The Well-Tempered Ear

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: This weekend, the Madison Symphony Orchestra spotlights three of its principal players in music by Prokofiev, Debussy and Vaughan Williams along with works by Schubert and Gershwin

March 7, 2019
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By Jacob Stockinger

This coming weekend, the Madison Symphony Orchestra (MSO, below in a photo by Peter Rodgers) will once again perform a program that highlights its principal artists as soloists.

 The program for “Orchestral Brilliance: Three Virtuosi” begins with Franz Schubert’s Symphony No. 8, “Unfinished.

Then the featured artists appear: concertmaster Naha Greenholtz performs Sergei Prokofiev’s Concerto No. 2 for Violin; principal clarinetist JJ Koh follows with Claude Debussy’s Rhapsody for Clarinet and Orchestra; and principal tubist Joshua Biere concludes with Ralph Vaughan Williams’ Concerto for Tuba and Orchestra. For more biographical information about the soloists, see below.

The program finishes with George Gershwin’s “An American in Paris.”

Performances will be held in Overture Hall, 201 State Street, on Friday, March 8, at 7:30 p.m.; Saturday, March 9, at 8 p.m.; and Sunday, March 10, at 2:30 p.m.

Details about tickets ($18-$93) are below.

“Our March concerts shine the spotlight on our own brilliant musicians that make up the Madison Symphony Orchestra,” says music director and conductor John DeMain (below, in a photo by Greg Anderson). “It is important to me on the occasion of my 25th anniversary with the symphony to share this celebration in a special way with these artists, who make my musical life such a pleasure.”

Franz Schubert (below) began composing his “Unfinished Symphony” in 1822, but left the piece with only two movements despite living for six more years. For reasons that remain unclear, the score was shelved until 1860 when the owner finally realized he possessed a gem. He approached conductor Johann von Herbeck with assurances of a “treasure” on par “with any of Beethoven’s,” and Schubert’s “Unfinished” Symphony had its premiere in 1865.

The Violin Concerto No. 2 in G Minor, Op. 63, by Sergei Prokofiev (below) is more conventional than the composer’s early bold compositions. It starts off with a simple violin melody and recalls traditional Russian folk music. The graceful violin melody flows throughout the entire second movement, and the third movement’s theme has a taste of Spain, complete with the clacking of castanets. (You can hear David Oistrakh play the gorgeous and entrancing slow second movement in the YouTube video at the bottom.)

Composed between December 1909 and January 1910, the Rhapsody for Clarinet and Orchestra by Claude Debussy (below) was written as one of two test pieces for the clarinet examinations at the Paris Conservatory. The piece is described as dreamily slow at the start, followed by a duple meter section that moves the music along until the joyous final section.

The Concerto for Tuba and Orchestra by Ralph Vaughan Williams (below)
was written in 1953-54 to mark the 50th anniversary of the London Symphony Orchestra.

“An American in Paris” by George Gershwin (below) is one of the popular composer’s most well-known and most beloved compositions. Written in 1928, it evokes the sights and energy of the French capital in the 1920s. As Gershwin explains, the work’s purpose is to “portray the impressions of an American visitor in Paris as he strolls about the city, listens to the various street noises, and absorbs the French atmosphere.”

ABOUT THE SOLOISTS

Naha Greenholtz (below, in a photo by Chris Hynes) is concertmaster of both the Madison Symphony Orchestra and the Quad City Symphony Orchestra. Additional performance highlights include guest concertmaster appearances with the Oregon Symphony, Calgary Philharmonic, National Ballet of Canada, Omaha Symphony and Memphis Symphony, among many others. Additionally, she performs frequently with the Cleveland Orchestra both domestically and abroad. Greenholtz has also held positions with the Milwaukee Symphony Orchestra and the Louisiana Philharmonic Orchestra, joining the latter as Associate Concertmaster at age 21.

