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:
By Jacob Stockinger
The big classical music event this week is the opening of the 25th anniversary season of the Madison-based Bach Dancing and Dynamite Society.
It was co-founded and is still co-directed by pianist Jeffrey Sykes, who graduated from the University of Wisconsin-Madison School of Music and now teaches at the University of California-Berkeley; and by Stephanie Jutt, professor of flute at the UW-Madison School of Music who is also principal flute of the Madison Symphony Orchestra.
Here is a link to the BDDS website with information about tickets, programs, venues and performers:
Recently, Jutt (below) spoke to The Ear about the upcoming season, which runs June 10-26:
“This silver anniversary season has something for everybody, and we’ve made it extra special in every way, with personnel, with repertoire and with audience favorites that we’re bringing back.
“In the first week, we have two short pieces by our featured composer, Kevin Puts “Air for Flute and Piano” and “Air for Violin and Piano,” and the world premiere of “In at the Eye: Six Love Songs on Yeats’ Poetry,” a piece we co-commissioned, with several other participating festivals, from the American composer Kevin Puts (below).
We commissioned him just before he won the Pulitzer Prize, luckily for us! We have performed several works by him in the past (“Einstein on Mercer Street,” “Traveler” and “Seven Seascapes”), and he will be here for the premiere performances at the Overture Playhouse and the Hillside Theater at Frank Lloyd Wright’s Taliesen compound in Spring Green.
(NOTE: Composer Kevin Puts will speak about “How Did You Write That?” at the FREE family concert on this coming Saturday, to be held 11-11:45 a.m. in The Playhouse of the Overture Center.)
“In Week 2, we have three crazy, inspired works by Miguel del Aguila (below), a Uruguayan composer from Montevideo, who now lives in Los Angeles, that we commissioned and premiered. We’ll be performing “Salon Buenos Aires,” the piece that we commissioned, along with “Presto II” and “Charango Capriccioso.”
During Week Two, we are also bringing back the amazing pianist, arranger and raconteur Pablo Zinger (below), also originally from Uruguay and a longtime New Yorker, to perform his arrangements of movie music by Nino Rota, Henry Mancini and others, as well as some of Pablo’s brilliant arrangements of tangos by Astor Piazzolla.
“In Week 3, we are bringing back the “Four Seasons of Buenos Aires” by Astor Piazzolla and the “Four Seasons” by Antonio Vivaldi. People have begged us to repeat this program for years. It’s one of the most thrilling programs we’ve done, and this seems like the perfect time to return to this beloved repertoire. (You can hear the Summer section of Piazzolla’s Four Season of Buenos Aires in the youTube video at the bottom.)
“In the same Week Three, you will also hear some favorite works, the Brandenburg Concerto No. 4 by Johann Sebastian Bach and, in Week 1, Franz Schubert’s final song cycle, “Schwanengesang” (Swan Songs”) with one of our favorite artists, bass-baritone Timothy Jones (below top). That third week also features the Ravel Piano Trio with the San Francisco Trio (below bottom), comprised of Axel Strauss on violin, Jean-Michel Fontaneau on cello, and JeffreySykes on piano.
“We wanted to repeat special things and also do new pieces. Some of the music has links to the number 25 for our 25th anniversary – like Opus 25 for the Piano Quartet by Johannes Brahms or the Piano Concerto No. 25 by Mozart.
“We’re spending a lot more on artist fees this summer – it increases our budget by a lot, but it makes for a very special 25th season. We will have special mystery guests and special door prizes, as we love to do, and some special audience participation activities. (Below is a standing ovation from the audience at The Playhouse.)
“Did we think we would reach 25 years when we started? Of course not! We didn’t even think we’d reach two. It was started on such a lark.
“But the festival resonated with the summer audience and has every single year. I think we’ve been a success because listeners love to approach serious music with a light touch. You don’t have to behave very seriously to play serious music in a serious way. Artists from all over the United States come to play with the Bach Dancing and Dynamite Society and it’s what draws them back year after year.
“We make a huge effort to make the music approachable, for ourselves as well as the audience. We talk about the music itself, about what it is like to learn it, and what it’s like to be together in such an intense way during the festival.
