The Well-Tempered Ear

Classical music: This Sunday afternoon, the Madison Symphony Orchestra takes listeners “Behind the Score” of the Symphony No. 5 by Prokofiev

January 16, 2020
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By Jacob Stockinger

This Sunday afternoon, Jan. 19, at 2:30 p.m. in Overture Hall, the Madison Symphony Orchestra (below, in a photo by Peter Rodgers) and MSO music director John DeMain will present the story behind Prokofiev’s Symphony No. 5 with “Beyond the Score®: Sergei Prokofiev Symphony No. 5: Pure Propaganda?”

The one performance-only concert is a multimedia examination of the Russian composer’s musical celebration of the end of World War II. (You can hear the second movement in the YouTube video at the bottom.)

The presentation stars American Players Theatre actors James Ridge (below top), Colleen Madden (below second), Marcus Truschinski (below third) and Sarah Day (below bottom).

Along with MSO pianist Dan Lyons (below), the concert experience features visual projections, photos and musical excerpts.

Then in the second half comes a full and uninterrupted performance of the Symphony No. 5 by the orchestra conducted by John DeMain (below, in a photo by Prasad).

“This is one of the great offerings of Beyond the Score,” says DeMain. “Three generations of great Russian composers influenced Sergei Prokofiev (below) from childhood into his adult years, helping him create the most popular of his big symphonies, his fifth.

Adds DeMain: “I have so much fun working with the great actors from the American Players Theatre as they interweave the backstory with the orchestra. The visuals for this production are spectacular. After intermission, we play this wonderful symphony in its entirety.”

Prokofiev’s Symphony No. 5 was published in 1944. Taking inspiration from his experiences in America and his return to the Soviet homeland after the war, Prokofiev expresses the heroic, beautiful and strong nature of the music.

This Beyond the Score production joins Prokofiev at the end of World War II and discovers his inspiration for Symphony No. 5.

Incorporating war video footage and propaganda photos, the program presents the historical context behind the classical piece turned masterpiece.

CONCERT, TICKET AND EVENT DETAILS

The lobby opens 90 minutes prior to each concert. The symphony recommends concert attendees arrive early for each performance to make sure they have time to pass through Overture Center’s security stations.

Program notes are available online for viewing in advance of the concerts: http://bit.ly/msojan20programnotes

  • Single Tickets are $16-$70 each and are on sale now at: https://madisonsymphony.org/event/beyond-the-score-2020-prokofiev/through 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.
  • Seniors age 62 and up receive 20% savings on advance and day-of-concert ticket purchases in select areas of the hall.

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

ABOUT BEYOND THE SCORE®

For newcomers to classical music and longtime aficionados alike, each Beyond the Score® presentation is a dramatic exploration of a composer’s music.

Through live actors, stunning visual projections and virtuosic fragments of live music performed by members of the orchestra, the compelling story of the composer’s life and art unfolds, illuminating the world that shaped the music’s creation. Beyond the Score presentations weave together theater, music and design to draw audiences into the concert hall and into a work’s spirit.

The popular program seeks to open the door to the symphonic repertoire for first-time concertgoers as well as to encourage an active, more fulfilling way of listening for seasoned audiences.

At its core is the live format of musical extracts, spoken clarification, theatrical narrative, and hand-paced projections on large central surfaces, performed in close synchrony.

After each program, audiences return from intermission to experience the resulting work performed in a regular concert setting, equipped with a new understanding of its style and genesis.

Beyond the Score® is a production of the Chicago Symphony Orchestra. Gerard McBurney, Creative Director for Beyond the Score®

Exclusive funding for this concert is provided by the Pleasant T. Rowland Foundation.

 


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Classical music: Background discussions, lectures and documentaries lead up to Madison Opera’s production of the LGBTQ-themed, McCarthy-era opera “Fellow Travelers” on Feb. 7 and 9

January 14, 2020
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By Jacob Stockinger

The Madison Opera continues its foray into 21st-century operas with Gregory Spears’ Fellow Travelers on Friday night, Feb. 7, at 8 p.m. and Sunday afternoon, Feb. 9, at 2:30 p.m. in the Capitol Theater at the Overture Center.

(Production photos below are by Dan Norman of the Minnesota Opera production, which is being encored in Madison. You can see and hear a preview of the Minnesota Opera production in the YouTube video at the bottom.)

The acclaimed 2016 opera is set in 1950s Washington, D.C. The “Lavender Scare,” in which suspected homosexuals saw their livelihoods and lives destroyed, has enveloped the U.S. government. (Below are Andres Acosta as Timothy Laughlin and Sidney Outlaw as Tommy McIntyre.) 

Against this backdrop, Timothy Laughlin, a recent college graduate and an ardent supporter of Wisconsin’s anti-Communist Republican Senator Joseph McCarthy, meets Hawkins Fuller, a State Department official.

The two men (below, Acosta on the right) embark on a relationship, tangled in a web of fear and necessary deceit. Their friends and colleagues fill out a story of individuals grappling with their beliefs and emotions.

With a libretto by Greg Pierce that is based on Thomas Mallon’s 2007 novel, Fellow Travelers was praised as “a near-perfect example of fast-flowing musical drama” by The New York Times and tells of the very human consequences of prejudice and fear, with compassion, nuance and incredible beauty.

