The Well-Tempered Ear

Classical music: This weekend, the Madison Symphony Orchestra and other individuals and groups join forces to celebrate John DeMain’s 25th season with Mahler’s monumental “Symphony of a Thousand”

April 29, 2019
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By Jacob Stockinger

By any standard, it is epic music.

The stage in Overture Hall will have more than 500 participants on it this coming weekend when the Madison Symphony Orchestra (below, in a photo by Peter Rodgers) partners with the Madison Symphony Chorus, the Madison Youth Choirs, the UW–Madison Choral Union and eight critically acclaimed vocal soloists to bring a performance of Gustav Mahler’s massive Symphony No. 8 — or “Symphony of a Thousand.”

For the first time since 2005, MSO music director and conductor John DeMain will conduct one of the largest undertakings in the classical music repertoire as the final concert marking his Silver Anniversary Season.

Performances will be held in Overture Hall of the Overture Center, 201 State St., on Friday night, May 3, at 7:30 p.m.; Saturday night, May 4, at 8 p.m.; and Sunday afternoon, May 5, at 2:30 p.m.

Information about tickets ($18-$93) is below.

Says DeMain (below, in a photo by Greg Anderson): “I have spent 25 years with this orchestra and chorus. In that time, our collaboration on Gustav Mahler’s monumental Symphony No. 8 in 2005 stands out as perhaps the most memorable. I feel a magnetic affinity with Mahler, and began my career 25 years ago with his first symphony. I am honored and moved to conduct this work and feel it is the perfect conclusion to my 25th season.”

Composed in December 1906, Symphony No. 8 is the last work by Mahler (below) to be premiered in his lifetime. It is one of the largest-scale choral works in the classical concert repertoire, and because it requires huge instrumental and vocal forces, it is frequently called the “Symphony of a Thousand.” (Below is a photo of the final rehearsal for the world premiere performance in Munich in 1910.)

The structure of the work is unconventional; instead of the normal framework of several movements, the piece is in two parts.

Part I is based on the Latin text of a 9th-century Christian hymn for Pentecost, and Part II is a setting of the words from the closing scene of Goethe’s Faust.

The two parts are unified by a common idea: redemption through the power of love, a unity conveyed through shared musical themes.

Symphony No. 8 is revered as one of the greatest achievements of classical concert repertoire and expresses the composer’s confidence in the eternal human spirit. (You can hear Sir Simon Rattle conduct the Berlin Philharmonic in the famous finale of the Symphony No. 8 in the YouTube video at the bottom.)

ABOUT THE PERFORMERS

The distinguished solo singers are: soprano Alexandra LoBianco; soprano Emily Birsan (below), who just last weekend sang the title role in the Madison Opera’s production of Antonin Dvorak’s “Rusalka”; soprano Emily Pogorelc; mezzo-soprano Milena Kitic; mezzo-soprano Julie Miller; tenor Clay Hilley; baritone Michael Redding; and bass-baritone Morris Robinson.

For photos and impressive biographical information about the soloists, go to:

https://madisonsymphony.org/event/symphony-of-a-thousand/

The Madison Symphony Chorus (below top, in a photo by Greg Anderson) gave its first public performance on Feb. 23, 1928 and has performed regularly with the Madison Symphony Orchestra ever since.

The chorus is comprised of more than 150 volunteer musicians who come from all walks of life and enjoy combining their artistic talent under the direction of Beverly Taylor (below bottom), who is the director of Choral Activities at the UW-Madison’s Mead Witter School of Music.

Inclusive of members of all skill levels, the Madison Youth Choirs (below), Michael Ross director, incorporate singers from ages 7-18 into their orchestration.

The choirs aim to introduce youths interested in musical performance to collaborative forms of self-confidence and responsibility in the atmosphere of musical training. Randal Swiggum is conducting rehearsals preparing members of the choir for the MSO’s May Symphony of a Thousand concerts.

With 150 members, the UW-Madison Choral Union (below) fuses university and non-university members. Under the direction of Beverly Taylor, former associate conductor of the MSO who also teaches at the UW-Madison, the Choral Union is another testament to the musical outreach in the Madison arts.

CONCERT, TICKET and EVENT DETAILS

The lobby opens 90 minutes prior to each concert. One hour before each performance, Wisconsin Public Radio host Anders Yocom (below, in a photo by James Gill) will lead a 30-minute Prelude Discussion in Overture Hall to enhance concertgoers’ understanding and listening experience. It is free to ticket-holders.