JJ Koh (below) joined the Madison Symphony Orchestra as principal clarinetist in 2016. In addition, he holds a position with the Milwaukee Symphony Orchestra, and Wisconsin Chamber Orchestra. Prior to joining the MSO, Koh was a member of the Civic Orchestra of Chicago. He is a founding member of the Arundo Donax Reed Quintet, and a winner of the Fischoff National Chamber Music Competition. As principal clarinetist of KammerMahler, Koh participated in a world premiere recording project, which featured chamber versions of Gustav Mahler’s Fourth and Ninth Symphonies.

Joshua Biere (below, in a photo by Peter Rodgers) joined the Madison Symphony Orchestra as principal tubist in 2013. He also holds the principal tuba chair with the Kenosha Symphony and regularly performs with the new Chicago Composers Orchestra. Biere has also performed at the Grant Park Music Festival (Chicago), and with the St. Paul Chamber Orchestra. An established chamber musician, Biere is also a highly sought-after clinician and teacher, maintaining a studio of well over 35 tuba and euphonium students.

CONCERT AND TICKET DETAILS

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

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 so they can experience the Prelude Discussion.

Program notes for the concerts are available online: http://bit.ly/mar2019programnotes

  • Single Tickets are $18-$93 each and are on sale now at: http://madisonsymphony.org/orchestral
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 18-19 symphony subscription concerts are available. Learn more at: https://madisonsymphony.org/flex

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

Presenting sponsorship provided by the Kelly Family Foundation. Major funding provided by Madison Magazine, Louise and Ernest Borden, Scott and Janet Cabot, and Elaine and Nicholas Mischler. Additional funding provided by von Briesen & Roper, S.C., and the Wisconsin Arts Board with funds from the State of Wisconsin and the National Endowment for the Arts (NEA).


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Classical music: The Oakwood Chamber Players will play music by Russian, British, Canadian and American composers this Saturday night and Sunday afternoon

March 1, 2019
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ALERT: If you attend the concert by the Cuarteto Casals tonight at 7:30 p.m. in Shannon Hall of the Wisconsin Union Theater, you night want to read local writer and amateur cellist Paul Baker’s interview with the Chicago-born violist who analyzes the interpretation of each piece on the program. Here is a link to Baker’s blog “Only Strings” where you can find the interview: https://onlystringswsum.wordpress.com/author/pbaker/  

For more information about the group and the concert, go to yesterday’s post:  https://welltempered.wordpress.com/2019/02/28/classical-music-this-friday-night-the-wisconsin-union-theater-presents-a-world-class-spanish-string-quartet-and-will-also-announce-the-special-programs-for-its-centennial-anniversary-next-season/

By Jacob Stockinger

This coming weekend, the Oakwood Chamber Players (below) continue their season theme of Vignettes with compositions that depict concepts and stories.

The program includes dances from Panama, a string quartet from Russia and interpretation of the natural world woven into a composition by an American composer.

Performances will take place Saturday night, March 2, at 7 p.m. and Sunday afternoon, March 3, at 2 p.m. Both concerts will be held at the Oakwood Center for Arts and Education, 6209 Mineral Point Road, on Madison’s far west side not far from West Towne Mall.

Tickets can be purchased with cash or personal checks at the door: $25 for general admission, $20 for seniors, and $5 for students. Visit www.oakwoodchamberplayers.com or call (608) 230-4316 for more information.

Five Novelettes for string quartet by Russian composer Alexander Glazunov (below) showcase the composer’s imagination and romantic writing. From the opening elegance in the Spanish style to the spirited Hungarian character in the finale, each of the five contrasting movements is graceful and captivating.

Red Hills Black Birds was composed by American composer Libby Larsen (below) for clarinet, viola and piano after she viewed contrasting paintings of New Mexico by Georgia O’Keeffe. Many of O’Keeffe’s works embody a sense of perspective, color and horizon. Larsen’s music uses her impressions of O’Keeffe’s art as her compositional focus. She reimagines six paintings of the southwest and shapes her composition to concepts of breadth and timelessness.

Dash for flute, clarinet and piano by American composer Jennifer Higdon (below) is a riotous musical chase. The composer chose these three instruments specifically for their capability of velocity. The unrelenting pulse creates a breath-taking technical sprint for the players.

O Albion by British composer Thomas Adès (below) is excerpted from his string quartet Arcadiana. The music has an ethereal quality and mesmerizes with its slow beauty and simplicity. (You can hear “O Albion” in the YouTube video at the bottom.)