The opera will be sung in English with projected text.

The performance will last approximately 2 hours 25 minutes, including one intermission.

For more information, go to: www.madisonopera.org/FellowTravelers

Tickets are $26 to $118 with discounts available for students and groups. Go to the Overture Center box office at 201 State Street or call it at (608) 258-4141 or go online to www.MadisonOpera.org/Tickets

“When I saw Fellow Travelers, I knew before it was over that I would be producing it in Madison,” says Madison’s Opera’s General Director Kathryn Smith (below in a photo by James Gill). “I fell in love with the haunting music and the well-drawn characters, and the emotional impact at the end was even more powerful than I had anticipated. I am truly looking forward to sharing this modern masterpiece with our community.”

Peter Rothstein (below) directs this production in his Madison Opera debut. Rothstein, who received his MFA from the UW-Madison, directed Fellow Travelers for Minnesota Opera in 2018.

The Twin City Arts Reader called his production “equal parts sweeping love affair and tragic circumstance. To some, the events will feel comfortably distant for this doomed period romance. For others, they will seem all too real and possible in this day and age. It’s a powerful combination.”

Making his Madison Opera debut as Timothy Laughlin is Andres Acosta (below), who performed this role to acclaim at the Minnesota Opera.

Ben Edquist (below), who debuted at Opera in the Park this past summer, sings Hawkins Fuller.

Adriana Zabala (below, of Florencia en el Amazonas) returns as Mary Johnson, who works with Hawkins and is a friend and voice of conscience for him and Timothy.

Returning to Madison Opera are Sidney Outlaw (below top, of Gounod’s Romeo and Juliet) as Tommy McIntyre, a political insider, and Alan Dunbar (below bottom, in a photo by Roy Hellman, of Mozart’s The Magic Flute) in multiple roles, including Senator Joseph McCarthy and a government interrogator who puts Hawkins through a lie detector test.

Andrew Wilkowske (below) debuts in several roles, including Senator Potter and General Arlie.

Filling out the cast is Madison Opera Studio Artist Emily Secor (below top) as Miss Lightfoot, who works in Hawkins’ office; soprano Cassandra Vasta (below bottom) as Lucy, whomHawkins marries; and Madison Opera Studio Artist Stephen Hobe in five different roles.

John DeMain (below, in a photo by Greg Anderson) conducts, with the Madison Symphony Orchestra in the pit.

Madison Opera’s production of “Fellow Travelers” is sponsored by: Fran Klos; Sally and Mike Miley; David Flanders and Susan Ecroyd; John Lemke and Pamela Oliver; Sharyn and Carl Stumpf; and Dane Arts. Community events are sponsored by The Capital Times.

RELATED EVENTS

In addition to the two performances, Madison Opera offers several events to allow deeper exploration of the opera and its historical background.

They include a free discussion of the “Wisconsin Dimension” of this period in history at the Madison Central Library and a free showing of The Lavender Scare documentary at PBS Wisconsin (formerly Wisconsin Public Television).

OPERA NOVICE: WELCOME TO THE 21st CENTURY

This Friday, Jan. 17, 6-7 p.m. FREE and open to the public at the Madison Opera Center (below), 335 West Mifflin Street

New to opera? Not sure how you feel about modern opera? Come to the Madison Opera Center for a short, fun and informative evening, led by General Director Kathryn Smith.

Learn about some of the new American operas that are shaping the operatic landscape in the 21st century, including Fellow Travelers. Studio Artist Stephen Hobe (below) will sing an aria from Fellow Travelers, and there will be plenty of time for questions. It’s the perfect jump-start for the opera-curious.

FELLOW TRAVELERS: THE WISCONSIN DIMENSION

This Sunday, Jan. 19, 3–4:30 p.m.; FREE and open to the public at the Madison Central Library, 201 West Mifflin Street

 Join us for a discussion of how the Lavender Scare and its fallout was felt in Wisconsin, led by R. Richard Wagner (below top), activist and author of We’ve Been Here All Along: Wisconsin’s Early Gay History (below middle), and Susan Zaeske (below bottom), a UW-Madison campus leader in the arts and humanities who has taught an experiential-learning course on LGBTQ history.

THE LAVENDER SCARE– Documentary Screening

Friday, Jan. 24, 7 p.m.; FREE and open to the public at PBS Wisconsin, 821 University Avenue

PBS Wisconsin (formerly Wisconsin Public Television) presents a screening of The Lavender Scare, the first documentary film to tell the little-known story of an unrelenting campaign by the federal government to identify and fire all employees suspected of being homosexual.

Narrated by Glenn Close, the film was praised as “a gripping, nimbly assembled documentary… vivid, disturbing and rousing” by the Los Angeles Times. The screening will be followed by a discussion.

OPERA UP CLOSE: FELLOW TRAVELERS

Sunday, Feb. 2, 1-3 p.m.; FREE for full-season subscribers; $10 for two-show subscribers; and $20 for non-subscribers; at the Madison Opera Center, 335 West Mifflin Street

Join the Madison Opera for a multimedia behind-the-scenes preview of Fellow Travelers. General Director Kathryn Smith will discuss many aspects of the opera, including the historical events that provide the story’s backdrop, the novel on which it is based, and how this 2016 opera swiftly spread across the country.

