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Gramophone critics name their favorite recordings of 2023

December 20, 2023
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By Jacob Stockinger

Based in London, Gramophone Magazine — below is the December cover celebrating the centennial of opera legend Maria Callas — is probably the best known and most highly respected magazine to focus on classical music.

The monthly features and reviews are usually quite illuminating. And the year-end wrap-ups or seasonal holiday guides are often excellent for purchasing CDs and LPs, or for simply finding out and sampling the new releases of the past year on a streaming service.

Below are the the favorites by various critics for Gramophone.

The Ear finds it particularly interesting and telling that the critics refer to their “favorite” recordings — not the “best” recording — of the past year. I find “favorite” more honestly subjective than the falsely objective “best,” which takes no account of personal taste or preference.

Unfortunately, unlike many other similar lists the Gramophone story does not include samples from YouTube or the actual recordings. (You can hear one sample in the YouTube video at the bottom where Andras Schiff plays Bach on a rarely heard clavichord.)

But each selection has a link to the full review that appeared in Gramophone.

You should know that Gramophone has the reputation of favoring British composers, artists and labels. And that nationalistic bias shows in some of this year’s selections.

Nonetheless, many of the choices —across many different genres from instrumental and vocal soloists to chamber music to orchestral and choral music — are informative and intriguing.

Check them out for yourself via this link:

https://www.gramophone.co.uk/features/article/critics-choice-our-favourite-classical-recordings-of-2023

To see any crossovers in British and American year-end lists, you can check out this year’s Top 10 from Tom Huizenga on National Public Radio (NPR):

https://welltempered.wordpress.com/2023/12/17/npr-names-the-top-10-classical-recordings-of-2023/

What do you think of the selections?

Do you agree with any? Which ones?

Do you have your own suggestions about the best or favorite recordings you heard this year?

The Ear wants to hear.

Posted in Classical music
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Why do we like sad music?

September 9, 2023
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By Jacob Stockinger

Why does sad music — or sad art — appeal to so many of us?

One psychologist and brain researcher — Matthew Sachs of Columbia University (below) — says it serves an evolutionary and social purpose by eliciting empathy for other humans and purging us of negative emotions, according to a story and interview on NPR (National Public Radio).

To The Ear, the explanation sounds a lot like the ancient Greek philosophy of catharsis that was the cornerstone justification for the public staging of great ancient tragedies by writers such as Aeschylus, Sophocles and Euripides, and of course the famous tragedies of Shakespeare such as “Romeo and Juliet,” Hamlet” and “King Lear” that were famously popular dramas as well as great masterpieces of Western literature.

Consider the case of Samuel Barber’s often-played “Adagio for Strings,” analyzed at length in a book called “The Saddest Music in the World.” Or perhaps the “Pathétique” piano sonata by Beethoven and the “Funeral March” piano sonata by Chopin. Or the requiems by Mozart and Brahms.

Or consider the music “Beautiful Sadness” by the contemporary composer Cliff Masterson (below). You can hear it in the YouTube video at the bottom.

Here is a link to the NPR story that discusses “the rules of musical melancholy.”

You can read it, or take four minutes to listen to it:

https://www.npr.org/2023/09/06/1173993223/understanding-the-joy-that-many-find-in-sadness

Do you find solace in sad music?

Does sad music make you feel better?

Do you have a favorite piece of sad music?

Or maybe a favorite tragic play, opera or work of art?

The Ear wants to hear.

Posted in Classical music
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From Beethoven to today: The next five days at the UW-Madison are busy with FREE online concerts of new music, string music, brass music and more

April 8, 2021
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By Jacob Stockinger

From now through Monday, April 13, there are many FREE online concerts – virtual or pre-recorded – at the UW-Madison’s Mead Witter School of Music.

The schedule includes three different concerts on Saturday, April 10, alone. (All times are central and many concerts will be available for longer than a day.)

The variety of music is terrific and features all kinds of instruments and genres of music.

Here is a link to all of them, which will appear on YouTube. If your click on “Show More,” you will see more information about the performers and the programs. You can also set a convenient Reminder Timer to help you remember to listen: https://www.youtube.com/channel/UCZZ2F66Bu2yAfccvsugEtsA

You can read all of them by yourself. But the Ear wants to single out several of special interest.

NEW MUSIC: TONIGHT

If you are a fan of new music, there are two concerts you should consider listenIing to.

TONIGHT, April 8, at 7:30 p.m. and then at 8:30 p.m. are two concerts of new music.

The first concert is by the Contemporary Chamber Ensemble.

Titled “Colors” (below is the poster) the concert features music by Debussy, Lang, San Martin, UW-Madison professor Laura Schwendinger and Edgard Varese.