“We try to share the whole experience with the audience, and it’s something you just don’t find anywhere else. The concert doesn’t just go on in front of you, presented on a fancy plate. It surrounds you and you are a part of it.”
By Jacob Stockinger
If you needed more proof about why you should take in one or both of the final two programs – “Crooked Business” and “Highway Robbery” — by the Madison-based Bach Dancing and Dynamite Society, you should have been at one or both of the BDDS concerts last weekend.
For this coming weekend of the 24th season: “Crooked Business” features the Sonata for Flute and Keyboard in B Minor by Johann Sebastian Bach; the chamber music reduction of the Piano Concerto in C minor, K. 491, by Wolfgang Amadeus Mozart; and a chamber music arrangement version of the Serenade in D Major, Op. 11, by Johannes Brahms.
For more information about programs and performers, venues and tickets, visit: http://www.bachdancinganddynamite.org
The Bach Dancing and Dynamite Society continues to be incapable of being boring, ordinary or mediocre. It’s just not in their genes or DNA.
Last Saturday night, The Ear took in the “Breaking and Entering” concert in The Playhouse of the Overture Center. The theme was meant to explore how composers broke new ground and violated boundaries.
The theme might seem a bit of a stretch — they often do — and when one of the two fake security guards frisked an audience member for a gun or weapon, it might have struck some audience members as uncomfortable or in questionable taste rather than amusing or funny, given the recent shootings in Charleston, South Carolina.
But humor and silliness aside, there is no question that the music received the superb performances it deserved.
The San Francisco Trio, veteran BDDS guest artists, delivered two masterful readings of two Romantic masterpieces. The trio opened the concert perfectly with the lovely and short “Notturno” (1827) by Franz Schubert. Then it closed the concert with the revised version of the substantial and even epic Piano Trio No. 1 in B Major (1854, revised in 1889), Op. 8, by Johannes Brahms. The trio is made up of pianist Jeffrey Sykes (a co-founder and co-artistic director of BDDS), violinist Axel Strauss and cellist Jean-Michel Fonteneau.
Then came the somewhat eccentric Sonatina for Trio (1934) by the rarely performed French composer and eccentric music critic Florent Schmitt.
The players were an unusual combination of flutist Stephanie Jutt (the UW-Madison professor is a co-founder and co-artistic director of BDDS as well as principal flute of the Madison Symphony Orchestra); local pianist Thomas Kasdorf, who is a graduate of the University of Wisconsin-Madison School of Music; and the incredible clarinetist Alan Key from New York City who teaches at the Manhattan School of Music and the Juilliard School, and who plays with the respected Orpheus Chamber Orchestra.
Violinist Axel Strauss, who teaches at McGill University in Montreal, sure showed some impressive fiddling skills in two crossover pieces – “Pining for Betsy” and “Who Let the Cat Out Last Night?” — by Paul Schoenfield (b. 1947). It brought audible WOWs and cheers from the audience. (Listen for yourself to the virtuosic “Cat” piece in a YouTube video at the bottom.)
An unusual and rarely heard piece by the Venezuelan composer Paul Desenne (b. 1959) imagines Franz Joseph “Papa” Haydn and a South American composer discussing music at the Esterhazy estate where Haydn worked. The work was delivered with great panache by flutist Stephanie Jutt, clarinetist Alan Kay and cellist Jean-Michel Fonteneau.
Both the variety of the repertoire and the players and the quality of the performances recommend the Bach Dancing and Dynamite Society to any serious classical music fan as well as to beginners. The Ear says: Go have some classical fun!
By Jacob Stockinger
Some people might refer to it as one of the highlights of the summer music season in Madison.
The Ear prefers to think of it as a high point of the entire season in Madison. He waits all fall, winter and spring to find out the next theme, the next repertoire, the next performers.
I am talking about this Friday night when the Madison-based chamber music group the Bach Dancing and Dynamite Society will open “23 Skiddoo,” its new six-concert, three-weekend and three-venue season at 7:30 p.m. in The Playhouse at the Overture Center. (Below is the poster for the 23rd annual season.)
And this summer series shows no sign of disappointing.