Principal artists, stage director Peter Rothstein, and conductor John DeMain will participate in a roundtable discussion about Madison’s production and their own takes on this acclaimed 2016 work.

PRE-OPERA TALKS

Friday, February 7, 2020, 7 p.m. and Sunday, February 9, 2020, 1:30 p.m. FREE to ticket holders at the Wisconsin Studio in the Overture Center

Join General Director Kathryn Smith one hour prior to performances for an entertaining and informative talk about Fellow Travelers.

 


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Classical music: The Madison Symphony Orchestra performs its annual gala Christmas concert this weekend and also offers a FREE community carol sing this Saturday morning

December 12, 2019
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By Jacob Stockinger

As Charles Dickens might say, the Madison Symphony Orchestra knows how to keep Christmas well.

Over many years, “A Madison Symphony Christmas” has become a  popular and major annual kickoff to the holiday season in the Madison area by embracing the season with Christmas classics and new music.

Much of the event’s appeal derives from the diversity and range of the performers. This year it again features the full orchestra plus the Madison Symphony Chorus, the Madison Youth Choirs and the Mount Zion Gospel Choir.

In addition, two opera stars who have performed with the Madison Opera — tenor Mackenzie Whitney (below top) and soprano Michelle Johnson (below bottom)– return to the stage for this annual family-friendly tradition. For biographies of the two singers, go to: https://madisonsymphony.org/event/a-madison-symphony-christmas-2019/

MSO principal harpist Johanna Wienholts (below) is a featured soloist in a concerto by George Frideric Handel.

“A Madison Symphony Christmas” takes place in Overture Hall, 201 State Street, on this Friday night, Dec. 13, at 7:30 p.m.; Saturday night, Dec. 14, at 8 p.m.; and Sunday afternoon, Dec. 15, at 2:30 p.m.

Tickets are $19 to $95 with discounts available. See below for details.

NOTE: On this coming Saturday morning, Dec. 14, at 11 a.m., Greg Zelek (below, in a  photo by Peter Rodgers) — the Madison Symphony Orchestra’s Principal Organist and Curator of the Overture Concert Organ — leads a FREE Community Carol Sing in Overture Hall. All ages are welcome, and no tickets or reservations are needed. Learn more at: https://madisonsymphony.org/event/free-community-carol-sing-2019/

Music director and conductor John DeMain (below) offers the following preview of the MSO concert:“This is the biggest celebration of the season in Madison and beyond. It has four different choruses and choirs as well as amazing soloists from the orchestra, the world of opera and Broadway.

“The huge Madison Symphony Orchestra will play your favorite Christmas music, and there is a great carol sing-along featuring the Overture Hall organ playing with the MSO. After this concert, you’ll want to celebrate Christmas all year long.”

The program begins with classical styles in the first half, culminating in Handel’s “Hallelujah” Chorus (heard in the YouTube video at the bottom.) The concert climaxes with a Gospel music finale, and a chance for the audience to sing along.

Works to be performed include John Rutter’s version of “O Come, O Come Emmanuel”; the “Magnificat” by Johann Sebastian Bach; Franz Schubert’s “Wiegenlied” (“Lullaby”); and music by Charles Gounod, J. S. Bach, Felix Mendelssohn, Adolphe Adam, Dan Goeller and Randol Alan Bass.

The older voices of the Madison Youth Choirs (below) are featured in works by composer Stephen Hatfield, including a version of the traditional English “Apple-Tree Wassail.”

The Madison Symphony Chorus (below, in a photo by Greg Anderson) and soloists present of medley of familiar holiday favorites, including “Let It Snow! Let It Snow! Let It Snow!”

Finally, the Mount Zion Gospel Choir (below, in a photo by Bob Rashid) sings arrangements for choir and orchestra by co-director Leotha Stanley, including “The Joy of Christmas,” Stanley’s version of “Silent Night,” and a newly composed song by Stanley, “Christmas Hope.”

CONCERT, TICKET AND EVENT DETAILS

The lobby opens 90 minutes prior to each concert. The MSO recommends concert attendees arrive early for each performance to make sure they have time to pass through Overture Center’s security stations — and participate in singing carols with the Madison Symphony Chorus that take place in the Overture Hall lobby (below) 45 minutes before the concerts.

Program notes are available online for viewing in advance of the concerts: http://bit.ly/msodec19programnotes

  • Single Tickets are $19-$95 each and are on sale now at: https://madisonsymphony.org/event/a-madison-symphony-christmas-2019/through 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 8-10 vouchers for 19-20 symphony subscription concerts are available. Learn more at: https://madisonsymphony.org/flex

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

 


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Classical music: The Oakwood Chamber Players perform a mini-opera version of “A Christmas Carol” this Saturday night and Sunday afternoon

December 6, 2019
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By Jacob Stockinger

Over several deuces, the Oakwood Chamber Players have built a solid reputation for their top-notch performances of unusual and neglected repertoire.

So it comes as no surprise that the group will offer one of the newer, more unusual and promising takes on the holiday classic, “A Christmas Carol.”

Twice this weekend, the Madison-based, widely experienced musical theater actor and baritone Robert A. Goderich reprises his tour-de-force performance, last done in 2016, of Charles Dickens’ characters for the Oakwood Chamber Players’ presentation of the mini-opera “The Passion of Scrooge” by New York composer Jon Deak.