The performance are by faculty performers violist Sally Chisholm, flutist Conor Nelson and pianist Christopher Taylor, as well as alumni and students Eric Tran, Eric Delgado, Heidi Keener, Ben Therrell and Ben Yats.

Here is a link: https://www.youtube.com/watch?v=t5Gxe7yTWpI

Then at 8:30 p.m., a studio recital by composition students (below) at the UW-Madison will take place. No names of performers or pieces are listed. But here is the link that is given: https://youtu.be/WmTBoLD9IQc

BEETHOVEN QUARTET CYCLE 7: FRIDAY NIGHT

At 7:30 p.m. is the seventh installment of the cycle, which is part of the Pro Arte Quartet’s yearlong retrospective of Beethoven’s string quartets to celebrate the 250th anniversary of the composer’s birth.

Members are David Perry and Suzanne Beia, violins; Sally Chisholm, viola; and Parry Karp, cello.

The program has two late quartets: the famous last one, Op. 135, in F major (1826) with the :”Muss es sein” (Must It Be?) motif, which can be heard in the YouTube video at the bottom of the final movement played by the Cypress String Quartet; and the famous “Grosse Fuge” quartet and ending in B-flat Major, Opp. 130 and 133 (1825-6).

The Ear — who particularly likes Beethoven’s return to clarity and classicism in his final quartet — has listened to all the installments and they have all been superb. There’s no reason to expect anything different with this installment.

UW professor of musicology Charles Dill will give short introductory talks before each quartet. You can find extended program notes about the quartet and the program here: https://www.music.wisc.edu/event/pro-arte-quartet-beethoven-string-quartet-cycle-program-7/

And here is the link to the live-streamed concert from the Mead Witter Foundation Concert Hall in the Hamel Music Center: https://www.youtube.com/watch?v=IIW_5NVgGaA

UNIVERSITY OPERA SINGS SONGS OF RACIAL AND SOCIAL JUSTICE: SATURDAY AND SUNDAY

This spring, University Opera follows up its groundbreaking video production on the life and times of composer Marc Blitzstein with another video.

What’s Past is Prologue: The Unfinished American Conversation, a program of staged and filmed songs and song cycles with social and racial justice themes, will be released on the Mead Witter School of Music YouTube channel at https://youtu.be/7Up_OXD6K2U this Saturday, April 10, at 7:30 p.m., with an encore stream this Sunday, April 11, at 2 p.m. David Ronis, Director of University Opera, is the director, and Thomas Kasdorf is the musical director, who accompanies the singers on piano.

For more background, go to: https://www.music.wisc.edu/event/university-opera-presents-whats-past-is-prologue-the-unfinished-american-conversation/

For the performance, go to: https://youtu.be/7Up_OXD6K2U

Posted in Classical music
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Today is the Winter Solstice. Here is a piece to make you look forward to longer days, warmth and the Summer Solstice next year

December 21, 2020
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By Jacob Stockinger

Today – Monday, Dec. 21 — is the Winter Solstice, the longest night and shortest day of the year in the Northern Hemisphere. It arrives at 4:02 a.m. CST.

The Ear expects that Wisconsin Public Radio, among other media outlets, will be marking the event with traditional, often austere, winter music. That includes “Winter” from Vivaldi’s “The Four Seasons”; maybe some songs from Schubert’s “Winterreise” (Winter Journey); Peter Tchaikovsky’s “The Seasons” and “The Nutcracker”; and, of course, plenty of winter holiday music, including carols and the Baroque oratorios, cantatas and concertos by Bach, Handel, Telemann, Corelli and others.

But many people – strained by the coronavirus pandemic –are already eagerly looking forward to the days growing longer, which will culminate in the Summer Solstice at 10:31 p.m. CST on Sunday, June 21, 2021.

Who needs to celebrate the season’s cold and darkness? So The Ear thought that we could all use a little sonic sunlight, tonal warmth and musical hope, especially at the end of this Plague Year.

There are standards and favorites such as Mozart’s “Eine kleine Nachtmusik” and Vivaldi’s “Summer.”

But to The Ear that work that really lifts one’s spirits, and captures the kind of joyful abandon and youthful energy of the mid-summer event, complete with animal noises and romance, is the “Overture to a Midsummer Night’s Dream” by a 17-year-old Felix Mendelssohn (below).

You can hear it below in a YouTube performance by the Gewandhaus Orchestra of Leipzig conducted by the late, great German conductor Kurt Masur, whose son, Ken-David Masur, is the new music director and conductor of the Milwaukee Symphony Orchestra.

