The Well-Tempered Ear

Classical music: Madison likes it maestros. The Wisconsin Chamber Orchestra renews music director and conductor Andrew Sewell for another five years.

June 18, 2013
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By Jacob Stockinger

Just two weeks away from the start of the 30th annual Concerts on the Square concerts, the Wisconsin Chamber Orchestra has renewed the contract of its longtime music director and conductor Andrew Sewell (below) for another five years.

andrewsewell

(The FREE and outdoors Concerts on the Square — below — will  run this summer on six consecutive Wednesdays at 7 p.m. from June 26 through July 31 on the King Street corner of the Capitol Square. Here is a link with more information, including specific artists and programs: http://wcoconcerts.org/performances/concerts-on-the-square/)

Concerts on Square WCO orchetsra

Madison sure likes its maestros. And with good reason.

This fall, the Madison Symphony Orchestra’s music director John DeMain (below) marks his 20th season with the MSO. During his tenure he has reshaped and refined the orchestra, and led it to “triple” performances.

John DeMain full face by Prasad

Sewell arrived on the local scene in 2000. That is a long and solid tenure for the New Zealand-born Sewell, who is now a naturalized American citizen.

Little wonder that the WCO wants to retain him. Sewell revitalized his organization and helped bring the WCO back from the brink of ruin after the unexpected and premature death of David Lewis Crosby. He helped it secure a permanent home in the Overture Center’s Capitol Theater.

Sewell (below) is a friendly, informal and congenial man plus an excellent conductor, especially in the Classical-era repertoire of Mozart and Haydn, who especially excels at eclectic programming. Under Sewell, the WCO is taken much more seriously for its winter “Masterworks” season than it ever has been. He finds and books outstanding yet affordable soloists, and he has recorded several noteworthy CDs with the WCO. Plus, he is in demand as a guest conductor around the world.

Madison is very lucky to have him and to hold him.

So, The Ear says “Congratulations, Maestro Sewell” and offers a shout-out with wishes for many more seasons with the WCO in Madison.

Andrew Sewell very casual Diane Seldick

Here is the official press release from the Wisconsin Chamber Orchestra:

MADISON, WI  – The Wisconsin Chamber Orchestra (below, in the hallway to the Overture Center’s Capitol Theater) is pleased to announce the renewal of Maestro Andrew Sewell’s contract for another five-year term.

“Maestro Sewell was appointed music director on February 1, 2000, and since then has grown the orchestra’s repertoire, profile and stature in the Madison community and around the state.

WCO lobby

“I am delighted to continue my work here in Madison, my home, and am excited for what the next five years will bring” says Sewell.  “I feel privileged to live in a community that embraces the arts, and the opportunity to work with such extraordinary musicians.  I am pleased with what we’ve been able to accomplish, with exciting guest artists and expanding repertoire, and look forward to performing many more seasons of beautiful music.” (At bottom, is the first of a two-part YouTube video in which Andrew Sewell reflects on music.)

“Doug Gerhart, executive director of the orchestra, remarks: “Andrew’s impressive artistic leadership has placed the WCO solidly among the top chamber orchestras in the United States.  He has an uncanny ability to create widely popular programs that link timeless masterpieces with contemporary, fresh compositions.”

“Gordon Ridley, chair of the Wisconsin Chamber Orchestra board of directors, adds: “Maestro Sewell has a knack of finding and bringing in extraordinary talent that we then see rise to new heights in the orchestral world.  We are very lucky to have him in Madison, Wisconsin.”

“Sewell is a sought after guest conductor, with recent guest engagements including the Illinois Symphony, the Eugene Symphony, the Green Bay Symphony, the Salem Chamber Orchestra, the OK Mozart Festival and the Peninsula Music Festival.  In June 2012 he made his opera debut with Hong Kong City Opera, and last November conducted the University of Wisconsin-Madison opera production of “Medea” by Luigi Cherubini. (Below, Sewell is seen with Robert Bracey in the Overture Center’s Capitol Theater, which is the WCO’s winter home.)

WCO Sewel Bracey B-9

“Entering its 54th year, the Wisconsin Chamber Orchestra, led by Maestro Andrew Sewell, is a vibrant and thriving professional orchestra dedicated to connecting its audiences to the power of music.

“Annually, the WCO performs a five-concert Masterworks series in its permanent home at the Overture Center for the Arts magnificent Capitol Theater, two Holiday Pops, “Messiah” and Youth Concerts, and Madison’s premier six-concert outdoor summer event, Concerts on the Square®, celebrating its 30th year this summer.