A dozen musicians, including ensemble members with special guest artists, provide the platform for Goderich’s characterizations on this coming Saturday night, Dec. 7, at 7 p.m., and Sunday afternoon, Dec. 8, at 2 p.m.

The concerts take place at Oakwood Village University Woods Auditorium at 6209 Mineral Point Road, on Madison’s far west side near West Towne Mall.

Tickets are available at the door and are $25 for adults, $20 for seniors, and $5 for students. Go to https://www.oakwoodchamberplayers.com for more information.

Members of the ensemble for this program are: Marilyn Chohaney (flute), Nancy Mackenzie (clarinet), Anne Aley (horn), Elspeth Stalter Clouse (violin) and Maggie Darby Townsend (cello), and guest musicians Hillary Hempel (violin), Emma Cifrino (viola), Brad Townsend (bass), Mike Koszewski (percussion), and Margaret Mackenzie (harp).

Over the past two decades, New York Philharmonic bassist and composer Jon Deak (below) has created a variety of “concert dramas” that tell stories through words and sound. 

Performed annually at the Smithsonian, this two-act musical setting re-imagines Ebenezer Scrooge’s struggle to transform his past, present and future from a life of avarice to warmth and humanity.

As singer and narrator, Goderich, who plays all the parts, is the focal point; but the composer has given the instrumentalists an integral part in the story line, too. Conductor Kyle Knox (below) leads the ensemble through many facets of this humorous work filled with dramatic effects.

Deak requires the musicians to be nimble performers, juggling melodic lines while interjecting entertaining sounds into Dickens’ traditional tale. You can hear the opening introduction by the Storyteller in the YouTube video at the bottom.

One of the score’s important aspects is the varied use of percussion, which provides a broad range of instruments and sound effects. Audiences can enjoy both the aural and visual artistry of chains rattling, doors creaking and footsteps echoing in this holiday classic.

Additionally, the Oakwood Chamber Players will perform a suite of British reels and carols, including songs mentioned in the text of Dickens’ original story.

For example, when the Ghost of Christmas Past reminds Scrooge of his first employer Fezziwig, a fiddler plays the tune “Sir Roger De Coverley.” This Scottish-English country dance, arranged by composer Frank Bridge in 1922, is one of the tunes providing an engaging introduction to “The Passion of Scrooge.”

 


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Classical music: The Madison Bach Musicians will perform its ninth annual Baroque Holiday Concert this coming Saturday night

December 1, 2019
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By Jacob Stockinger

On this coming Saturday night, Dec. 7, the Madison Bach Musicians will present its ninth annual Baroque Holiday Concert (below, in  2014, in a photo by Kent Sweitzer).

The concert, using period instruments and historically informed performance practices, is again at the First Congregational United Church of Christ, 1609 University Ave., near Camp Randall Stadium. A pre-concert lecture by MBM founder and director Trevor Stephenson is at 7:15 p.m. followed by the concert at 8 p.m.

Advance-sale tickets are $35 at Orange Tree Imports and the Willy St. Co-op (East and West). Online advance-sale tickets are available at https://madisonbachmusicians.org. Tickets at the door at $38 for general admission and $35 for seniors. Student Rush tickets are $10 at the door and go on sale 30 minutes before the lecture.

The program features masterworks by Bach, Handel, Purcell and Torelli which, in their appealing Baroque way, explore the fusion of celebration, reflection and ultimate renewal often felt as the year’s end approaches.

MBM welcomes baroque trumpet virtuoso Kathryn Adduci (below), who will show how wonderfully vintage brass resounds in the magnificent Old World acoustics of the church.

Other performers are: Ariadne Lih, soprano (below); Lindsey Meekhof, alto; Ryan Townsend Strand, tenor; Michael Hawes, bass; Christine Hauptly Annin and Nathan Giglierano, violins; Micah Behr, viola; James Waldo, cello; and Trevor Stephenson, harpsichord.

Here are a couple of fun facts, provided by Stephenson, about each piece on the program.

Sound the Trumpet, by Henry Purcell (1659−1695, below)
1. This piece was composed in 1694, the year before Purcell died at the age of just 36. It is part of a birthday ode — Come Ye Sons of Art, Away! — for Queen Mary II of England, wife of King James II.
2. There is no trumpet in it at all, but the two voices implore the trumpet to play and they emulate trumpet-style writing with long, swelling notes mixed in with brilliant decorative flourishes.


Trumpet Concert in D major 
by Giuseppe Torelli (1658−1709, below)
1. Torelli was one of the most prolific trumpet composers of all time.
2. The baroque trumpet has no valves and is designed to play in one tonality at a time. Favorite baroque keys were D major and C major.

Comfort Ye and Every Valley from Messiah, by George Frideric Handel (1685−1759, below)
1. After the instrumental Overture to Messiah, this Recitative and Aria are the work’s first sung pieces.
2. Handel was 56 years old when he composed Messiah in 1741 in London; the work was premiered, however, in Dublin in 1742, much to the chagrin of Handel’s librettist Charles Jennens.