Trio for flute, clarinet and bassoon is an upbeat piece written by Canadian composer, bassoonist and jazz pianist Bill Douglas. His writing brings together both classical and jazz influences.

The concert concludes with Danzas de Panama by William Grant Still (below) for string quintet and flute. A noted 20th century African-American composer, Still based this piece on Panamanian folk tunes collected in the 1920s. He used the lushness of the songs and compelling rhythms with great success. He was a talented orchestrator and it is hard to resist the panache and charm of the four movements: Taborita, Mejorana, Punto and Cumbia y Conga.

Oakwood Chamber Players members are Marilyn Chohaney, flute; Nancy Mackenzie, clarinet; Amanda Szyczs, bassoon; and Maggie Townsend, cello. They will be joined by guest artists Elspeth Stalter-Clouse, violin; Ariel Garcia, viola; Brad Townsend, bass; and Satoko Hayami, piano.

This is the fourth of five concerts in the Oakwood Chamber Players’ 2018-2019 season series entitled Vignettes. Remaining concerts will take place on May 18 and 19.

The Oakwood Chamber Players are a group of Madison-area professional musicians who have rehearsed and performed at Oakwood Village for over 30 years. They have also played in other local groups, including the Madison Symphony Orchestra and the Wisconsin Chamber Orchestra, and at the University of Wisconsin-Madison.

The Oakwood Chamber Players is a professional music ensemble proudly supported by Oakwood Lutheran Senior Ministries and the Oakwood Foundation.


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Classical music: Organist and composer Chelsea Chen debuts at Overture Hall on Tuesday night

February 18, 2019
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By Jacob Stockinger

Organist Chelsea Chen (below) makes her Madison debut on this Tuesday night, Feb. 19, at 7:30 p.m. in Overture Hall as part of the Madison Symphony Orchestra’s Concert Organ series.

Ticket information is below.

Chen brings to her Overture Hall premiere an array of widely known classical pieces plus her own original composition.

Chen’s performance begins with Ola Gjeilo’s Sinfonietta and Edvard Grieg’s First Peer Gynt Suite, Op. 46— continuing with Chen’s original work, the Taiwanese Suite, Camille Saint-Saens’ Finale from “Organ” Symphony No. 3, Ad Wammes’ Miroir, and finally, selections from Gustav Holst’s The Planets.

Composer Gjeilo (below) has praised Chen’s interpretation of Sinfonietta, which the organist has performed at the Walt Disney Concert Hall in Los Angeles and the Kimmel Center in Philadelphia.

The First Peer Gynt Suite, Op. 46, by Grieg is one of the most easily recognizable compositions within the musical art form. Subtitled “Morning,” it is the first of two suites that Grieg (below) transcribed from Henrik Ibsen’s 1867 Norwegian play Peer Gynt.

The opus, albeit a short first movement from the suite, intends to instill imagery of the sunrise over the North African desert. Despite this, it is more commonly associated with the sweeping mountains, fjords and lakes that mark Norway’s landscape.

Chen’s own Taiwanese Suite combines the dynamic range of the organ with inflections of traditional Asian folksongs. It is composed of three movements: “Hills in the Springtime,” “Moonlight Blue” and “Mountain of Youth.”

Inspired by the works of Richard Wagner, Franz Liszt and others, Saint-Saens (below) composed a variety of arrangements and selections for numerous occasions. By age 10, the French composer and child prodigy had given his first concert. His Finale from “Organ” Symphony No. 3 is, as some consider, the pinnacle of his body of compositions. (You can hear Chen’s playing of the Finale from the “Organ” Symphony by Saint-Saens in the YouTube video at the bottom.)

Miroir was composed by Dutch composer Ad Wammes (below) for Stephen Taylor to celebrate the organist’s appointment to the Nicolaïkerk, a church in the Netherlands. In an unconventional mirroring — hence the title — the right hand repeats the higher voices in the same pattern throughout the song, whereas the left hand varies texture, voice and tone in the lower registers. The result is a calming, low hum that is lifted by the glistening echoes of the upper registers.

