By Jacob Stockinger
Only about a month of classes remains in the academic year, so concerts by faculty members, guest artists and students are backing up at the University of Wisconsin-Madison School of Music.
But quantity does NOT preclude quality — or variety.
Just take a look at the highlights this week:
At 8:30 p.m. in Morphy Recital Hall, the Hunt Quartet will perform its spring concert.
Members of the graduate student ensemble are (below, from left, in a photo by Katrin Talbot): Kyle Price, cello; Vinicius “Vinny” Sant’Ana, violin; Blakeley Menghini, viola; and Chang-En Lu, violin.
The program is: String Quartet in G Major, Op. 77, No. 1 by Franz Joseph Haydn; String Quartet in F minor “Serioso,” Op. 95, by Ludwig van Beethoven; and the String Quartet No. 2, Op. 90, by Sergei Prokofiev. (You can hear the riveting Prokofiev quartet in the YouTube video at the bottom.)
The Hunt Quartet is sponsored by Dr. Kato Perlman and the Madison Symphony Orchestra.
For more information about the quartet and its individual members, as well as a SoundCloud audio sample of the Hunt Quartet playing a 1924 piece by Joaquin Turina, go to:
At 7:30 p.m. in Morphy Recital Hall, guest artist Emery Stephens (below), faculty collaborative pianist Martha Fischer and UW students will perform African-American spirituals, songs and instrumental works.
For more about the visit by scholar-performer Stephens, see this blog posting done just before he cancelled the last date, which fell on a Tuesday rather than a Wednesday:
At 7:30 p.m. in Mills Hall, retiring professor of flute Stephanie Jutt (below) will perform her farewell faculty recital.
Jutt will be joined by faculty colleagues violist Sally Chisholm, clarinetist Amy McCann and pianist Christopher Taylor.
Sorry, no word about the program.
Jutt (below), who has been teaching and performing at the UW-Madison for 28 years, is also the principal flutist of the Madison Symphony Orchestra and the co-founder and co-artistic director of the Bach Dancing and Dynamite Society. Jutt says she will continue with MSO and BDDS after she retires.
This week also features a plethora of degree recitals by students, most held in Morphy Recital Hall (below). The Ear counts 11 in fields from voice to percussion. For more information, check out these links:
And for the full lineup for April, visit:
By Jacob Stockinger
The time for announcing new seasons has arrived.
Pretty soon, over the next several weeks and months, The Ear will hear from larger and smaller presenters and ensembles in the Madison area, and post their new seasons.
First out of the gate is the critically acclaimed and popular summer group, the Madison-based Bach Dancing and Dynamite Society. (You can see a short promo video about BDDS on the YouTube video at the bottom.)
It has just announced its upcoming summer season this June, and sent out brochures with the season’s details.
This will be the 26th annual summer season and it has the theme of “Alphabet Soup.”
The concept is explained online and in a brochure newsletter (also online) in an editorial essay by BDDS co-founder and co-artistic director flutist Stephanie Jutt (seen below with co-founder and co-director pianist Jeffrey Sykes).
In many ways it will be a typical season of the eclectic group. It will feature local and imported artists. Many of both are favorites of The Ear.
His local favorites include UW-Madison pianist Christopher Taylor; violist Sally Chisholm of the UW-Madison’s Pro Arte Quartet; UW violinist Soh-Hyun Park Altino (below top, in a photo by Caroline Bittencourt); and Pro Arte cellist Parry Karp (below bottom).
Among The Ear’s favorite guest artists are violinist Carmit Zori, clarinetist Alan Kay, the San Francisco Piano Trio (below top); UW alumna soprano Emily Birsan; pianist Randall Hodgkinson; and baritone Timothy Jones (below bottom).
As usual, the season features 12 concerts of six programs over three weeks (June 9-25) in three venues – the Playhouse in the Overture Center (below top), the Hillside Theater (below middle) at Frank Lloyd Wright’s Taliesin compound in Spring Green and the Stoughton Opera House (below bottom).
In addition, there is a FREE family concert in the Overture Playhouse on June 10.
What does seem somewhat new is the number of unknown composers and an edgier, more adventurous choice of pieces, including more new music and more neglected composers.