“With a core orchestra of 34 musicians and an established endowment, WCO is one of the finest chamber orchestras in the country.  For more information, visit www.wcoconcerts.org.”


Classical music review: The Wisconsin Chamber Orchestra outperforms The Five Browns on the underwhelming opening night of the new season.

October 8, 2012
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By Jacob Stockinger

What is the key to the best-selling success of the brother and sister pianists known as The Five Browns (below), who were the guest soloists with the Wisconsin Chamber Orchestra on Friday night’s season opener?

I wish I could say the key is the music.

But it isn’t.

That key was revealed in the one encore, a solo for all five, that they played at the end of the concert, after they had performed a Mozart three-piano concerto and a work specially composed for all five of them by Nico Muhly.

Up to that point the very large audience in Overture Center’s Capitol Theater had applauded the gracious and appealing family quintet with a relatively quiet enthusiasm.

But by the of the solo encore – a flashy, trashy, souped up five-piano version of Mozart’s “Rondo a la Turca” or Turkish Rondo finale from the solo piano sonata in A major, K. 331 — the audience was on its feet. The public had been wowed.

And why not? Cascading scales, fast octaves, repeated notes and complex finger work are all impressive physical feats, even when they serve as little else than musical filler. It all bought back memories from my youth of bestsellers and fellow chart-busting duo-pianists Ferrante and Teicher (below), who scored a similar commercial success but long ago were artistically forgotten. Remember them?

http://www.ferranteandteicher.com

And that pretty much tells the story. The Five Browns (below) are certainly more serious; but they too are nonetheless more about showmanship than musicianship. In the end, they make lucrative recordings and have had  10-year concert career because they provide a novelty or musical sideshow, and not because they are great musicians. Show biz saves them, not great interpretations. In short, they are more about entertaining than enlightening.

That is not to say that individually they are not fine musicians. After all, these two brothers and three sisters must have plenty of talent since they all attended Juilliard and all showed the chops to play very well as soloists.

But sometimes more is just more or even too much, and this one of those times. Playing the piano is not the same as making music.

When you want to open a new season with great attendance, a wise orchestra marketer once told The Ear, the statistics are clear: Choose a piano concerto.

After all, everyone loves the piano; there are plenty of piano concertos that are both popular and great; and a lot of piano students and frustrated amateur pianists will buy tickets. A great piano concerto is soul-stirring and dramatic, a metaphorical battle, like a football game with the University of Solo Pianists against the University of Big Orchestras.

But five very good pianists are not necessarily five times better than one great pianist. That point was proved in a concert that, overall, was musically underwhelming or disappointing.

True, given the soloists, the modest program of minor youthful works and no masterpieces was well-chosen –- a vintage blend of unknown pieces by well-known composers that has become the signature of WCO music director and conductor Andrew Sewell (below).

Sewell opened the concert with a light and sprightly version of the 19-year-old Mozart’s Overture to “The Good Shepherd.” It was energetic, well voiced and transparent — what you look for in fine playing of even minor Mozart. And even minor Mozart has plenty of charm, if not substance.

Then Sewell led the orchestra in an energetic and convincing reading of Mendelssohn’s rarely heard youthful Symphony No. 1. You hear hints of the great “Italian” and “Reformation” symphonies and the “Hebrides” Overture, and you see the 15-year-old Mendelssohn, who loved accessibility and clarity, mastering the past — including the taste for counterpoint that led him to pioneer the revival of J.S. Bach. He was indeed a fast learner, but still a student — not a master.

The second half was devoted to The Five Browns.

It started with the most impressive and substantive work of the evening: “The Edge of the World,” four pieces – described as “Four Nocturnes for Five Pianos” –- by the “young” 30-year-old up-and-coming American composer Nico Muhly (below).

While not a prodigy on the order of Mozart or Mendelssohn — and the unifying theme of the evening’s program was youth – Muhly has created a very atmospheric, if episodic, piece that reminded The Ear of Minimalists such as John Adams and Steve Reich, only with more variety, nuances and finesse.

It seemed to me a very difficult work, at least as I heard it in what was only its second public performance. The Browns have had a lot of time to rehearse and master it, and they play it impressively.

But even more impressive to me was how, with a lot less time, Sewell and his orchestra players (below) kept the difficult rhythms and played with conviction all those notes that can quickly become repetitive and boring. Given what they did with Mozart and Mendelssohn as well as Muhly, the Wisconsin Chamber Orchestra turned out to be the best part of this concert and clearly outperformed the guest soloists.

Some will see Muhly’s work as great contemporary music. To me, it is competent music that will probably find a place in the repertoire as an oddity, much like The Five Browns themselves. It seems the 21st century equivalent of a piece for a monster concert by Louis Moreau Gottschalk or perhaps the contemporary Verbier Festival in Switzerland. But I suspect that Muhly, who has written successful movie scores and operas, has composed better music and has a big future ahead of him.

Who writes a piece for five pianos except on a weird commission to make money or honor a friendship or both. (Muhly was at Juilliard while the Browns were.)

Take a listen to other works at YouTube (at bottom) or at his website:

www.nicomuhly.com

The Browns finished the program with Mozart’s early Three-Piano Concerto, which is pleasant enough but, again, no masterpiece when compared to Mozart’s 26 other piano concertos. Here again we heard Mozart Lite.

Perhaps the most impressive aspect of The Five Browns was their unwillingness to bang. Until the very end, they did not indulge in silly pyrotechnics and virtuosity or in competitions of the “Anything You Can Play, I Can Play Louder” school. Their playing showed a lightness and clarity that helped, a subtlety and cooperation that proved especially productive in Mozart’s music.

In the end, it all made me wonder, and want to hear, what just One Brown could do individually with a truly great piano concerto. Plus, I ended up really wanting the WCO’s “Masterworks” series to program at least one masterwork per concert.

Here are what other local critics had to say:

Here is what John W. Barker had to say in Isthmus:

http://www.thedailypage.com/daily/article.php?article=37952

Here are Mike and Jean Muckian in their blog Culturosity for Brava Magazine:

http://culturosity.wordpress.com/2012/10/06/hey-wco-why-5-browns-when-fewer-would-do/

Here is what Greg Hettmansberger had to say in his “Classically Speaking” blog  for Madison Magazine:

http://www.madisonmagazine.com/Blogs/Classically-Speaking/October-2012/Doubleheader-Weekend-for-the-Wisconsin-Chamber-Orchestra/

And here is what Lindsay Christians had to say for 77 Square, The Capital Times and the Wisconsin State Journal:

http://host.madison.com/entertainment/arts_and_theatre/reviews/classical-music-review-from-five-steinways-many-surprises/article_90437390-0fd5-11e2-bdc1-0019bb2963f4.html

One last PS: In case you looked at the orchestra pit and wondered about the five Steinways provided for The Five Browns: The Ear was told the pianos – two concert grands and three smaller grands – travel with the pianists. They are Steinway artists. And membership – along with best-selling siblingship – has its privileges.

 


Classical music review: Is there a better way to end a season than with Beethoven’s Ninth? Not if you judge by the outstanding success of the Wisconsin Chamber Orchestra.

April 16, 2012
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By Jacob Stockinger

Is there a better way to end a classical music concert season than with Beethoven’s iconic Ninth Symphony?

I don’t think so.

And it seems I am not alone.

At least not if you judge but the outstanding results of the Wisconsin Chamber Orchestra’s concert on Friday night in the Overture Center’s Capitol Theater.

First off, the concert drew a rare sold-out house of about 1,000 – a large and appreciative audience that rose immediately to its feet for a prolonged, and well deserved, standing ovation at the end of the epic Beethoven work.

Music director and conductor Andrew Sewell put together a talented ensemble that featured an expanded orchestra, the Festival Choir of Madison combined with the newly formed Wisconsin Chamber Orchestra Chorus plus four very talented and well-matched soloists (below): soprano Michelle Areyzaga; mezzo Jamie Van Eyck; tenor Robert Bracey; and bass-baritone Timothy Jones.

The program was pure Sewell, a New Zealand-born Anglophile and Francophile who likes to explores the edges of the known repertoire and is not afraid to venture beyond his ease with and mastery of the Classical-era style of Viennese masters Haydn, Mozart, Schubert and Beethoven. You almost always come away from a Sewell program with some new and unknown work in your mind and ears.

Before performing the Beethoven, one of the best-known works in the repertoire, he performed one of the least-well known: Gerald Finzi’s “Dies Natalis.” Composed in six movements, “The Day of Birth” cantata may sound more like a Christmas piece, but it proved perfectly suited to springtime as a the time of rebirth and renewal. Even a similar text about joy is close to Schiller’s “Ode to Joy” that Beethoven used in the final movement of his symphony.

Finzi writes haunting and poignant string parts; and the solo tenor part was delivered with immediacy and emotion, as well as great tone, by the tenor Robert Bracey (below left, with Sewell on the right).

Then, after intermission it was on to The Ninth.

One usually hears more massive forces perform the legendary Beethoven. But I found it refreshing to hear the smaller chamber orchestra and choruses. The texture had a clarity that allowed much more transparency in the call-and-response between different sections. The woodwinds particularly came through the strings, brass and percussion.

Most listeners focus on the choral ending, which always and justly impresses with its singing by soloists and chorus.

But this time I found the first movement absolutely riveting. By using a brisk tempo; by focusing of the rhythmic motif of the dotted note; and by using sharp attacks to emphasize the silence between dramatic chords and passages, Sewell (below) added dramatic cohesion to the first movement, something it often lacks. The first movement often seems to me to wander or meander; not this time. It possessed a tight structure and pulse that carried you along with its logic.

Make no mistake: The Ninth is a very hard work to perform — for conductor, for instrumentalists and for singers. There were a few moments that needed just a bit more something – more sharpness and punch in the opening measures of the scherzo, which can easily get away from the players; or even a bit more silky and songful lyricism in the adagio to set up the frenzied opening of the final movement. But those are very minor and subjective quibbles.

This was a deeply moving and convincing performance that marks a new era for the WCO, a performance that spoke to people. Beethoven and Schiller’s populist plea for brotherhood and joy seemed especially fitting, with the state Capitol in sight and with the upcoming recall elections looming – something Sewell couldn’t have known when he first programed it and when protestors filled the Capitol Square and the Capitol (below).

In any case, Beethoven’s Ninth is a BIG work. So this successful performance of it marked a milestone undertaking in the history of the Wisconsin Chamber Orchestra, which had never before performed it.

Now 11 seasons into his tenure, Sewell has brought the WCO to a new plateau. It is playing at a higher level. It is garnering more praise than ever before. It is performing in a home venue. It is booking terrific soloists. It is programming more ambitious works. And it is putting its stamp, through Sewell’s own distinctive philosophy of eclectic programming, on a very crowded local classical music scene.

That is a lot of joy to be celebrated.

And celebrated it was — at a season’s-end post-concert reception (below) but  mostly in the music itself.

Here are links to other reviews of the concert:

Here is John W. Barker’s for Isthmus:

http://www.thedailypage.com/daily/article.php?article=36497

Here is Lindsay Christians’ review of 77 Square (The Wisconsin State Journal and The Capital Times):

http://host.madison.com/entertainment/arts_and_theatre/reviews/beginnings-and-endings-in-chamber-orchestra-s-season-closer/article_88fc9396-863c-11e1-9b97-001a4bcf887a.html

Here is Greg Hettmansberge;rs review Madison Magazine an this blog  “Classically Speaking”:

http://www.madisonmagazine.com/Blogs/Classically-Speaking/April-2012/Wisconsin-Chamber-Orchestra-Surprises-with-Low-fat-Beethoven/

Here is Bill Wineke’s review for Channel 3000:

http://www.channel3000.com/entertainment/Review-Can-a-small-orchestra-do-Beethoven-justice/-/1628/10788686/-/fpkblnz/-/index.html


Classical music review: If you want to hear the difference between talent and genius, compare the music of John Field and Frederic Chopin — and thank the Wisconsin Chamber Orchestra.

March 19, 2012
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By Jacob Stockinger

On Friday night, I went to the penultimate concert of this season by the Wisconsin Chamber Orchestra in the Overture Center‘s Capitol Theater. (This season’s last Masterworks concert is at 8 p.m. on Friday April 13, and features Beethoven’s iconic Ninth Symphony.) In so many ways, it was an enjoyable event with an appropriate sense of occasion for Saint Patrick’s Day.

Under the baton of Andrew Sewell, the WCO (below) just keeps sounding better and better. And the audiences just seem to grow bigger and bigger, and more and more enthusiastic.

Clearly, the WCO is on the march, as its expanded next season shows:

http://wcoconcerts.org/performances/future-season/

I was particularly impressed with the performances of two well-known and frequently perform classics: Mendelssohn’s “Hebrides” Overture and Mozart’s “Haffner” Symphony. These are great works that received great performances.