The Ear hopes you enjoy it.

What music would you like to hear or play to mark the Winter Solstice?

Leave a suggestion with your reason and, if possible, YouTube link in the Comment section.

The Ear wants to hear.

Posted in Classical music
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Classical music: Here are the classical music nominees for the 2020 Grammy Awards. They make a useful holiday gift guide and highlight the trend toward more diversity

November 29, 2019
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By Jacob Stockinger

Today is Black Friday followed by Small Business Saturday and Cyber Monday — all with special deals and sales.

With that in mind, here is a list of the recently announced nominees in classical music for the 2020 Grammy Awards.

Although it is a self-serving list for a competition sponsored by The Industry, it can also be good way to find holiday gifts to give to others or to receive for yourself.

The list can be useful for spotting trends and finding new releases you may not have heard of.

For example, this year seems especially good for new music or recent works and contemporary composers. You won’t find any Bach, Haydn, Mozart, Beethoven, Schubert, Brahms, Dvorak, Tchaikovsky or Mahler although you will find Berlioz, Schumann, Wagner, Bruckner, Berg, Rachmaninoff and Copland.

Another favorite seems to be the rediscovery of older composers such as Mieczyslaw Weinberg (1919-1996, below) whose centennial has become an occasion for bringing his neglected works to the forefront.

You can also see that like the Oscars, the Grammys seem to be paying more attention to women composers and conductors, artists of color and crossovers or mixed and hybrid genres.

For complete lists of all 84 categories, go to this site and click on the categories that interest you: https://www.grammy.com/grammys/news/2020-grammy-awards-complete-nominees-list

The 62nd annual Grammy Awards will be presented on Sunday, Jan. 26, at the Staples Center in Los Angeles and will be broadcast live on CBS television.

Best Engineered Album, Classical
An Engineer’s Award. (Artist names appear in parentheses.)

AEQUA – ANNA THORVALDSDÓTTIR
Daniel Shores, engineer; Daniel Shores, mastering engineer (International Contemporary Ensemble)
BRUCKNER: SYMPHONY NO. 9
Mark Donahue, engineer; Mark Donahue, mastering engineer (Manfred Honeck and Pittsburgh Symphony Orchestra)
RACHMANINOFF – HERMITAGE PIANO TRIO
Keith O. Johnson & Sean Royce Martin, engineers; Keith O. Johnson, mastering engineer (Hermitage Piano Trio)
RILEY: SUN RINGS
Leslie Ann Jones, engineer; Robert C. Ludwig, mastering engineer (Kronos Quartet)
WOLFE: FIRE IN MY MOUTH
Bob Hanlon & Lawrence Rock, engineers; Ian Good & Lawrence Rock, mastering engineers (Jaap Van Zweden, Francisco J. Núñez, Donald Nally, The Crossing, Young People’s Chorus Of NY City & New York Philharmonic)

Producer Of The Year, Classical
A Producer’s Award. (Artist names appear in parentheses.)

BLANTON ALSPAUGH
Artifacts – The Music Of Michael McGlynn (Charles Bruffy & Kansas City Chorale)
• Berlioz: Symphonie Fantastique; Fantaisie Sur La Tempête De Shakespeare (Andrew Davis & Toronto Symphony Orchestra)
• Copland: Billy The Kid; Grohg (Leonard Slatkin & Detroit Symphony Orchestra)
• Duruflé: Complete Choral Works (Robert Simpson & Houston Chamber Choir)
• Glass: Symphony No. 5 (Julian Wachner, The Choir Of Trinity Wall Street, Trinity Youth Chorus, Downtown Voices & Novus NY)
• Sander: The Divine Liturgy Of St. John Chrysostom (Peter Jermihov & PaTRAM Institute Singers)
• Smith, K.: Canticle (Craig Hella Johnson & Cincinnati Vocal Arts Ensemble)
• Visions Take Flight (Mei-Ann Chen & ROCO)
JAMES GINSBURG (below)
Project W – Works By Diverse Women Composers (Mei-Ann Chen and Chicago Sinfonietta)
• Silenced Voices (Black Oak Ensemble)
• 20th Century Harpsichord Concertos (Jory Vinikour, Scott Speck and Chicago Philharmonic)
• Twentieth Century Oboe Sonatas (Alex Klein and Phillip Bush)
• Winged Creatures & Other Works For Flute, Clarinet, And Orchestra (Anthony McGill, Demarre McGill, Allen Tinkham and Chicago Youth Symphony Orchestra)
MARINA A. LEDIN, VICTOR LEDIN
Bates: Children Of Adam; Vaughan Williams: Dona Nobis Pacem (Steven Smith, Erin R. Freeman, Richmond Symphony & Chorus)
• The Orchestral Organ (Jan Kraybill)
• The Poetry Of Places (Nadia Shpachenko)
• Rachmaninoff – Hermitage Piano Trio (Hermitage Piano Trio)
MORTEN LINDBERG
Himmelborgen (Elisabeth Holte, Kare Nordstoga & Uranienborg Vokalensemble)
• Kleiberg: Do You Believe In Heather? (Various Artists)
• Ljos (Fauna Vokalkvintett)
• LUX (Anita Brevik, Trondheimsolistene & Nidarosdomens Jentekor)
• Trachea (Tone Bianca Sparre Dahl & Schola Cantorum)
• Veneliti (Hakon Daniel Nystedt & Oslo Kammerkor)
DIRK SOBOTKA
Bruckner: Symphony No. 9 (Manfred Honeck & Pittsburgh Symphony Orchestra)