Cantata BWV 51, Jauchzet Gott in allen Landen (Exult in God in Every Land), by Johann Sebastian Bach (1685−1750, below)
1. Composed around 1730, this is one of the very few Bach cantatas requiring only one singer.
2. In Bach’s Leipzig church, where the work was probably first heard, the soloist would have been either a male falsettist (or castrato) or an exceptionally skilled boy soprano.

Contrapunctus XIX and Vor deinen Thron tret ich hiermit (Before Thy throne I stand), from The Art of Fugue, BWV 1080, by J.S. Bach
1. According to Bach’s son Carl Philipp Emanuel (CPE), this fugue is the last piece his father wrote — though scholars hotly contest this claim.
2. In measure 195, Bach’s own name appears suddenly as a musical motive: B (B-flat in the German scale) – A – C – H (B natural) and the fugue has no ending but simply trails off in measure 239.

Grosser Herr, o starker König (Great Lord, O Powerful King) from Christmas Oratorio,BWV 248, by J.S. Bach
1. It features dance-like melodic figures in dialogue between trumpet and solo bass voice. (Heard in the YouTube video at the bottom.)
2. Text celebrates the birth of the savior, which makes the powers of the Earth irrelevant.

Cantata BWV 196, Der Herr denket an uns (The Lord thinks of us),by J.S. Bach
1. With its textual focus on blessings (from Psalm 115), the work is likely a wedding cantata.
2. Written probably when Bach was only 22 years old, the work is absolutely perfect in its structure and easy concision; its high-energy but quiet final cadence has a curiously modern, neo-Classical charm that might have made Stravinsky smile.

Chorale: Wohl mir, dass ich Jesum habe (What joy for me that I have Jesus),from Cantata, BWV 147, Herz und Mund und Tat und Leben (Heart and Mouth and Deed and Life)by J.S. Bach
1. The famous opening figure in the strings is really just Bach’s ingenious obligato lead-in to a chorale tune that parishioners in his church would have instantly recognized.
2. This work has enjoyed tremendous popularity as “Jesu, Joy of Man’s Desiring” since it was arranged for one and then two pianos in 1926 and 1934 respectively by English pianist Myra Hess. It has since been arranged for myriad combinations of instruments and voices.


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Classical music: This weekend guest violinist Rachel Barton Pine solos with the Madison Symphony Orchestra in an all-Russian program

October 17, 2019
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By Jacob Stockinger

This weekend the acclaimed Chicago violinist Rachel Barton Pine (below) makes her debut with the Madison Symphony Orchestra playing Khachaturian’s Violin Concerto in D minor.

The concert by the orchestra (below, in a photo by Peter Rodgers) opens with Prokofiev’s Suite from Lieutenant Kijé and concludes with Shostakovich’s Symphony No. 9.

Performances will be held in Overture Hall, 201 State St., on Friday night, Oct. 18, at 7:30 p.m.; Saturday night, Oct. 19, at 8 p.m.; and Sunday afternoon, Oct. 20, at 2:30 p.m. in Overture Hall. Tickets are $19-$95. See below for details.

“There will be great discoveries in our all-Russian concert, starting with the MSO debut of virtuoso violinist Rachel Barton Pine playing the Khachaturian Violin Concerto, a big, bold and beautiful work in its MSO premiere,” said MSO music director and conductor John DeMain (below, in a photo by Greg Anderson). Lieutenant Kijé is sure to delight you with its wonderful melodies and infectious rhythms. Shostakovich has become a favorite with our audiences, and his ninth symphony is delightfully upbeat.”

Lieutenant Kijé is the fictional protagonist of an anecdote about the reign of Emperor Paul I of Russia. The story was used as the basis of a novella by Yury Tynyanov published in 1928 and filmed in 1934, with music by Sergei Prokofiev (below). The plot is a satire on bureaucracy and is often parodied in fictional works making fun of bureaucracies, most famously in the form of the M*A*S*H television episode “Tuttle,” featuring a fictional captain of similar provenance. (You can hear the popular “Troika” episode in the YouTube video at the bottom.)

Many of the themes in Violin Concerto in D minor are evocative of the native Armenia of Aram Khachaturian (below). Although the folk melodies aren’t played explicitly, one can hear the Armenian roots through the oriental essence of the scales and the rhythmic range of the featured dances. The piece won the Stalin Prize in 1941, becoming one of Khachaturian’s favorites.

Shostakovich’s Symphony No. 9 is entirely unlike his other symphonies. In fact, it completely disregards the expectations for its programmatic elements. Shostakovich’s prior two symphonies are thematically tied to the ongoing war, therefore the public presumed that the ninth symphony would be a grand culmination to Stalin and mark the end of World War II. Instead, the composer (below) produced a short, neo-classical work that generated an abundance of controversy.

ABOUT RACHEL BARTON PINE

In both art and life, violinist Rachel Barton Pine (below) – who has performed in Madison before with the Wisconsin Chamber Orchestra — has an extraordinary ability to connect with people.

Celebrated as a leading interpreter of great classic and contemporary works, her performances combine her innate gift for emotional communication and her scholarly fascination with historical research. She plays with passion and conviction, thrilling audiences worldwide with her dazzling technique, lustrous tone, and infectious joy in music-making.

A prolific recording artist, she has also championed the works of female composers and African-American composers.