To Holst, The Planets suite could be framed as “a series of mood pictures,” with its seven movements. Ironically, Holst (below) seemed to heavily dislike his explosive popularity resulting from the suite’s compositional structure. Despite his supposed negativity towards the piece, its inherent superb qualities of each movement — no two are alike — became a staple of evocative composition.

Following an academic career at the Juilliard School and Yale University, Chelsea Chen has practiced under the tutelage of known names in the musical world, such as Paul Jacobs and John Weaver. For more information about her, go to: https://madisonsymphony.org/event/chelsea-chen/

Single Tickets are available for $20 each and can be purchased online at http://madisonsymphony.org/chen, through the Overture Center Box Office at 201 State Street, or by calling the Box Office at (608) 258-4141.

Groups of 10 or more can save 25% by calling the MSO office at (608) 257-3734. For more information, visit, https://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 tickets for $10 each. More information is at: https://madisonsymphony.org/studentrush

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

This performance is sponsored by Friends of the Overture Concert Organ (below) that was custom-built by Klais Orgelbau of Germany. Support for all Overture Concert Organ programs is provided by the Diane Endres Ballweg Fund. With a gift from Pleasant T. Rowland, the Madison Symphony Orchestra commissioned the Overture Concert Organ.


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Classical music: Canadian violinist James Ehnes and American composer John Harbison are spotlighted this coming weekend by the Madison Symphony Orchestra

February 11, 2019
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By Jacob Stockinger

Internationally recognized and Grammy Award-winning Canadian violinist James Ehnes returns to Overture Hall this weekend to perform the Brahms Violin Concerto with the Madison Symphony Orchestra (MSO, below in a photo by Greg Anderson).

The program opens with a performance of American composer John Harbison’s The Most Often Used Chords, and closes with Modest Mussorgsky’s Pictures at an Exhibition.

This program is a continuation of MSO music director John DeMain’s 25th anniversary season.

Performances will be held in Overture Hall, 201 State Street, on Friday, Feb. 15, at 7:30 p.m.; Saturday, Feb. 16, at 8 p.m.; and Sunday, Feb. 17, at 2:30 p.m.

Tickets information is below.

“Mussorgsky’s masterpiece explores the colors of the orchestra — the correlation of an artist’s visual medium through the colors of sound and music. And its finale The Great Gate of Kiev (heard in the YouTube video at the bottom), is one of classical music’s greatest hits,” says DeMain (below, in a photo by Greg Anderson).

DeMain adds: “James Ehnes (below, in a  photo by Benjamin Ealovega) is a violinist who is completely to my taste. With an absolutely gorgeous sound and consummate technique, he goes to the heart of the music. He will approach the Brahms violin concerto as a violinist’s violinist, adored by the public, by his colleagues and by me for the integrity in his playing.”

On this Friday afternoon, Feb. 15, from 2:30 to 4 p.m. in Mills Hall, Ehnes will give a free and public master class at the University of Wisconsin-Madison’s Mead Witter School of Music. 

DeMain continues: “We celebrate the 80th birthday of the internationally renowned — and Madison resident — composer John Harbison (below) with the first performance by the MSO of his delightful composition, The Most Often Used Chords.”

Harbison’s The Most Often Used Chords is a satirical piece of “anti-art art,” or “found object,” art. According to the composer, the found object that inspired this symphony (originally titled Fli Accordi Piu Usati) were the pre-printed “Fundamentals of Music” pages that he noticed in an Italian music-writing notebook. The work was originally composed in 1992 for the Los Angeles Chamber Orchestra.

Written in 1878, the Brahms Violin Concerto was dedicated to his friend Joseph Joachim and premiered in 1879 in Leipzig, with Joachim soloing and Brahms (below) conducting.

An equal partnership between soloist and ensemble is on full display in this concerto; it is not a piece in which the orchestra serves as mere backdrop. Rather, the violinist and orchestra are a team, collaborating and interacting to recount an elegant and nuanced musical drama.