The overture by the transitional Mendelssohn (below) had precise Classical-era part playing and a clarity of texture. Yet the evocative reading also had Romantic color. You could feel the ocean swells and the Scottish mystery, the dark, almost Gothic atmosphere of the seashore cave that the work was meant to convey.

In the “Haffner,” I was impressed by the muscularity of the Mozart (below). The very opening bars had sharp and strong attacks, and that sense of energy kept up right to the closing measures. I like grace and elegance, but not when it descends into music-box Mozart and preciousness. This reading was decidedly NOT music-box Mozart. It was hearty and robust as well as refined.

The WCO is clearly mastering the playing of Mozart, Haydn and Beethoven and they should include more of those masters on each program. Lord knows there are enough pieces by each to choose from given overtures, symphonies and concertos.

In between came other pieces on the “Celtic Celebration” theme chosen to mark St. Patrick’s Day and to bring us neglected works.

Granville Bantock’s “Celtic” Symphony for string orchestra and six – yep, six harps a harping — was a gratifying piece with some lively moments. But like Vaughan Williams, to whom Sewell aptly compared Bantock (below), it lacked depth and had major moments of lateral drift. The plainsong aspect of the harmony and the Celtic dance rhythms proved particularly captivating. All in all, it proved a rarity worth well unearthing and hearing.

That kind of creative and original programming has become typical of WCO music director Sewell (below).

The major work of the first half was a performance of Irish composer John Field’s rarely heard Piano Concerto No. 4 in E-Flat Major. One of seven concertos by Field (below), it was performed to perfection by the remarkable UW pianist Christopher Taylor, who was superbly accompanied by the orchestra.

On the radio, in a Q&A for this blog and in his playing, Taylor made a convincing case for reviving this curiosity. And it does have a certain period charm, especially in a kind of proto-Chopin way that is looser in form and feeling than the powerful and stricter, less lyrical Beethovenian and Germanic traditions.

After all, you may recall it was Field who pioneered the form of the piano nocturne that Chopin, 11 years his junior, later perfected.

But if you ever want to take the measure of the difference between someone who is talented and someone who is a genius, then just listen to Field and compare him to Chopin (below) — either nocturne-to-nocturne (at bottom), or concerto-to-concerto.

Chopin gives you heart-breaking and memorable melodies and harmonies that you carry with you out of the concert hall. Field’s music seems, sad to say, forgettable as soon as the playing is over. You are glad you heard it, but would you hear it again right away, would you go home and put on a recording of it? I suspect not.

Like Chopin’s writing, Field’s score uses a lot of notes in the passagework. And how they sparkled under virtuosic fingers of Taylor (below). But overall the concerto lacks substance and that bel canto sense of singing or vocal line that makes Chopin so irresistible and seductive.

In a museum or gallery, I find that looking at a great painting or photography makes me wish I could paint like that or use a camera tike that. I want to go out and make a painting or a photograph of my own.

Chopin does the same. His music makes me want to go home and play the piano, and especially his works.

Field, however, does not leave with the listener with that desire. I find myself, saying: OK, I’m glad I heard it, but once every 10 or 20 years is enough.

Chopin’s music simply has, and deserves, a much longer shelf life.

So I guess what I am saying is that I hope the WCO books Taylor again — this time in one of the two Chopin concertos, and probably No. 2, which is more suited to the chamber ensemble than No. 1, the concerto that actually was composed later on a bigger scale. But either would do the job nicely.

Now that would be something memorable indeed.

Anyway, here are links to the other reviews since you may wonder: What did the other critics in town have to say?

We pretty much agree, but we differ in what we make of our minor disagreements.

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

http://www.thedailypage.com/daily/article.php?article=36238

Here is Mike and Jean Muckian’s review for the magazine Brava and their blog Culturosity:

http://culturosity.wordpress.com/

Here is the review by Lindsay Christians of the Wisconsin State Journal and 77 Square:

http://host.madison.com/entertainment/arts_and_theatre/reviews/wco-s-celtic-night-offers-delightful-mix/article_4f71f520-702b-11e1-8e78-0019bb2963f4.html

Here is Bill Wineke’s review for WISC-TV’s Channel 3000.com:

http://www.channel3000.com/entertainment/30700799/detail.html

And here is Greg Hettmansberger’s review for Madison Magazine and the blog Classically Speaking:

http://www.madisonmagazine.com/Blogs/Classically-Speaking/March-2012/Wisconsin-Chamber-Orchestra-Proves-All-of-Us-Are-Lucky-This-St-Patricks-Day/

But every listener is his or her own critic.