The Symphony recommends concert attendees arrive early for each performance to make sure they have time to pass through Overture Center’s security stations so they can experience the Prelude Discussion.

Program notes for the concerts are available online: http://bit.ly/msomay19programnotes

  • Single Tickets are $18-$93 each and are on sale now at: https://madisonsymphony.org/event/symphony-of-a-thousandthrough the Overture Center Box Office at 201 State Street, or by calling the Box Office at (608) 258-4141. Fees apply to online/phone sales.
  • Groups of 10 or more can save 25% by calling the MSO office at (608) 257-3734. For more information, visit, https://www.madisonsymphony.org/groups.
  • Student rush tickets can be purchased in person on the day of the concert at the Overture Center Box Office at 201 State Street. Students must show a valid student ID and can receive up to two $15 or $20 tickets. More information is at: https://www.madisonsymphony.org/studentrush
  • Seniors age 62 and up receive 20% savings on advance and day-of-concert ticket purchases in select areas of the hall.
  • Flex-ticket booklets of 10 vouchers for 19-20 symphony subscription concerts are available. Learn more at: https://madisonsymphony.org/flex
  • Subscriptions for the 2019-2020 season are available now. Learn more at: https://madisonsymphony.org/19-20

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

Major funding provided by NBC15, Larry and Jan Phelps, Diane Ballweg, Carla and Fernando Alvarado, Johnson Financial Group, and University Research Park. Additional funding provided by DeWitt LLP, Kennedy Gilchrist and Heidi Wilde, Thomas E. Terry, Fred A. Wileman, Helen L. Wineke, and the Wisconsin Arts Board with funds from the State of Wisconsin and the National Endowment for the Arts.


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Classical music: Con Vivo closes its chamber music season with satisfying performances of string duos, violin romances and a clarinet quintet in a new, more intimate space

June 4, 2018
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By Jacob Stockinger

Here is a special posting, a review written by frequent guest critic and writer for this blog, John W. Barker. Barker (below) is an emeritus professor of Medieval history at the University of Wisconsin-Madison. He also is a well-known classical music critic who writes for Isthmus and the American Record Guide, and who hosts an early music show once a month on Sunday morning on WORT 89.9 FM. For years, he served on the Board of Advisors for the Madison Early Music Festival and frequently gives pre-concert lectures in Madison. He also took the performance photos.

By John W. Barker

The season’s closing concert by the Con Vivo! chamber ensemble (below) took on an extra degree of novelty.

Usually the group has performed in the main sanctuary of the First Congregational United Church of Christ. But the acoustics there are variable and not always ideal for small ensembles.

This time, the performers moved to the chapel, a much smaller room in the building complex. With a high ceiling but modest space, this venue has a much more appropriate quality for chamber music. It’s a trifle hard, but not reverberant — a good place for intimacy and directness of sound. This should become one base of choice for the ensemble now.

The program was split interestingly between two different musical realms.

The first half consisted of duos. At the core was a set of six brief pieces drawn from the 44 Duos by Bela Bartok, published as his Op. 104. Written for two violins, but adaptable to other string instruments, they were delivered here by violist Janse Vincent and cellist Maggie Darby Townsend (below), in charming fashion.

Framing them were two violin romances, each written with orchestral accompaniment that was rendered on the piano by Dan Lyons. One was the Romance No. 2 in F Major, Op. 50, by Ludwig van Beethoven played by Kathryn Taylor (below).

The other — which in fact originally began life as a movement of a string quartet — was the Romance in F minor, Op. 11, by Antonin Dvorak. This was played by Olga Pomolova (below). It is no disrespect to the other players to note that her performance was outstanding for rich tone and strong feeling. (You can hear Dvorak’s lovely Romance in its orchestral version in the YouTube video at the bottom.)

A different world was drawn upon after the intermission, one for larger-scale chamber writing. This was the wonderful Quintet in B minor, Op. 115, for Clarinet and Strings. In this work, clarinetist Robert Taylor joined the four string players.

This is a mellow late work from Brahms, full of his artful denseness of textures, yet finely sensitive to balances. It is remarkable how the clarinet is constantly shifted between blending with the strings and standing apart from them. The performance was worthy of the challenges, full of spirit yet carefully controlled at all times — a performance that allowed the listener to ponder, and savor.

The sum total was a very satisfying concert, and one that suggested experiences with this chapel chamber should continue to be explored.


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