Pine was also recently named the recipient of the Cedille Records Musical Partnership Award for her Rachel Barton Pine Foundation. The Foundation was recognized as an organization that has demonstrated an extraordinary commitment to the classical music community in Chicago. Cedille noted the Foundation’s “support of the Chicago musical community’s most valuable asset — its musicians and composers.”

Pine was presented with the award by U.S Supreme Court Justice Ruth Bader Ginsburg whose son, Jim Ginsburg, founded Cedille Records. Pine began her Foundation in 2001 to provide instruments and instruction to children who might not otherwise be able to afford them.

You can read the Artist Story online about how Rachel Barton Pine overcame severe injuries and her own personal adversity to achieve her goals: https://madisonsymphony.org/19-20-artist-story-rachel-barton-pine-overcomes-adversity/

CONCERT, TICKET AND EVENT DETAILS

The lobby opens 90 minutes prior to each concert.

One hour before each performance, retired MSO trombonist and UW-Whitewater professor Michael Allsen (below, in a photo by Katrin Talbot) will lead a 30-minute Prelude Discussion in Overture Hall to enhance concertgoers’ understanding and listening experience. It is free to ticket holders.

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

Program notes for the concerts are available online: http://bit.ly/msooct19programnotes.

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


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Classical music: The Mosaic Chamber Players open their new four-concert season this Saturday night with an all-Mozart program

October 10, 2019
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By Jacob Stockinger

The critically acclaimed Mosaic Chamber Players (below, in a photo by John W. Barker) will open their new season this coming Saturday night, Oct. 12, at 7:30 p.m. in the older and historic Frank Lloyd Wright-designed Landmark Auditorium of the First Unitarian Society of Madison, 900 University Bay Drive.

The program is all works by Wolfgang Amadeus Mozart (below) and includes the following pieces:

The Sonata for Violin and Piano in C Major, K. 303, features violinist Laura Burns, of the Madison Symphony Orchestra and the Oakwood Chamber Players,  and pianist Jess Salek, who is also the founder and artistic director of the chamber music ensemble.

The Sonata for Violin and Piano in B-Flat Major K. 454, will be performed by violinist Wes Luke, of the Ancora String Quartet and the Wisconsin Chamber Orchestra, and pianist Salek.

The energetic Piano Quartet in G minor, K. 478, features violinist Laura Burns, violist Wes Luke, pianist Salek and cellist Derek Handley (below), of the Madison Symphony Orchestra, the Milwaukee Symphony Orchestra and the Wisconsin Chamber Orchestra. (In the YouTube video at the bottom, you can see a graphic depiction of the first movement of the Piano Quartet.)

Tickets are $15 for general admission, $10 for seniors, and $5 for students. Only checks or cash will be accepted.

A reception will be held after the performance

Here are the concerts and programs – all take place at the First Unitarian Society — for the rest of four-concert season, including two-all Beethoven concerts to mark the Beethoven Year in which the 250th anniversary of the composer’s birth will be celebrated.

Friday, Feb. 21, at noon (Free admission)

All-Beethoven (below) String Sonata Program:

Sonata in F Major for Piano and Cello, Op. 5, No. 1

Sonata in E-Flat Major for Piano and Violin, Op. 12, No. 3

Sonata in C minor for Piano and Violin, Op. 30, No. 2

Saturday March 21, at 7:30 p.m. (Tickets required)

All-Prokofiev (below) Program:

Sonata in F minor for Violin and Piano, Op. 80

Sonata in D Major for Violin and Piano, Op. 94a

Sonata in C Major for Cello and Piano, Op. 119

Saturday June 13, 2020 7:30 p.m. (Tickets required)

All-Beethoven Piano Trio Program:

Piano Trio in E-Flat Major, Op. 1, No. 1

Piano Trio in E-Flat Major, Op. 70, No. 2

Piano Trio in G Major, Op. 121a: “Kakadu” Variations

For more information about the group and biographies of the players, go to: http://www.mosaicchamberplayers.com

You can also follow the group on Facebook: https://www.facebook.com/mosaicchamberplayers/


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Classical music: The Madison New Music Ensemble makes its debut this Friday night. A FREE harpsichord recital is Friday at noon

April 10, 2019
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ALERT: This Friday’s FREE Noon Musicale at the First Unitarian Society of Madison, 900 University Bay Drive, features harpsichordist Faythe Vollrath (below). She has been hailed by the Wall Street Journal for her “subtly varied tempo and rhythm that sounds like breathing.” Her programs do not focus solely on early music, but also incorporate new music written for historic instruments. The concert runs from 12:15 to 1 p.m. (In the YouTube video at the bottom, you can hear and see her playing the 1993 “Toccata” by Emma Lou Diemer.)

By Jacob Stockinger

On this coming Friday night, April 12, at 7:30 p.m. at the First Unitarian Society of Madison, 900 University Bay Drive, the Madison New Music Ensemble will give its debut concert.

Tickets are $10 for adults, $5 for students and seniors. Only cash and personal checks will be accepted at the door.

The program features music by the group’s artistic director and Madison-based composer Joseph Koykkar — the director of music in the Dance Department at the University of Wisconsin-Madison —  Robert Muczynski, Ed Martin, Lennon/McCartney and others.