Much of the BDDS concert format or formula will remain the same: familiar classics of the repertoire mixed in with rarely heard artists and works, including commissions and a world or local premiere; familiar local performers mixed in with imported top-flight imported musicians; and the signature atmosphere that combines chatty levity with serious first-rate music-making.
Am I excited? You bet! And should you be too.
Some of my favorites are the piano trios, quartets and quintets performed by the San Francisco Trio. They will be playing here again, including one trio by Dmitri Shostakovich and another by Antonin Dvorak.
Other favorites of The Ear are the symphonies by Franz Joseph Haydn and the piano concertos by Wolfgang Amadeus Mozart in the long-neglected chamber music reductions intended to be performed as “house music” in private homes. This summer includes one of the most popular Mozart piano concertos –- again.
I love the string works that BDDS plays – and this summer I will get to hear Claude Debussy’s phenomenal Violin Sonata, the last work he composed, and Maurice Ravel’s unusual Sonata for Violin and Cello.
I especially love piano music: the more, the better. This summer I will get to hear two of the best: Jeffrey Sykes, who possesses the chameleon-like gift of Richard Goode in that he can sound absolutely natural and at home in just about any musical style, from Baroque, Classical, Romantic and Modern. But this summer is a twofer. Sykes will also perform two-piano pieces by Sergei Rachmaninoff, Witold Lutoslawski and Maurice Ravel with the celebrated University of Wisconsin-Madison virtuoso Christopher “Kit” Taylor.
You can hear all that plus a lot more, including a generous serving of South American music — tangos by Astor Piazzolla and songs by Carlos Guastavino — that flutist Stephanie Jutt brought back from her sabbatical year in Argentina.
But you can check out the programs for yourself. I challenge you to find one that just doesn’t interest and impress you.
Here is a link to the compete new season:
You might recall that The Ear has been so impressed with consistent high quality of the BDDS programs and performances that he named the group Musician of the Year for 2012. Here is a link to that posting:
And here is a link to the BDDS website with full details about the dates, time, venues, programs and performers’ bios.
The co-founders and co-artistic directors flutist Stephanie Jutt and pianist Jeffrey Sykes, agreed to an email Q&A that has run in two parts.
The first part ran yesterday. Here is a link to Part 1:
Here is Part 2:
What would you like young people and newcomers to know about BDDS?
SJ: This is the perfect concert to go to if you haven’t been to a concert since grade school. It’s a perfect concert to take a date to – he’ll think you’re smart and artistic. She’ll think you’re thoughtful and edgy. The Bach Dancing and Dynamite Society is perfect for novices and connoisseurs alike.
JS: We are VERY user-friendly. We know that classical music concerts, and chamber music concerts in particular, can sometimes feel as if they are designed for the “initiated.”
We promise to give you an experience that makes great music FUN to listen to, not a chore, and certainly not like listening to a sermon at church. Whether you’ve been to a thousand chamber music concerts or none, you are welcome at our concerts, and we have something for you. (Below top, playful playing card uniforms are worn for a “Jokers Are Wild” program.)
What would you like fans and longtime audience members to know?
JS: We are so inspired by your loyalty, your generosity, your roll-up-your-sleeves offers to help in hundreds of ways, big and small. We get many of our best ideas from our audience, so keep talking to us, because we are listening! If I could ask a favor, please bring a friend or two to a BDDS concert – someone that hasn’t been before. That’s the way we build our audience, one listener at a time.
SJ: We love you and we wouldn’t be here without your incredible enthusiasm and generosity! But if we could ask you a favor: bring someone new to a concert, someone who has never been to hear BDDS — or chamber music — before. Our very best advertising has always been word-of-mouth.
Do you any favorite repertoire or programs? What are the virtues of each of the three different venues, and which one is the most popular venue with public? How do you measure the success of a season?
SJ: Oh dear – my favorite concert always is the one I’m currently playing, and our concerts are on such a level that I’m captivated by virtually everything. I don’t mean to gush, but since I’m the flutist, I’m not in all the pieces, so I get to watch and listen as some of them get put together.
It’s thrilling to watch the development of ideas and the intense communication between the artists, which the audience can truly appreciate in the small venues in which we perform. At Taliesin, the audience can literally read the notes on the page, and sometimes they do! We love that aspect of our performances, and it’s something our audiences only experience at BDDS.