Oh, there will be classics by such composers as Joseph Haydn, Wolfgang Amadeus Mozart, Luigi Boccherini, Franz Schubert, Johannes Brahms, Peter Tchaikovsky, Sergei Prokofiev, Maurice Ravel, Bela Bartok, Arnold Schoenberg, Benjamin Britten and others. These are the ABC’s of the alphabet soup, according to BDDS.
But also represented are composers such as Philippe Gaubert, Czech Holocaust victim Gideon Klein (below), Guillaume Conneson, Carl Czerny, Paul Moravec and Franz Doppler. These are the XYZ’s of the alphabet soup.
In between come others. Contemporary American composer, and Pulitzer Prize winner, Kevin Puts (below) is a BDDS favorite and is well represented. You will also find less performed works by Ned Rorem, Erich Wolfgang Korngold and Gerald Finzi.
For the complete programs and schedules as well as the list of performers, some YouTube videos and ticket prices, both for season tickets ($109.50, $146, $182 and $219) and for individual concerts ($43), and other information, go to:
ALERT: The Ear has received the following note from University of Wisconsin-Madison School of Music viola professor Sally Chisholm, who also plays with the Pro Arte Quartet: “Elias Goldstein, who has a doctorate from UW-Madison (2011) and was a Collins Fellow, is playing a concert of all 24 Caprices, originally composed for solo violin by Niccolo Paganini, on VIOLA this Tuesday night at 7:30 p.m. in Morphy Hall. Admission is FREE and OPEN TO THE PUBLIC.
“On March 9, he will perform this program at Carnegie Hall in New York City, as the first violist ever to perform all 24 Caprices in one concert. This is such a feat that it is difficult to believe one of our own is accomplishing it. I was with him in Krakow, Poland when he performed 6 of them. He got standing ovations. He is professor of viola at Louisiana State University, won top prizes at the Primrose International Viola Competition and the Yuri Bashmet Viola Competition in Moscow in 2011.”
By Jacob Stockinger
Today is the 50th Super Bowl of the NFL, and will be played by the Carolina Panthers and the Denver Broncos in the Levi’s Stadium in Santa Clara, California, near San Francisco.
It starts at 5:30 p.m. CST.
Lady Gaga will sing the national anthem. Coldplay, Beyoncé and Bruno Mars will perform in the half-time show. The Super Bowl will be broadcast live on CBS-TV.
So, one might ask in a society that loves competition, what constitutes The Super Bowl of classical music?
It is a source of endless discussion and often disagreement.
What classical music is the most mainstream, if not best?
Who are the big winners and champions in the concert hall?
A survey, compiled by a student at the UW-Milwaukee, of the most popular or frequently performed composers, works and soloists was recently conducted by the League of American Orchestras. The rest are for the 2010-11 season.
The No. 1 work is a YouTube video at the bottom. It is the Symphony No. 1 in C Minor by Johannes Brahms and is performed by the Chicago Symphony Orchestra under its late music director and conductor Sir George Solti.
And on March 11, 12 and 13 the Madison Symphony Orchestra hosts TWO of the Top 10 winners: Pianist Emanuel Ax performing the Piano Concerto No. 4 by Ludwig van Beethoven. (The Symphony No. 4 by Gustav Mahler completes the program.)
Here is a link to the complete results along with the method used to gather data:
See what you think and leave a COMMENT.
Do they match up with your preferences and your choices of favorites?
In your opinion, what makes them so popular?
The Ear wants to hear.
By Jacob Stockinger
Editor’s note: The Well-Tempered Ear has asked people on tour with the University of Wisconsin-Madison Pro Arte Quartet (below, in a photo by Rick Langer) to file whatever dispatches. updates and photos are possible — from iPads, computers, cameras and smart phones — so that they can to keep the fans back here at home current with what is happening on the concert stage and off.
By now it has become apparent that the Pro Arte Quartet’s tour of Belgium is as big an event to the Belgians and to local residents there as it is to Madisonians, Wisconsinites and alumni of the University of Wisconsin-Madison.