Special guests are The Vine Street Trio, a faculty trio from the University of Wisconsin-Oshkosh, playing works by contemporary composers and saxophonist Peterson Ross.

Members of the Madison New Music Ensemble (below, from left) are: Danielle Breisach; Joseph Koykkar; Monica Jiang; Joseph Ross; Amy Harr; Elena Ross; and Bethany Schultz

For more information about the performers and the group, go to the Madison New Music Ensemble page on Facebook at: https://www.facebook.com/madisonnewmusicensemble/


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Classical music: Super-virtuoso pianist Marc-André Hamelin makes his Madison debut with the Madison Symphony Orchestra this weekend in concertos by Richard Strauss and Maurice Ravel

April 8, 2019
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By Jacob Stockinger

As a pianist, he is known as someone who can play more notes faster and more clearly than anyone one – in short, a “super-virtuoso.”

He is the Canadian pianist Marc-André Hamelin (below), who will make his Madison debut this weekend with the Madison Symphony Orchestra when he performs two concertos: “Burlesque” by Richard Strauss and the Piano Concerto in G Major by Maurice Ravel.

The program opens with Wolfgang Amadeus Mozart’s Symphony No. 38, “Prague,” and closes with Claude Debussy’s La Mer (The Sea).

Performances take place in Overture Hall, 201 State St., on Friday, April 12, at 7:30 p.m.; Saturday, April 13, at 8 p.m.; and Sunday, April 14, at 2:30 p.m.

An Open Rehearsal will be held on Thursday, April 11 — free and open to the public. Limited space is available (RSVP required by calling 608 257-3734). Patrons must arrive by 6:45 p.m. For more information about the concerts and rehearsal, go to: https://madisonsymphony.org/event/an-auspicious-debut-marc-andre-hamelin/

Maestro John DeMain (below, in a photo by Greg Anderson), who will conduct the concerts, says: “Marc-André Hamelin is one of the major pianists of our time. This program features two of the greatest German composers and two great French Impressionists. Always inspired by Mozart, I am delighted to open with his Prague symphony.

“Then comes Strauss’ Burlesque with Marc-André performing virtuosic and delightful musical fare. After intermission comes another favorite of mine, Ravel’s Piano Concerto with its sultry, cabaret-like slow movement that climaxes with a raucous but fun last movement. (In the YouTube video at the bottom, you can hear Martha Argerich play that second movement with conductor Claudio Abbado and the Berlin Philharmonic.)

“The concert closes with Claude Debussy’s La Mer, his amazing tone poem that conjures up images of the sea both raging and calm, placing ultimate demands on the orchestra and creating an aural thrill for the audience.”

ABOUT MARC-ANDRÉ HAMELIN 

The Oregonian summarizes the featured soloist concisely: “Is there anything Marc-André Hamelin can’t do at the piano?” Pianist Marc-André Hamelin is known worldwide for his unrivaled blend of consummate musicianship and brilliant technique, as well as for his exploration of the rarities of the 19th, 20th, and 21st centuries — in concert and on disc.

Although primarily a performer, Hamelin has composed music throughout his career. He was a distinguished jury member of the 15th Van Cliburn Competition in 2017, where each of the 30 competitors in the Preliminary Round were required to perform Hamelin’s “L’Homme armé.” It marked the first time the composer of the commissioned work was also a member of the jury.

A prolific maker of recordings, Hamelin (below) was honored with the 2014 ECHO Klassik Instrumentalist of Year (Piano) and Disc of the Year for his three-disc set of “Busoni: Late Piano Music.” An album of his own compositions, “Hamelin: Études,” received a 2010 Grammy nomination and a first prize from the German Record Critics’ Association. Hamelin is the recipient of a lifetime achievement award from the German Record Critics’ Association.

CONCERT AND TICKET DETAILS

The lobby opens 90 minutes prior to each concert. One hour before each performance, Michael Allsen will lead a 30-minute Prelude Discussion in Overture Hall to enhance concertgoers’ understanding and listening experience. It is free to ticket-holders.

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

Program notes for the concerts are available online: http://bit.ly/april2019programnotes

  • Single Tickets are $18-$93 each and are on sale now at: https://madisonsymphony.org/hamelin
 through 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 2018-19 symphony subscription concerts are available. Learn more at: https://madisonsymphony.org/flex
  • Out at the Symphony tickets include a seat in the Circle level of Overture Hall (regular price ($70-93), plus the after-party, for $45. Reception-only tickets are available for $25 each. Learn more at: https://madisonsymphony.org/out

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

Major funding for these concerts was provided by Madison Gas & Electric Foundation, Inc., Fred and Mary Mohs, Skofronick Family Charitable Trust and WPS Health Insurance. Additional funding was provided by Forte, James and Joan Johnston, Gary and Lynn Mecklenburg, Rodney Schreiner and Mark Blank, Stafford Rosenbaum LLP, 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: On Saturday night and Sunday afternoon, the Madison Bach Musicians explore the miracle of Mozart across his lifetime and across different genres

April 1, 2019
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By Jacob Stockinger

The Madison Bach Musicians concludes its 15th season on this coming Saturday night, April 6, at 8 p.m. and Sunday afternoon, April 7, at 3:30 p.m. with  The Mozart Miracle .