JS: I love all our programs, so it’s hard to pick a favorite. During the process of putting together the season, any music we don’t like almost always gets weeded out 🙂
As for what I’m actually playing, again I’m happy about everything I’m playing—but I suppose if pressed, I’ll say that I’m especially looking forward to playing two-piano music with Kit Taylor again. Ravel’s “La valse” and Rachmaninoff’s “Symphonic Dances”—they are such juicy masterpieces, both originally written for two pianos, and really, really fun to play.
I’m also very self-indulgently looking forward to playing the Mozart concerto in Week Two. We pianists are so lucky—27 concertos by Mozart, and 19 of them absolute masterpieces. I hope to play one every year until I make my way through all of them.
I’m also very much looking forward to the Dvorak Piano Trio in F minor in Week Three. (Editor’s note: You can hear the Boston Trio play the first movement of the Dvorak Trio in F minor at the bottom in a YouTube video.) I’ve never played it before, and I love it so much. It’s music of such incredible depth and emotional honesty. (Below is the San Francisco Piano Trio with pianist Jeffrey Sykes, violinist Axel Strauss and cellist Jean-Michel Fonteneau.)
They are all great. Each has its pluses and minuses. I’d suggest you try them all on for size! (Below top is The Playhouse at the Overture Center; below middle is the Stoughton Opera House; and below bottom is the Hillside Theater at famed architect’s Frank Lloyd Wright’s Taliesin compound in Spring Green.)
Measuring the success of a season.
1. Well, one measure is certainly financial—this is the “butts in seats” measure. We want a butt in every seat! Aside from meaning we’ve had great ticket sales, the energy of a full house is incredibly exciting.
2. Another measure of success is whether the season as a whole, and the concert programs individually, have a successful narrative arc. I think (hope) they do (will). Of course, you never really know until you actually do the programs…
3. Yet another measure of success is fairly internal—how the chemistry works for these artists playing these pieces together. It’s always a risk mixing musicians and pieces. We’ve had a pretty good success rate with this, but we do make mistakes now and again. We’re all pros, and we will pull it out for performance whatever has happened in rehearsal, but there is something fundamentally satisfying about great chemistry in the rehearsal process.
4. And yet another measure of success is the effect everything has on the audience. We all love a thunderous, spontaneous standing ovation. But even more than that, I love it when a piece ends and is followed by a very pregnant silence in the audience, like you’re so caught up in the moment that you forget to breathe. THAT is a sure sign of success. I think we have possibilities for a couple of these this season.
What else would you to say or add?
SJ: We have a wonderful FREE children’s concert on Saturday morning, June 14, at 11 a.m. in The Playhouse of the Overture Center. It is called, “Getta Move On, Kids!” and is sponsored by CUNA Mutual, and that is getting a large and enthusiastic audience. It is friendly for children of all ages -– so please join us!
Hightail it to the Overture box office or our BDDS website and buy a season ticket. Student tickets are only $5 and we’d love to see more music loving students in our audience. BDDS comes only once a year and it means to me that summer’s here!
JS: Thank YOU, Jake, for being such a loyal fan and supporter of BDDS!
By Jacob Stockinger
The Ear’s friends at the Madison-based fun-filled and pun-filled Bach Dancing and Dynamite Society –- which The Ear named as Musician of the Year –- has announced its 23rd annual summer concert series, called “23 Skiddoo.”
The eclectic and unorthodox chamber music series, which will emphasize Latin American music, will take place this summer, from June 13 to June 29, 2014. It will be held over three weekends in three different venues and with 12 concerts offering six different programs. (Below is the official poster logo for 23 SKIDOO.)
Here is the official press release:
Bach Dancing & Dynamite Society (BDDS) presents its 23rd annual summer chamber music festival, “23 SKIDDOO,” from June 13 to June 29, 2014.
This festival features 12 concerts over three weekends, each weekend offers two different programs.
Concerts will be performed in The Playhouse at the Overture Center in Madison (below top); the renovated historic Stoughton Opera House (below middle); and the Hillside Theater at architect Frank Lloyd Wright’s Taliesin compound in Spring Green (below bottom).
