FREE concert at 7:30 p.m. in Morphy Hall under director Javier Calderon. Sorry, The Ear has received nothing specific about the program.
At 8 p.m. in Mills Hall, Soh-Hyun Park Altino (below, in a photo by Caroline Bittencourt), the new professor of violin at the University of Wisconsin-Madison School of Music, will make her local debut. (She is seen below teaching in a photo by Michael R. Anderson.)
Her must-hear program features the Sonata No. 3 in C Major for Solo Violin, BWV 1005, by Johann Sebastian Bach (which you can hear performed by Hilary Hahn in a YouTube video at the bottom); the Sonata No. 2 for Violin and Piano by Johannes Brahms; the Romance, Op. 23, by American composer Amy Beach; and the Sonata No. 2 for Violin and Piano by American composer Charles Ives. UW professor of collaborative piano Martha Fischer will perform with her. Admission is $12 for the public; free for all students.
For more information, visit these sites:
For a Q&A:
For a fine background story and preview about a “world-class talent” from Isthmus:
This Saturday afternoon, Nov. 14, at 3 p.m., St. Andrew’s Episcopal Church (below), located at 1833 Regent Street in Madison, will host a performance by participants in The Leonard Sorkin International Institute of Chamber Music.
Parking is on the street and admission is a free-will offering.
The Leonard Sorkin International Institute of Chamber Music (ICM) offers a concentration in chamber music performance for advanced level graduate students and young professional musicians. The program is based at University of Wisconsin-Milwaukee and is directed by violin professor Bernard Zinck.
The program prepares students for careers in performance with a combination of weekly masterclasses, coaching and private lessons as well as financial and facility support. ICM students enjoy a rehearsal space and office dedicated to their use, mentors on self-management or advice on seeking professional management, and contest travel finances in addition to generous fellowships which pay tuition plus a modest stipend.
Typically, individual students form chamber ensembles such as string quartets or piano trios, give one group recital each semester, and use the repertoire from these recitals in outreach presentations, concerts and competitions.
The program to be performed at St. Andrew’s is: Piano Trio, Op. 33, in E-flat major by Louise Farrenc; Sonata for Cello and Violin by Maurice Ravel; and Piano Trio No. 3 in C Major, Op. 87, by Johannes Brahms.
For more information and biographies of the performers, go to an scroll down: