The Well-Tempered Ear

Classical music: Performers should announce encores

March 25, 2016
5 Comments

By Jacob Stockinger

All around The Ear, even very knowledgeable people were asking:

“What is that piece?”

“Who’s the composer?”

After a recent and superb performance of the Piano Concerto No. 4 by Ludwig van Beethoven with the Madison Symphony Orchestra under its longtime music director John DeMain, the renowned American pianist Emanuel Ax (below), who received a well-deserved standing ovation, played an encore.

And he played it beautifully.

Emanuel Ax portrait 2016

But he was negligent in one way.

He didn’t announce what the encore was.

So most of the audience was left wondering and guessing.

Now, The Ear knew the composer and piece because The Ear is an avid amateur pianist and knows the piano repertoire pretty well.

The encore in question was the Valse Oubliée No. 1 in F-sharp Major by Franz Liszt, which used to be more popular and more frequently heard than it is now. (You can hear it below played by Arthur Rubinstein in a YouTube video.)

On previous nights, Ax – who is a friendly, informed, articulate and talkative guy — also had apparently not announced the encores. But on Friday night it was the Waltz No. 2 in A minor by Frederic Chopin and on Saturday night is was the Nocturne in F-sharp major, Op. 15, No. 2, also by Chopin. Chopin is a composer who is a specialty of Ax, as you can hear in the YouTube video at the bottom, which features his encore in an unusual setting pertaining to the Holocaust.

It’s a relatively small annoyance, but The Ear really thinks that performers ought to announce encores. Audiences have a right to know what they are about to hear or have just heard. It is just a matter of politeness and concert etiquette, of being audience-friendly.

Plus it is fun to hear the ordinary speaking voice of the artist, even if it is only just briefly to announce a piece of music, as you can hear below with Ax discussing the three concerts in Carnegie Hall that he did to celebrate the bicentennials of Chopin and Robert Schumann.

And it isn’t just a matter of big names or small names.

Emanuel Ax is hardly alone.

A partial list this season of performers who did NOT announce encores include violinist Benjamin Beilman, who played with the Wisconsin Chamber Orchestra; violist Nobuko Imai, who performed with the Pro Arte Quartet; pianist Maurizio Pollini in a solo recital in Chicago; and a UW professor who played a work by Robert Schumann that even The Ear didn’t know.

Performing artists who DID announce encores — many of then by Johann Sebastian Bach — included pianist Joyce Yang at the Wisconsin Union Theater; violinist James Ehnes and cellist Sara Sant’Ambrogio, both with the Madison Symphony Orchestra; UW-Madison pianist Christopher Taylor, who played sick but nonetheless announced and commented humorously on his encore by Scott Joplin, “The Wall Street Rag”; and violinist Alexander Sitkovetsky, who played recently with the Wisconsin Chamber Orchestra.

So it seems like there is no consistent standard that concert artists learn or adopt about handling encores. The Ear’s best guess is that it is just a personal habit the performers get used to over time.

But the Ear sure wishes that all performing artists would announce encores, program changes or additions.

It just makes the concert experience more fun and informative as well as less frustrating.

Is The Ear alone?

Do you prefer that artists announce or not announce their encores?

Or doesn’t it matter to you?

The Ear wants to hear.


Classical music: Let us now praise flutist Robin Fellows, who has died. He played with the Wisconsin Chamber Orchestra and taught at the University of Wisconsin-Whitewater. Plus, this afternoon is your last chance to hear the Madison Symphony Orchestra’s all-French program with cellist Sara Sant’Ambrogio.

November 22, 2015
1 Comment

ALERT: This afternoon at 2:30 p.m in Overture Hall of the Overture Center is your last chance to hear the acclaimed all-French program by the Madison Symphony Orchestra with guest cellist Sara Sant’Ambrogio. Here are links to two very positive reviews.

Here is the review written by critic John W. Barker for Isthmus:

http://www.isthmus.com/arts/stage/madison-symphony-orchestra-november-waltz/

And here is the review written by Jessica Courtier for The Capital Times and the The Wisconsin State Journal:

http://host.madison.com/ct/entertainment/arts_and_theatre/concert-review-madison-symphony-pushes-itself-with-its-all-french/article_1480b329-d313-5afb-9460-e54f40a0596d.html

And here is a link to an interview with more about the concert, the program and the soloist:

https://welltempered.wordpress.com/2015/11/16/classical-music-cellist-sara-sant-ambrigio-talks-about-the-human-quality-of-french-music-she-performs-saint-saens-cello-concerto-no-1-on-an-all-french-program-with-the-madison-symphony-orc/

By Jacob Stockinger

This news is old and dated, and it comes late, too late for you to attend the memorial service. The Ear apologizes for his tardiness.

But the past several weeks have been very busy with concerts, and therefore with previews and reviews. Plus, he didn’t hear about the news until later.

Putting excuses aside, The Ear wants to take a moment to recognize the passing of an extraordinary talent many of us heard in performance and deeply appreciated.

Flutist Robin Fellows (below) has died of cancer at 66. For many years, he was principal flute with the Wisconsin Chamber Orchestra. He was also a longtime music professor at the University of Wisconsin-Whitewater.

robin fellows with flute

And he performed his share of other dates, such as playing with the Ancora String Quartet (below, in a photo by John W. Barker)

robin fellows plays with ancora string quartet cr john w barker

Here is a link to his obituary:

http://www.wcoconcerts.org/in-memoriam-robin-fellows

Robin Fellows copy

In his memory, here — in a YouTube video at the bottom featuring flutist Emmanuel Pahud and Sir Simon Rattle conducting the Berlin Philharmonic — is a favorite work of The Ear with a major flute part: the Sarabande by French composer Gabriel Faure.

http://www.wcoconcerts.org/in-memoriam-robin-fellows

Please feel free to leave your personal memories and recollections in the COMMENT section for others and the family to see.


Classical music: Cellist Sara Sant’Ambrogio talks about the human quality of French music. She performs Saint-Saens’ Cello Concerto No. 1 on an all-French program with the Madison Symphony Orchestra this weekend.

November 16, 2015
9 Comments

By Jacob Stockinger

The award-winning cellist Sara Sant’Ambrogio (below) makes her solo debut with the Madison Symphony Orchestra (MSO) in an all-French program this coming weekend.

sara sant'ambrogio 1

Sant’Ambrogio will solo in Camille Saint-Saëns’ stormy Cello Concerto No. 1 in A Minor, a first-time performance of the work by the MSO under its music director and conductor John DeMain.

The opening piece, Maurice Ravel’s sensuous Valses Nobles et Sentimentales, showcases the classical simplicity and ultimate decadence of the waltz, and the colors of all the instruments in the orchestra.

ravel

Finally, the MSO will perform the groundbreaking Symphonie Fantastique by Romantic composer Hector Berlioz (below). It is an unorthodox five-movement work that vividly captures an artist’s tortured infatuation and the haunted hallucinations of an opium trip.

berlioz

The concerts are in Overture Hall on Friday night at 7:30 p.m.; Saturday night at 8 p.m.; and Sunday afternoon at 2:30 p.m. in the Overture Center, 201 State Street.

Sara Sant’Ambrogio is an internationally-renowned soloist and founding member of the Eroica Trio (below). She launched her international career when she was a winner at the Eighth International Tchaikovsky Violoncello Competition in Moscow, Russia. She holds degrees from the Curtis Institute of Music and The Juilliard School, and won a Grammy Award for Best Chamber Music Performance for Leonard Bernstein‘s “Arias and Barcarolles.” She last appeared with the Madison Symphony Orchestra in 2001 as part of the Eroica Trio.

EroicaTrio4

Written in 1872, Saint-Saëns’ Cello Concerto No. 1 was instantly regarded as a masterpiece by the Paris public. Saint-Saëns rejected the standard concerto form in this work by interlinking the piece’s three movements into one continuous musical expanse, held together by the rich lyrical power of the cello.

The composer found the Cello Concerto No.1 difficult to write, so much so that he vowed never to compose for cello again; Saint-Saëns broke this vow 30 years later with his Cello Concerto No. 2.

One hour before each performance, John DeMain, music director and principal conductor of the Madison Symphony Orchestra, will lead a FREE 30-minute Prelude Discussion in Overture Hall to enhance concertgoers’ understanding and listening experience.

More background on the music can also be found in the Program Notes at http://www.madisonsymphony.org/santambrogio

Single Tickets are $16 to $85 each, available at     www.madisonsymphony.org/singletickets and through the Overture Center Box Office at 201 State Street or call the Box Office at (608) 258-4141.

Groups of 15 or more can save 25 percent by calling the MSO office at (608) 257-3734. For more information visit, www.madisonsymphony.org/groups

Student rush tickets can be purchased in person on the day of the concert at the Overture Box Office. Students must show a valid student ID and can receive up to two $12 or $15 tickets. More information is at: www.madisonsymphony.org/studentrush. Students can receive 20 percent savings on seats in select areas of the hall on advance ticket purchases.

Seniors age 62 and up receive 20 percent savings on advance and day-of-concert ticket purchases in select areas of the hall.