Combining the best local musicians and top-notch artists from around the country, a varied repertoire and delightful surprises, BDDS presents chamber music as “serious fun” infused with high energy and lots of audience appeal, and makes this art form accessible to diverse audiences.
Led by artistic directors and performers Stephanie Jutt, flute, and Jeffrey Sykes, piano, (below in a photo by C Photography) 15 guest artists will perform in the festival.
“23 Skiddoo” is early 20th century American slang that refers to leaving quickly or taking advantage of an opportunity to leave. Jutt and Sykes have taken some great colloquial expressions and found musical connections for them: sometimes obvious, sometimes oblique — but always leading to thrilling music.
Highlights for this season include Latin American music — especially from Argentina — two pianos on stage in one weekend, a Midwest premiere by Pulitzer Prize-winning American composer Aaron Jay Kernis, and a silent film score including a screening of the film, below, by and with Charlie Chaplin.
We have two spectacular programs our first week, “Getta Move On” and “Exit Strategy.”
“Exit Strategy” features music written at the end of composers’ careers. It includes Claude Debussy‘s profound Sonata for Violin, the last work he wrote; Maurice Ravel’s popular “Bolero” in its original two-piano incarnation, almost his last work; Arnold Bax’s beautiful sonata for flute and harp; and the scintillating “Paganini” Variations of Witold Lutoslawski for two pianos.
“Getta Move On” features music inspired by dance, including Sergei Rachmaninoff‘s thrilling “Symphonic Dances” for two pianos, Ravel’s nostalgic “La valse” for two pianos, and the Midwest premiere of Aaron Jay Kernis’ evocative work “The Art of the Dance” for soprano, flute, harp, viola and percussion.
Madison’s piano star Christopher Taylor (below top) will pair up with BDDS artistic director Jeffrey Sykes on the two-piano works. The programs will also showcase the talents of Canadian harp virtuoso Heidi Krutzen and Pro Musicis award winner Yura Lee (below bottom) on violin and viola.
Icelandic soprano Dìsella Làrusdóttir, hailed by Opera News as “a voice of bewitching beauty and presence,” will join in the premiere of the work by Aaron Jay Kernis (below) and other works.
Concerts will be performed at The Playhouse in the Overture Center for the Arts on Friday and Saturday, June 13 and 14, at 7:30 p.m. and Spring Green at the Hillside Theater on Sunday, June 15, at 2:30 p.m. and 6:30 p.m.
The second week features “Take a Hike” and “Hasta La Vista, Baby.”
“Take a Hike” includes music inspired by the countryside, from an Amy Beach “Romance,” to Johannes Brahms’ gorgeous Clarinet Trio and Mozart’s pastoral Piano Concerto No. 23, which celebrates the Austrian countryside, to works by Argentinian composer Carlos Guastavino (below).
“Hasta La Vista, Baby” is an extravaganza of Latin American chamber music from the sultry, sensuous, heart-on-the-sleeve tangos of Astor Piazzolla (below) to the mystic profundity of Osvaldo Golijov‘s “The Dreams and Prayers of Isaac the Blind.”
We are thrilled to have clarinetist Alan Kay, principal of the Orpheus Chamber Orchestra, joining BDDS for the first time.
He will be joined by audience favorites Carmit Zori and Suzanne Beia, violins; David Harding, viola; and Tony Ross and Beth Rapier, cellos.
Finally, we have invited master pianist and arranger Pablo Zinger (below), one of Piazzolla’s champions who played with Piazzolla own’s quintet and is an international authority on Latin music, to give our programs authentic Latin flair. (You can hear Pablo Zinger playing with the composer in a popular YouTube video with over 1 million hits at the bottom in the beautiful bittersweet song “Adios, Nonino” that Piazzolla wrote when his father died. Zinger opens with a long and impressive solo piano riff and at about 1:48 minutes finally breaks into the heartbreaking melody.)
Concerts will be performed at the Stoughton Opera House on Friday, June 20, at 7:30 p.m.; at the The Playhouse in the Overture Center for the Arts on Saturday, June 21, at 7:30 p.m.; and in Spring Green at the Hillside Theater, on Sunday, June 22, at 2:30 p.m. and 6:30 p.m.