The program features performances of beloved music by Wolfgang Amadeus Mozart (1756-1791, below) with an all period-instrument chamber orchestra in the magnificent acoustic setting of the First Congregational United Church of Christ (below), 1609 University Avenue, near Camp Randall Stadium.

Period-instrument specialists hailing from Madison, Milwaukee, Chicago, Omaha, Seattle, Philadelphia and New York City will perform on natural or valveless horns, classical oboes, gut-strung violins, violas, cellos and a double bass played with 18th-century transitional bows.

Early music specialist and bassoon professor Marc Vallon (below to, in a photo by James Gill) of UW-Madison Mead Witter School of Music will lead the orchestra (below bottom, in a performance last year at the First Unitarian Society of Madison).

Internationally acclaimed soprano Ariadne Lih (below), from Montreal, Canada, will join the ensemble for  Exsultate Jubilate — a ringing example of how Mozart could seamlessly fuse religious zeal with vocal pyrotechnics. (You can hear Renée Fleming sing “Exsultate Jubilate” in the YouTube video at the bottom.)

The program also features dance sequences, choreographed by Karen McShane Hellenbrand (below) of the UW-Madison, from Mozart’s ballet Les Petits Riens  (The Little Nothings).

Also included are pre-concert lectures: On Saturday, April 6, at 7:15 p.m.  there is a lecture by MBM artistic director Trevor Stephenson with an 8 p.m. concert . On Sunday, April 7, his lecture is at 2:45 p.m.  with the concert at 3:30 p.m.

Advance-sale discounted  tickets are $35 for general admission.

Tickets are available at  Orange Tree Imports and Willy Street Coop (East and West). You can also buy advance tickets online at www.madisonbachmusicians.org

Tickets at the door are:  $38 general for adults, $35 for seniors 65-plus, and student rush for $10, on sale 30 minutes before lecture.

MBM artistic director Stephenson (below) sent the following remarks to The Ear:

Here are two fantastic quotations about Mozart:

“Together with the puzzle he gives you the solution.” Ferrucio Busoni on Mozart

“It may be that when the angels go about their task of praising God, they play only Bach. I am sure, however, that when they are together as a family, they play Mozart…” Karl Barth

Both quotes underline, I believe, Mozart’s charismatic generosity of spirit, his sense of play and camaraderie. We’re all in this together! Mozart’s music is a perfect fusion of melodic inspiration — tunes so good they can stay in your head for joyous weeks at a time, or even a lifetime — and structural clarity.

His sense of proportion — when to display 18th-century balance and when to step outside the frame — is uncanny and always a delight. And for me, as a five-year-old-boy, dancing about the living room to the old LP vinyl — dancing lightly, though, so the record wouldn’t skip — it was Mozart’s boundless energy and joy, pouring out of the speakers, that really revved me up.

The Madison Bach Musicians program on this coming Saturday and Sunday will explore several sides of Mozart’s genius: master orchestrator and symphonist; aficionado of fugues; virtuoso keyboard player and mesmerizing improviser; ballet composer; and the greatest fashioner of material for the soprano voice.

MBM has assembled a Classical-period chamber orchestra, replete with gut strings and transitional bows, natural horns, and classical oboes. To this we’ll add: a fortepiano — the type of instrument Mozart toured with; an elegant dancer — for dance was an integral part of 18th-century living; and a magnificent soprano — Mozart was virtually besotted with the magic of the high female voice, and he wrote for it throughout his life with imagination and a sense of thrilling experiment that has never been equaled before or since.

Here is a bit about each selection:

Symphony No. 1 in E-flat majorComposed 1764 when Mozart was just eight years old (below), during an extended stay in London with his father Leopold and sister Nannerl. Strongly influenced by the symphonies of C. F. Abel and J. C. Bach (The London Bach, youngest son of Johann Sebastian).

Symphony No. 29 in A majorComposed 1774 when Mozart was 18 years old (below). It is often considered the pinnacle of his early symphonic writing.

Exsultate Jubilate  for soprano and orchestra – Written 1773 in Milan for the castrato, or male soprano, Venanzio Rauzzini, it is an elegant fusion of rapturous melodies and vocal display.

Adagio & Fugue  in C minor for strings – Composed in 1788, certainly the latest Mozart work on the program when the composer was 32. Mozart had by this time — largely through the Sunday soirees at Baron van Swieten’s—been studying Bach’s fugues closely for several years. This fugue is an arrangement of a work for two fortepianos, K. 426, which Mozart had composed five years earlier in 1783. Mozart added the opening Adagio for the strings version.

Fantasy in D minor for fortepiano – Mozart improvised frequently as part of both private and public performance. This Fantasy, with its dark distinctive opening which explores the fantastical low register of the fortepiano, may give us a good idea of what Mozart might have done one night just sitting down to “jam” for his friends.

Two French Songs for soprano and fortepiano — Birds follow the warm weather, so they never cease their courtship. And in the woods one day the protagonist foolishly rouses a sleeping Cupid — and pays a terrible price.

Ballet excerpts from  Les Petit Riens – literally The Little Nothings. Mozart composed most, but not all, of this ballet in Paris 1778 for Jean-Georges Noverre, ballet master of the Paris Opera. The work served as an interlude to an opera by Niccolo Piccinni that closed after just four performances.

For more information, go to: www.madisonbachmusicians.org


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