Discounted seats are subject to availability, and discounts cannot be combined.

Find more information at www.madisonsymphony.org.

Major funding for the November concerts is provided by Barbara Ryder, DeEtte Beilfuss-Eager and Leonard P. Eager, Jr., in memory of Karen “Lovey” Johnson, and Rosemarie Blancke. Additional funding is provided by Martha and Charles Casey, Sunseed Research, LLC, and the Wisconsin Arts Board with funds from the State of Wisconsin and the National Endowment for the Arts.

Sara Sant’Ambrogio (below) recently agreed to an email Q&A with The Ear:

sara sant'ambrogio

Could you briefly bring readers up to date on your career since 2001 when you last appeared with the Madison Symphony Orchestra as part of the Eroica Trio and performed the Triple Concerto for piano trio? What are current and future major plans and projects?

Wow, a lot has happened since 2001! I had a son, Sebastian, who just turned 11. I’ve recorded for solo CDs, the complete Bach solo suites, the Chopin collection and “Dreaming,” which has had a number of tracks used in movie soundtracks such as the HBO movie “A Matter of Taste.” I’ve recorded another Eroica Trio CD, “An American Journey,” which was nominated for a Grammy award.

I’ve toured China and all over Asia, and also the Arabian peninsula, which was amazing and mind-blowing. Petra in Jordan was like being in an Indiana Jones movie. It has been a truly amazing 14 years!

There seems to be a revival or rediscovery going on of the works of the French composer Camille Saint-Saëns. Why do you think that is?

Saint-Saens (below) has been grossly underrated in my view. His music has a wonderful mix of gorgeous melodies that speak to the human condition, sparkling virtuous pyrotechnics and a joie de vivre, which is just infectious! What’s not to love!

camille saint-saens younger

You are performing on an all-French program with Berlioz’ “Symphonie Fantastique” and Ravel’s “Valses Nobles et Sentimentales.” What elements or traits do identify as being typically French in classical music, and does Saint-Saëns fit the mold?

I think there is a lushness to French music that Saint-Saens shares. There is also a very human quality to the best of French music.

What would you like to say about the piece you will be performing in Madison, the Cello Concerto No. 1? What is typical or unusual about it?  What in particular would you like the public to listen to and notice?

Just to have a blast! The Saint-Saens starts with a bang and never lets up till the joyous end! (Note: You can hear it played by the late Russian cellist, conductor and human rights activist Mstislav Rostropovich in a YouTube video at the bottom.)

What else would you like to say?

I can’t wait to come back and play in Madison again. I had such a fantastic time playing there last time with my trio that the town loomed so large in my imagination, I had no idea until this interview that it had been 14 years since I was last there.

 


Classical music: Pianists Emanuel Ax and Garrick Ohlsson plus Mahler’s Symphony No. 4 and Carl Orff’s cantata “Carmina Burana” highlight the Madison Symphony Orchestra’s new 2015-16 season.

March 11, 2015
1 Comment

By Jacob Stockinger

The Madison Symphony Orchestra has just announced its next season for 2015-16. It is the 90th season for the MSO, and marks the 22nd season of music director and conductor John DeMain’s tenure.

Here is the press release that The Ear received.

More news and comments from music director and conductor John DeMain, who will conduct seven of the eight concerts, will follow. 

Concerts are in Overture Hall on Fridays at 7:30 p.m; Saturdays at 8 p.m.; and Sunday afternoons at 2:30 p.m.

Single tickets for the Season 2015-16 will range from $16 to $85. (They are currently $16 to $84.)

Subscriptions to five or more concerts in Season 2015-16 are on sale now at www. madisonsymphony.org or by calling the MSO office at (608) 257-3734. New subscribers can receive up to 50 percent off.

Single tickets from $16 to $85 will go on sale on Saturday, Aug. 15, 2015, at the Overture Center Box Office. You can also call (608) 258-4141 or go to  http://www.madisonsymphony.org 

mso from above

Madison Symphony Orchestra Announces 2015-2016 Season

The incomparable pianist Emanuel Ax and the soul-stirring orchestral/choral music of “Carmina Burana” are just two of the exciting highlights of John DeMain (below, in a photo by Prasad) and the Madison Symphony Orchestra’s (MSO) 2015-2016 Season.

MSO Music Director DeMain said, “We want audiences to be moved with great classical music as we excite their imaginations, lift their spirits, and stir their emotions.”

John DeMain full face by Prasad

Beginning with a September program that focuses on the highly talented musicians in the orchestra, DeMain will lead the audience through an exhilarating variety of themes and cultures throughout the season. France and Scotland are just two of the sound worlds the MSO will explore, while monumental works central to the repertoire, such as Orff’s Carmina Burana and Tchaikovsky’s Symphony No. 4, will anchor the year.

A world-class roster of guest artists will also join the season’s performances, including pianist Emanuel Ax, violinist James Ehnes, cellist Sara Sant’Ambrogio, violinist Alina Ibragimova, and pianist Garrick Ohlsson.

The MSO’s own Principal Clarinet Joseph Morris will play a pivotal role in the September concert also.

The immeasurable talent set to perform in Overture Hall ensures that the coming season is not to be missed!

(* below denote first-time performances for the MSO under Conductor John DeMain.)

John DeMain and MSO from the stage Greg Anderson

Sept. 25, 26, 27, 2015: Tchaikovsky’s Fourth. John DeMain, Conductor. Joseph Morris, Clarinet (below)

LUDWIG VAN BEETHOVEN       Leonore Overture No. 3

AARON COPLAND                  Clarinet Concerto*

PETER ILYICH TCHAIKOVSKY    Symphony No. 4

  • The most popular of the four overtures Beethoven penned for his opera Fidelio, Leonore Overture No. 3 packs more than its share of heroic energy into 13 minutes.
  • Commissioned by the clarinetist and legendary bandleader Benny Goodman, Copland’s jazz-infused Clarinet Concerto uses slapping basses and thwacking harp sounds to simulate a rhythm section.
  • Tchaikovsky’s monumental Symphony No. 4 unites blazing brass fanfares, dance-like passages, and aching melodies to explore ideas of fate, happiness, and longing.
  • joe morris playing CR Cheryl Savan

Oct. 16, 17, 18, 2015: Scottish Fantasy

John DeMain, Conductor, James Ehnes, Violin (below)

JOSEPH HAYDN                      Symphony No. 85 (La Reine)*

MAX BRUCH                          Scottish Fantasy*

SERGEI RACHMANINOFF        Symphonic Dances

  • Nicknamed “La Reine” because it was the favorite of French Queen Marie Antoinette, Haydn’s spirited Symphony No. 85 is one of six symphonies commissioned by the private concert society Les Concerts de la Loge Olympique in Paris.
  • Bruch’s Scottish Fantasy for violin and orchestra blends rustic folk tunes and tender themes to convey the stark Scottish landscape. Droning tones imitate bagpipes, while the violins mimic the sound of a country fiddle.
  • Written during World War II, Rachmaninoff’s Symphonic Dances features an extended saxophone solo, as well as quotes from Russian Orthodox chant and the Mass of the Dead. The piece was the composer’s final score, and he died believing that it would never be as popular as his earlier music.

M~ prv021405 EHNES 01

Nov. 20, 21, 22, 2015: French Fantastique. John DeMain, Conductor. Sara Sant’Ambrogio, Cello (below bottom)

MAURICE RAVEL                    Valses Nobles et Sentimentales*

CAMILLE SAINT-SAËNS            Cello Concerto No.1*

HECTOR BERLIOZ                    Symphonie Fantastique

  • Inspired by Schubert and originally written for piano, Ravel’s sensuous Valses Nobles et Sentimentales combines the classical simplicity of the waltz with the colorful aural array of the sounds of all the instruments in the orchestra.
  • Saint-Saëns eschewed standard concerto form in his Cello Concerto No.1 by interlinking the piece’s three movements into one continuous musical expanse, held together by the rich lyrical power of the cello.
  • Meant to depict the haunted hallucinations of an opium trip, Berlioz’s grand and imaginative Symphonie Fantastique is marked by an obsessive return to a striking theme symbolizing Berlioz’s beloved, Shakespearean actress Harriet Smithson, who did not return his affections.

Sara Sant-Ambrogio

Dec. 4, 5, 6, 2015. A Madison Symphony Christmas. John DeMain (below top), Conductor. Emily Fons, Mezzo-soprano. David Govertsen, Bass-Baritone. Madison Symphony Chorus, Beverly Taylor, Director. Madison Youth Choirs (below middle), Michael Ross, Artistic Director. Mt. Zion Gospel Choir (below bottom), Tamera and Leotha Stanley, Directors.

John DeMain and the Madison Symphony Orchestra don their Santa hats for this signature Christmas celebration. This concert is filled with traditions, from caroling in the lobby with the Madison Symphony Chorus to vocal performances by hundreds of members of Madison’s musical community. Christmas classics are interwoven with enchanting new holiday music. The culminating sing-along is Madison’s unofficial start of the holiday season!