The final week includes “Cut and Run” and “Hightail It.”
“Cut and Run” features music by composers who made well-timed exits or transitions in their lives. Bohuslav Martinu escaped Europe just before the outbreak of World War II; when he arrived in the US, he wrote his jazzy Trio for flute, cello and piano. In Russia, Dmitri Shostakovich (below) responded to the war by writing his very moving piano trio. In this work, he got himself back into the good graces of the Soviet authorities—and yet still managed to sneak into his work an ironic critique of Soviet life.
Darius Milhaud’s great work for piano four hands, “Le boeuf sur le toit,” was originally intended as the score for Charlie Chaplin’s silent movie “The Count,” a movie (below) that culminates in a hilariously well-timed exit. Our program will reunite the movie with its erstwhile score.
“Hightail It” includes music with fast codas. “Coda” is the Italian word for “tail,” and it refers to the final section of a movement or a piece. This program includes William Hirtz’s fun, over-the-top “Fantasy on the Wizard of Oz” for piano four-hands, and the jazzy, rhythmic Sonata, for violin and cello, of Maurice Ravel. The thrilling, symphonic Piano Trio in F minor of Antonín Dvořák brings the season to a close.
The San Francisco Piano Trio (below) — violinist Axel Strauss, cellist Jean-Michel Fonteneau and BDDS artistic director pianist Jeffrey Sykes — will be joined by Boston Symphony pianist Randall Hodgkinson and BDDS Artistic Director flutist Stephanie Jutt in these programs.
Concerts will be performed at The Playhouse of the Overture Center for the Arts on Friday, June 27, 7:30 p.m.; at the Stoughton Opera House on Saturday, June 28, at 7:30 p.m.; and in Spring Green at the Hillside Theater, Sunday, on June 29, at 2:30 p.m. and 6:30 p.m.
FREE FAMILY CONCERT
For the fourth year, BDDS will also perform one FREE family concert, “Getta Move On Kids,” an interactive event that will be great for all ages. Together with the audience, BDDS will explore why dance-like melodies and rhythms can get people on their feet; they’ll listen to and repeat rhythms and move to the music.
This will take place at 11 a.m. on Saturday, June 14, in The Playhouse at the Overture Center. This is a performance for families with children ages 6 and up and seating will be first come first served. CUNA Mutual Group, and Overture Center generously underwrite this performance.
University of Wisconsin-Madison artist Carolyn Kallenborn (below top with a set from 2011 below bottom), who works in textiles artist, will create a stage setting for each concert in The Playhouse. All concerts at The Playhouse, the Opera House and Hillside Theater will be followed by a meet-the-artist opportunity.
The addresses of location and venues are: Stoughton Opera House, 381 East Main Street in Stoughton; the Overture Center in Madison at 201 State Street; and Frank Lloyd Wright’s Taliesin Hillside Theater on County Highway 23 in Spring Green.
Single general admission tickets are $39. Student tickets are only $5. Various ticket packages are also available starting at a series of three for $111. First-time subscriptions are 50 percent off.
For tickets and information, call (608) 255-9866 or visit: www.bachdancinganddynamite.org
Single tickets for Overture Center concerts can also be purchased at the Overture Center for the Arts box office, (608) 258-4141, or at overturecenter.com (additional fees apply). Hillside Theater tickets may be purchased from the Frank Lloyd Wright Visitors Center on County Highway C, (608) 588-7900. Tickets are available at the door at all locations.
By Jacob Stockinger
It’s bad enough when you have to choose between two or more very appealing concerts taking place at the same time during the regular fall, winter and spring season.
But the now the summer concert season has grown so rich that more and more of such scheduling conflicts – of “train wrecks,” as a good friend of The Ear and of classical music likes to call them – keep happening.
Last Friday night, I had to choose between the Madison Area Youth Chamber Orchestra and the Bach Dancing and Dynamite Society, among other events on the Summer Solstice and during the Make Music Madison festival. Both were, by all accounts, very rewarding events.
What, one wonders, will the future bring?