Originally written as a piano composition, Pictures at an Exhibition by Modest Mussorgsky was composed as a memorial to his friend, the Russian artist Viktor Hartmann, who died in 1873. The suite consists of 10 movements — each a musical depiction of one of 10 paintings by Hartmann. These movements are interspersed with a recurring promenade theme that represents a visitor strolling through the exhibition.

The arrangement by Maurice Ravel (below), produced in 1922, represents a virtuoso effort by a master composer. His instrumental colors — a trumpet solo for the opening Promenade, dark woodwind tones, the piccolo and high strings for the children’s “chicks in shells” — are widely admired. The influence of Ravel’s version may often be discerned in subsequent versions of the suite.

CONCERT AND TICKET DETAILS

The lobby opens 90 minutes prior to each concert. One hour before each performance, Randal Swiggum (below) 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, and so they can experience the Prelude Discussion.

Program notes for the concerts, written retired MSO trombonist J. Michael Allsen, are available online: http://bit.ly/feb2019programnotes

  • Single Tickets are $18-$93 each and are on sale now at: https://madisonsymphony.org/ehnesthrough 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 18-19 symphony subscription concerts are available. Learn more at: https://madisonsymphony.org/flex

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

Major funding for the February concerts is provided by: The Madison Concourse Hotel and Governor’s Club, BMO Harris Bank, Boardman and Clark LLP, Capitol Lakes, Dr. Robert and Linda Graebner, Marvin J. Levy, and Cyrena and Lee Pondrom.

Additional funding is provided by Martha and Charles Casey, and by the Wisconsin Arts Board, with funds from the State of Wisconsin and the National Endowment for the Arts.


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Classical music: Saturday at noon, Bizet’s “Carmen” airs in cinemas during “Live from The Met in HD” and on Wisconsin Public Radio. Saturday night, the Pro Arte Quartet performs a FREE concert of Haydn, Schumann and Shostakovich

February 1, 2019
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ALERT: This Saturday night, Feb. 2, at 8 p.m. in Mills Hall, the University of Wisconsin-Madison’s Pro Arte Quartet performs a FREE concert. The program offers the String Quartet in D Major, Op. 50, No. 6, “The Frog” by Franz Joseph Haydn; the String Quartet No. 9 in E-flat Major by Dmitri Shostakovich; and the String Quartet in A Major, Op. 41, No. 3, by Robert Schumann. For more about the unusual history of the critically acclaimed Pro Arte Quartet, go to: https://www.music.wisc.edu/event/pro-arte-quartet-2/

By Jacob Stockinger

This Saturday, Feb. 2, the seventh production of this season’s “Metropolitan Opera Live in HD” series is Georges Bizet’s lusty, sultry  and violent “Carmen,” one of the most popular operas ever composed.

Its successful world premiere was in Paris in 1875, which Bizet did not live to see. But Bizet’s masterpiece of the gypsy seductress who lives by her own rules has had an impact far beyond the opera house.

The opera’s beautiful melodies are as irresistible as the title character herself, a force of nature who has become a defining female cultural figure. (You can hear one of Carmen’s signature arias– “Love Is a Wild Bird” — in the YouTube video at the bottom.)

“Carmen” was a scandal at its premiere but soon after became a triumphal success and has remained one of the most frequently staged operas in the world.

French mezzo-soprano Clémentine Margaine reprises her acclaimed portrayal of opera’s ultimate temptress, a triumph in her 2017 debut performances.

Opposite her is the impassioned tenor Roberto Alagna (below right, in a photo by Karen Almond for The Met) as her lover, Don José.

French native Louis Langrée (below, in a photo by Jennifer Taylor), who heads the Mostly Mozart Festival and is the artistic director of the Cincinnati Symphony Orchestra, will conduct Sir Richard Eyre’s production, a Met favorite since its 2009 premiere.

The hi-definition broadcast of the live performance from the Metropolitan Opera (below) in New York City starts at 11:55 a.m. and runs until 3:45 p.m. with two intermissions. (It will also air at noon on Wisconsin Public Radio.)

There will be encore HD showings next Wednesday, Feb. 6, at 1 p.m. and 6:30 p.m. (“Carmen” is so popular that some cities will also host a second encore showing on Saturday, Feb. 9.)