Just before taking a day’s rest, Sarah Schaffer, who manages the University of Wisconsin-Madison Pro Arte String Quartet, sent this text and this photo essay. They cover the trip from Brussels to Dolhain Limbourg, the hometown of founding violinist Alphonse Onnou, and the official greetings and events that awaited the quartet. (Current members are violinists David Perry and Suzanne Beia; violist Sally Chisholm; and cellist Parry Karp.) Part 2 will cover the concert at Dolhain-Limbourg.
Here are links to Day 1:
To Day 2:
And to Day 3:
Schaffer’s latest installment also shows the hard work of undertaking such a concert tour, which involves a lot more than playing and performing music. In this case, it also involves being cultural ambassadors.
SATURDAY, MAY 24
We have to catch to train to Verviers to get to Dolhain Limbourg, the hometown of the quartet’s original founding violinist Alphonse Onnou. (Below, from left, are Parry Karp, John Schaffer, Sally Chisholm and David Perry. Below, hometown fans Linda and Bob Graebner of Madison come along.)
So the day began with a peaceful, dozy train trip through verdant farm country southwest out of Brussels, gradually giving way to steep lush hillsides crisscrossed by many streams.
Trains passed more and more frequently, passing through the long tunnels the closer we got to Verviers, where we were advised not to take the connection to Dolhain but were instead met by a large and eager delegation, jabbering excitedly in, to us, yet another dialect of specifically Belgian French.
As we find out, the town is charming and the residents go out of their way to host and honor the quartet, which they clearly welcome with open arms.
They divvied us up into waiting cars and off we sped the 10K or so to Dolhain, birthplace of the quartet’s founding violinist Alphonse Onnou. Our hosts, it turned out, were all members of a local historical society club and were very excited about our visit.
First stop: Le Kursaal, the concert hall, which on initial glimpse appeared somewhat disheartening and unpromising. Much negotiating over the placement — high stage off flat floor, or on the floor, and lighting. A poster announces our appearance.
No notes were tried. We hoped on this cool damp day that it might be warmer when we returned, and that lighting and seating questions would be solved then.
Next stop: Old Dolhain Limbourg (not the cheese!), the ancient town with castle and military lookouts on top of the hill. Very charming!
Here we were joined by more club members and treated to a “typical” lunch at the cafe. About 18 of us in all by now. (From left are Sally Chisholm, Parry Karp, Linda Graebner, David Perry and Suzanne Beia.)
We take part in a municipal ceremony at 4 p.m.
Genealogical charts of the Onnou family were shared, as well as a thick sheaf of papers describing — mostly in French, a few things translated to English — the historical sites of the village, which we experienced in person on the guided walking your after the meal.
The Mayor of Dolhain Limbourg is the woman on the left dressed in white. The interpreter-translator Alain Boucart is in red. The bald head belongs to the head of the Historical Society of Dolhain Limbourg. Then comes the head of the Alphonse Onnou celebration and exhibit, with tour organizer and quartet documentarian Anne van Malderen dressed in the turquoise sleeveless top and wearing eyeglasses.
Elections being on everyone’s minds — political posters everywhere, no concerts scheduled for Sunday because of elections in Belgium, the same reason the royals are sequestered — perhaps this explains Bob Graebner’s enthusiastic comment on meeting the Mayor of Dolhain: “I’d vote for her!”
Many speeches followed: the mayor, president of the historical society, and Onnou and Quatuor Pro Arte expert Anne Von Malderen (below left), all presented in French and then in translation (for our sakes) by an increasingly fatigued interpretor Alain Boucart (below right), who gave briefer and briefer summaries as the proceedings wore on, finally promising a written translation by email after the event.
At the reception that followed we were treated to excellent performances by the municipal band, made all the more enjoyable accompanied by chocolates and local cognac! (Below top and, below bottom in photo by Sally Chisholm of the band’s youngest member.) They sounded terrific and in our honor played “The Star-Spangled Banner.”
And after another glass of wine, the grandniece of Alphonse Onnou autographed the first violin part of the score to composer Alexander Glazunov’s “Five Novelettes,” a favorite of Onnou that the quartet is to perform there, for violinist David Perry.