MSO John DeMain in Santa Hat

Madison Youth Choirs Scotland Tour CR Jon Harlow

MtZion

Feb. 12, 13, 14, 2016: Music, the food of love…

Daniel Hege, Guest Conductor (below top). Alina Ibragimova, Violin (below bottom)

PETER ILYICH TCHAIKOVSKY    “Romeo and Juliet” Fantasy Overture

MAURICE RAVEL                    “Daphnis and Chloe” Suite No. 2

LUDWIG VAN BEETHOVEN       Violin Concerto

Tchaikovsky’s Romeo and Juliet Fantasy Overture tells the story of Shakespeare’s star-crossed lovers through thunderous passages portraying the conflict between the Montagues and the Capulets and a rapturous love theme.

  • With music from a ballet premiered by the Ballet Russes in Paris in 1912, Ravel’s lush Daphnis and Chloe Suite No. 2 depicts lovers Daphnis and Chloe reuniting at daybreak, followed by a Bacchanalian dance.
  • Beethoven’s technically challenging Violin Concerto premiered in 1806. The composer’s only violin concerto, this work paved the way for the great 19th-century German violin concertos by Mendelssohn, Bruch, and Brahms.

Syracuse Symphony Orchestra

alina ibragimovic

Mar. 11, 12, 13, 2016. John DeMain, Conductor. Emanuel Ax (below top), Piano. Alisa Jordheim, Soprano (below bottom)

DMITRY KABALEVSKY             Colas Breugnon Overture*

CÉSAR FRANCK                     Symphonic Variations*

RICHARD STRAUSS                Burleske

GUSTAV MAHLER                            Symphony No. 4

  • Composed in 1938 in Russia, Dmitry Kabalevsky’s dynamic Colas Breugnon Overture preceded the opera glorifying a working man’s struggle against a corrupt aristocracy—an unsurprising theme in the time of Stalin.
  • Knit together by themes presented in the introduction, Franck’s tightly polished Symphonic Variations for piano and orchestra became better known after his death due to the efforts of the composer’s adoring students.
  • Richard Strauss wrote his showy and seductive Burleske for piano and orchestra at the age of 21. When the composer presented it as a thank-you gift to his mentor, Hans von Bülow, the prominent conductor and pianist pronounced the work “unplayable”!
  • Sometimes referred to as Mahler’s pastoral symphony, Mahler’s Symphony No. 4 is light, sunny, and childlike. The finale features a soprano singing a text based on folk poetry.

Emanuel Ax playing LA Times

Alisa Jordheim

Apr. 1, 2, 3, 2016. John DeMain, Conductor. Garrick Ohlsson, Piano (below)

STEVEN STUCKY                     Symphony No. 1*

RICHARD STRAUSS                Don Juan

JOHANNES BRAHMS               Piano Concerto No. 1

  • Described by the composer as “a single expanse of music that travels through a series of emotional landscapes”, Steven Stucky’s Symphony No. 1 is one of the Pulitzer Prize-winning composer’s most recent works.
  • Richard Strauss’ tone poem Don Juan recounts the life, and death, of the eponymous fictional character through brazenly virtuosic flair matched by tender romantic melodies.
  • Brahms’ first major orchestral work, Piano Concerto No. 1, casts the piano and orchestra as equal partners working together to develop musical ideas. Written in D minor, this piece captures the composer’s grief over his friend Robert Schumann’s breakdown and eventual death in a mental asylum.

Garrick Ohlsson

Apr. 29, 30, May 1, 2016. John DeMain, Conductor. Jeni Houser, Soprano. Thomas Leighton, Tenor. Keith Phares, Baritone. Madison Symphony Chorus (below), Beverly Taylor, Director.

OTTORINO RESPIGHI               Pines of Rome

CARL ORFF                                     Carmina Burana

Respighi’s moving tone poem Pines of Rome illustrates four distinct scenes through music, and features one of the most stunningly beautiful melodies of the classical repertoire.

  • The epitome of “epic” music, Carl Orff’s spellbinding cantata Carmina Burana unites chorus and orchestra with rhythmic velocity and evocative lyrics. John DeMain calls it a “soul-stirring experience you’ll never forget” and “one of classical music’s most popular treasures.”

MSO Chorus CR Greg Anderson

The Madison Symphony Orchestra starts its 90th season with the 2015-16 concerts. The MSO engages audiences of all ages and backgrounds in live classical music through a full season of concerts with established and emerging soloists of international renown, an organ series that includes free concerts, and widely respected education and community engagement programs. Find more information at www.madisonsymphony.org.

 

 


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