The opera will be sung in French with supertitles in English, German, Spanish and Italian.

Tickets for Saturday broadcasts are $24 for adults, and $22 for seniors and children under 13. For encore showings, all tickets are $18.

The cinemas where the opera can be seen are two Marcus Cinemas: the Point Cinema on the west side of Madison (608 833-3980) and the Palace Cinema (608 242-2100) in Sun Prairie.

Here is a link to the Marcus Theaters website for addresses and more information. You can also use them to purchase tickets:

https://www.movietickets.com/movies

Here is a link to the Metropolitan Opera’s website where you can find the titles, dates, casts, production information and video clips of all Met productions this season:

https://www.metopera.org/season/in-cinemas/

Here is a link to a synopsis and cast list:

https://www.metopera.org/globalassets/season/in-cinemas/hd-cast-sheets/carmen_global.pdf?performanceNumber=15202

Here is a link to other information about the production of “Carmen,” including photos and audiovisual clips:

https://www.metopera.org/season/2018-19-season/carmen/

And here is a Wikipedia history of the broadcast series that gives you more information about how many cinemas it uses, the enormous size of the worldwide audience – now including Russia, China and Israel — and how much money it makes for The Met.

https://en.wikipedia.org/wiki/Metropolitan_Opera_Live_in_HD


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Classical music: Con Vivo will perform a “Winter Warmth” chamber music concert this Sunday afternoon. Plus, a FREE viola da gamba concert is Friday at noon

January 31, 2019
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ALERT: This week’s FREE Friday Noon Musicale at the First Unitarian Society of Madison, 900 University Bay Drive, features the viola da gamba duo ViolMedium in “Façades and Duplicities,” a multi-dimensional exploration of the rich harmonic, timbral and dramatic potentials offered by violas da gamba.

The viol is the medium through which gambists Eric Miller of Madison and Phillip Serna of Chicago bridge contemporary and historically informed performance. They use experimental and innovative programming as exemplified in masterworks by Carl Friedrich Abel, Bela Bartok, Gottfried Finger, Marin Marais, Christoph Schaffrath and others.

The concert runs from 12:15 to 1 p.m. Food and beverages are allowed.

By Jacob Stockinger

The Madison-based chamber music group Con Vivo (below) will perform a “Winter Warmth” program of chamber music this coming Sunday afternoon, Feb. 3.

 

The concert will include the Finale from Symphony No. 6 for organ by Charles Marie Widor; the Quartet for oboe and strings by Wolfgang Amadeus Mozart; and the Piano Quintet for piano, clarinet and strings, Op. 42, by Czech composer Zdenek Fibich.

The concert takes place this Sunday afternoon, Feb. 3, at 2:30 p.m. in the First Congregational United Church of Christ, 1609 University Ave. across from Camp Randall Stadium.

Tickets can be purchased at the door. Admission is $18 for adults, $15 for seniors and students.

Audience members are invited to join the musicians after the concert for a free reception to discuss the concert.

New to this concert is that Con Vivo will perform in two different spaces. The first half of the concert will be in the sanctuary, and the second half in the chapel at the First Congregational Church. This will provide the audience with different experiences for hearing the chamber music.

In remarking about the concert, Con Vivo’s artistic director Robert Taylor said, “We continue our 17th season with music evocative of warm winter thoughts during these cold, dark winter days that we often have.

“The wonderful lush strains of Charles Marie Widor’s organ music are contrasted by the bright cheerful music of Mozart in his oboe quartet. (You can hear the opening movement of Mozart’s Oboe Quartet in the YouTube video at the bottom.) The afternoon is capped off by the rarely played Piano Quintet by Fibich (below). What better way to spend a cold winter afternoon?”

Con Vivo is a professional chamber music ensemble comprised of Madison area musicians assembled from the ranks of the Madison Symphony Orchestra, the Wisconsin Chamber Orchestra, and various other performing groups familiar to Madison audiences.