For the moment, however, my focus is on the present — on another such conflict that will happen this coming Saturday night, June 29. That’s when I and others will have to choose between two events very worthy events that are both attractive.
For one, there is the opening of the third and final weekend of the Bach Dancing and Dynamite Society. The concert is at 7:30 p.m. in the Overture Center‘s Playhouse (below).
The intriguing and quite original program includes Dick Kattenburg’s Quartet for flute, violin, cello and piano; Erich Wolfgang Korngold‘s unusually scored Suite for Piano, Left Hand, Two Violins and Cello; and Ludwig van Beethoven‘s famed “Archduke” Piano Trio.
The performers, who have proven reliable and inspired in past years, include cellist Jean–Michel Fonteneau (below top) and violinist Axel Strauss (below bottom), who, with BDDS co-founder and co-director pianist Jeffrey Sykes, make up the San Francisco Trio.
And for the Korngold suite, Madison Symphony Orchestra Concertmaster Naha Greenholtz (below) will make her BDDS debut — and not her last appearance, The Ear suspects.
(On Friday night at the Stoughton Opera House and on Sunday at the Hillside Theater (below) at the Frank Lloyd Wright historic compound Taliesin in Spring Green, the trio will Aaron Copland’s Violin Sonata transcribed for flute; a Mozart piano concert (No. 22 in E-flat, K. 482) in a chamber arrangement; and a very intriguing piano trio arrangement of Johannes Brahms String Sextet in G Major, Op. 36. For information about all the BDDS concerts visit: http://www.bachdancinganddynamite.org
Competing with that event, and right at the other end of State Street, is the single performance of “The Power of Music” by the Madison Summer Choir (below) under the very active and capable Madison choral conductor Ben Luedcke. It will be held at 7:30 p.m. in Mills Hall on the UW-Madison campus.
The unusual and appealing program includes the “Saint Cecilia” Mass by French composer Charles Gounod as well as music by Virgil Thomson, Johannes Brahms, Josef Rheinberger and Thomas Tomkins.
Tickets are $8 for general admission, $5 for students. For more information, visit: http://madisonsummerchoir.org
Why, The Ear asks, can’t there be more cooperation among performers and presenters to prevent that kind of conflict, which benefits no one?
Such solutions do happen.
It used to be, for example, that for quite a few years a concert-goer had to choose on a mid-July Saturday night between attending the All-Festival Concert (below top) of the Madison Early Music Festival and going to the very popular outdoors and FREE “Opera in the Park” (below bottom) put on by the Madison Opera and members of the Madison Symphony Orchestra.
But the two groups seem to have worked out a solution that should satisfy all fans of vocal music and singing.
This summer, for example, the MEMF’s final concert “Stuttgart 1616,” featuring music by Michael Praetorius and others, will take place on Friday night, July 12, at 7:30 p.m. in Mills Hall; while Opera in the Park will be on Saturday night, July 13, at 8 p.m. in Garner Park. The two events might be close and crowded, but attending both is quite do-able.
So, I ask, why couldn’t the Madison Summer Choir perform on, say, Sunday night, since the Bach Dancing and Dynamite Society has had its summer schedule pretty well set for many years. Maybe the hall was already booked; maybe it was just a mistake or an oversight.
True, one could drive to Spring Green to catch up with the BDDS on Sunday (when BDDS will perform its Friday program at 2:30 p.m. and its Sunday program at 6:30 p.m.) after attending the Madison Summer Choir concert. But that seems a bit extreme and hectic to ask of people.
Anyway, The Ear hopes – and suspects that many listeners share that hope – that such mutually exclusive choices can be eliminated or at least minimized next summer and in the future.
In the meantime I will readily admit that such conflicts between worthy concerts may be the price we have to pay for having such a vibrant and active classical music scene in Madison. But it is unfortunate nonetheless.
I hope both events draw good audiences and prove artistically successfully. I expect they will.
Yet however satisfied you feel about whatever one you go to, I suspect you will also feel a sense a loss of the one you didn’t and couldn’t attend.
And that is too bad.
What are you thoughts about this?
How do you resolve such conflicts for yourself, and think performers and presenters should?
The Ear wants to hear.