So, what did you make of the works by John Field and Bantock?

What part of the Wisconsin Chamber Orchestra’s “Celtic Celebration” pleased you the most and why?

The Ear wants to hear.


Classical music news: Wisconsin Chamber Orchestra’s Andrew Sewell — who scored big with Beethoven and Britten this past weekend — is one of five finalists to lead the Illinois Symphony and Chamber Orchestras in Springfield and Bloomington.

February 27, 2012
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By Jacob Stockinger

Andrew Sewell (below), the music director and conductor of the Wisconsin Chamber Orchestra since 2000, is among five finalists to lead the Illinois Symphony Orchestra and its Chamber Orchestra that perform nine concerts a season in Springfield and Bloomington.

Sewell, fresh off two acclaimed performances of Beethoven and Britten in Madison and Baraboo this past weekend, told The Ear that the would continue to live in Madison and head the Wisconsin Chamber Orchestra (below) plus commute by car for the 4-1/2 hour drive to Springfield.

“Madison is a great place to live and has treated us very well,” said Sewell, who lives her with his wife Mary. Sewell, a native of New Zealand, is a naturalized American citizen. He recently left the Wichita Symphony in Kansas after 10 years at its helm and he has guest conducted in Green Bay as well as Hong Kong and many other places.

Sewell said that, should he get the post with the Illinois Symphony Orchestra (below), the need for guest conductors to occasionally fill in for him Madison will depend on the concert schedule.

While he doesn’t intend to do that very often, he added, should it happen it would benefit both musicians and audiences to hear guest conductors.

Sewell was among 30 original names invited to apply for the Illinois post. Then 27 applied and they were narrowed down through interviews about a dozen and then five finalists were chosen to conduct performances. Sewell will return to Springfield at the end of March to conduct a program of Berlioz’ “Le Corsaire” Overture, Brahms’ Violin Concerto and Shostakovich’s Symphony No. 1. In late January, he conducted Vivaldi’s “Four Seasons,” Grieg’s “Holberg Suite” and contemporary composer Michael Daughtery’s “Strut.”

The final choice will probably be announced sometime in late May, Sewell speculated, after all the finalists have conducted performances.

Started by the WPA during FDR’s “New Deal,” the Illinois Symphony Orchestra, is the second largest symphony in Illinois, coming in after the famed world-class Chicago Symphony Orchestra, which snagged Riccardo Muti as its current music director, based in Chicago and Ravinia. But the Illinois Symphony also performs at Grant Park concert shell (below), designed by Frank Gehry, in downtown Centennial Park.

According to Sewell, the Illinois Symphony Orchestra’s season has nine regular concerts – five symphony concerts and four chamber orchestra concerts plus a holiday concert and an educational outreach concert — but nothing comparable to the six weekly Concerts on the Square that Sewell programs and conducts each summer in Madison.

Here is a link to the home site of the Illinois Symphony Orchestra:

http://www.ilsymphony.org/concerts.html

Will Sewell get the post?

Well, of course The Ear is rooting for The Home Boy.

But I also think that Sewell would be a shoo-in if the board of directors of the Illinois Symphony Orchestra heard how much the WCO has improved in tightness and accuracy under his tenure; if they knew how well he puts together original programs of tried-and-true classics with overlooked or lesser known works; and if they understood what great up-and-coming and affordable but supremely talented soloists he manages to find and book.

Unfortunately, I could not attend the WCO concert this past weekend, but a colleague whose judgment I trust did. Here is the review by Mike Muckian for Brava magazine and his blog “Culturosity”:

http://culturosity.wordpress.com

Here is a link to a rave review by Bill Wineke for Channel 3000.com and WISC-TV:

http://www.channel3000.com/entertainment/30541524/detail.html

Here is a link to a review by Lindsay Christians for The Capital Times and  77 Square:

http://host.madison.com/entertainment/music/reviews/wco-s-beloved-beethoven-provides-plenty-of-food-for-thought/article_3b27890c-5fbb-11e1-bc8f-001871e3ce6c.html

And here is a link to background story about Sewell and the plans and process to find a conductor for the Illinois ensemble.

http://www.sj-r.com/top-stories/x502070741/Five-named-finalists-to-head-Illinois-Symphony

Do you have any comments to leave for Andrew Sewell or for the directors of the Illinois Symphony Orchestra to read?

The Ear wants to hear.


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