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Classical music: The Mosaic Chamber Players perform all 20th-century American music this Saturday night. Plus, a master class about Schubert is TODAY at 4:30

January 24, 2019
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ALERT: Susan Youens, a world-famous scholar of the music of Franz Schubert, will give a FREE and PUBLIC master class TODAY at 4:30 p.m. in Morphy Recital Hall. Her class is in advance of her appearance and pre-concert lecture at the annual UW Schubertiade this Sunday afternoon, Jan. 27. More information about that event will appear in tomorrow’s blog post. 

By Jacob Stockinger

The critically acclaimed Mosaic Chamber Players will perform a concert of all-American music from the 20th century this Saturday night, Jan. 26, at 7:30 p.m. in the Frank Lloyd Wright-designed  Landmark Auditorium of the First Unitarian Society of Madison, 900 University Bay Drive.

Tickets are $15 for adults; $10 for senior citizens; and $5 for students. Only cash and personal checks will be accepted.

A reception will follow the concert.

Performers are violinists Laura Burns and Wes Luke, cellist Kyle Price, and founder-pianist Jess Salek. (Photos below of the performers are by John W. Barker at a previous concert.) They also play with other professional groups such as the Madison Symphony Orchestra, the Wisconsin Chamber Orchestra, the Ancora String Quartet and the Rhapsodie String Quartet.

The program includes the Sonata for Violin and Piano by Aaron Copland; the Sonata in Three Movements for Violin and Piano by Ellen Taaffe Zwilich (below); “Road Movies” for Violin and Piano by John Adams (you can hear the opening in the YouTube video at the bottom); and the Sonata for Cello and Piano, Op. 6, by Samuel Barber.


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Classical music: With actors and multimedia, the Madison Symphony Orchestra explores Felix Mendelssohn in Italy this coming Sunday afternoon

January 14, 2019
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By Jacob Stockinger

This coming Sunday afternoon, Jan. 20, at 2:30 p.m. in Overture Hall, the Madison Symphony Orchestra (MSO) and its music director John DeMain will present the story behind Felix Mendelssohn’s Symphony No. 4 “Italian” with Beyond the Score®: Mendelssohn Symphony No. 4: Why Italy? (Ticket information is further down.)

The concert is a multimedia examination of German composer Felix Mendelssohn’s travels through Italy.

Starring American Players Theatre actors Sarah Day (below top), Jonathan Smoots (below middle) and Nate Burger (below bottom), the concert experience features visual projections, photos, musical excerpts and a full performance of the Symphony No. 4 by the MSO, with John DeMain conducting, in the second half.

In 1830, a young 21-year-old Mendelssohn (below) visited the Italian countryside and the historic cities of Venice, Naples and Rome.

Three years later, he set his journey to music and composed his fourth Symphony — later to be known as his “Italian” Symphony. Though it eventually became one of the composer’s most popular works, the piece was performed only twice during his lifetime and published four years after his death in 1851. (You can hear the rousing final movement of the “Italian Symphony” in the YouTube video at the bottom.)

Designed for classical music lovers and newcomers looking for a deeper look into the world of classic music and the motivations of significant compositions, “Beyond the Score®: Why Italy?” joins Mendelssohn on his travels in Italy and discovers his inspiration for this symphonic work.

Incorporating the composer’s own letters and writings, the program presents the historical context behind the classical piece turned masterpiece.

Program notes by J. Michael Allsen are available at: http://www.allsenmusic.com/NOTES/1819/4AJan19.html

Single Tickets are $16 to $70 each, available at https://madisonsymphony.org/event/beyond-the-score-mendelssohn/, through the Overture Center Box Office at 201 State Street, or by calling the box office at (608) 258-4141.

Groups of 10 or more can save 25% by calling the MSO office at (608) 257-3734. For more information, visit https://madisonsymphony.org/concerts-events/buy-tickets/group-discounts/.

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 $10 or $20 tickets. More information is at: https://madisonsymphony.org/concerts-events/buy-tickets/offers-discounts/. Students can receive 20% savings on seats in select areas of the hall on advance ticket purchases.

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.

Exclusive funding for this concert is provided by the Pleasant T. Rowland Foundation. Beyond the Score® is a production of the Chicago Symphony Orchestra. Gerard McBurney is the Creative Director for Beyond the Score®


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