75. Best Orchestral Performance Award to the Conductor and to the Orchestra.

BRUCKNER: SYMPHONY NO. 9
Manfred Honeck, conductor (Pittsburgh Symphony Orchestra)
COPLAND: BILLY THE KID; GROHG
Leonard Slatkin, conductor (Detroit Symphony Orchestra)
NORMAN: SUSTAIN
Gustavo Dudamel, conductor (Los Angeles Philharmonic)
TRANSATLANTIC
Louis Langrée, conductor (Cincinnati Symphony Orchestra)
WEINBERG: SYMPHONIES NOS. 2 and 21
Mirga Gražinytė-Tyla, conductor (City Of Birmingham Symphony Orchestra & Kremerata Baltica)

Best Opera Recording
Award to the Conductor, Album Producer(s) and Principal Soloists.

BENJAMIN: LESSONS IN LOVE & VIOLENCE
George Benjamin, conductor; Stéphane Degout, Barbara Hannigan, Peter Hoare & Gyula Orendt; James Whitbourn, producer (Orchestra Of The Royal Opera House)
BERG: WOZZECK
Marc Albrecht, conductor; Christopher Maltman & Eva-Maria Westbroek; François Roussillon, producer (Netherlands Philharmonic Orchestra; Chorus Of Dutch National Opera)
CHARPENTIER: LES ARTS FLORISSANTS; LES PLAISIRS DE VERSAILLES
Paul O’Dette & Stephen Stubbs, conductors; Jesse Blumberg, Teresa Wakim & Virginia Warnken; Renate Wolter-Seevers, producer (Boston Early Music Festival Chamber Ensemble; Boston Early Music Festival Vocal Ensemble)
PICKER: FANTASTIC MR. FOX
Gil Rose, conductor; John Brancy, Andrew Craig Brown, Gabriel Preisser, Krista River & Edwin Vega; Gil Rose, producer (Boston Modern Orchestra Project; Boston Children’s Chorus)
WAGNER: LOHENGRIN
Christian Thielemann, conductor; Piotr Beczała, Anja Harteros, Tomasz Konieczny, Waltraud Meier & Georg Zeppenfeld; Eckhard Glauche, producer (Festspielorchester Bayreuth; Festspielchor Bayreuth)

Best Choral Performance
Award to the Conductor, and to the Choral Director and/or Chorus Master where applicable and to the Choral Organization/Ensemble.

BOYLE: VOYAGES
Donald Nally, conductor (The Crossing)
DURUFLÉ: COMPLETE CHORAL WORKS
Robert Simpson, conductor (Ken Cowan; Houston Chamber Choir)
THE HOPE OF LOVING
Craig Hella Johnson, conductor (Conspirare)
SANDER: THE DIVINE LITURGY OF ST. JOHN CHRYSOSTOM
Peter Jermihov, conductor (Evan Bravos, Vadim Gan, Kevin Keys, Glenn Miller & Daniel Shirley; PaTRAM Institute Singers)
SMITH, K.: THE ARC IN THE SKY
Donald Nally, conductor (The Crossing)

Best Chamber Music/Small Ensemble Performance
For new recordings of works with chamber or small ensemble (twenty-four or fewer members, not including the conductor). One Award to the ensemble and one Award to the conductor, if applicable.

CERRONE: THE PIECES THAT FALL TO EARTH
Christopher Rountree and Wild Up
FREEDOM & FAITH
PUBLIQuartet
PERPETULUM
Third Coast Percussion
RACHMANINOFF – HERMITAGE PIANO TRIO
Hermitage Piano Trio
SHAW: ORANGE
Attacca Quartet

79. Best Classical Instrumental Solo Award to the Instrumental Soloist(s) and to the Conductor when applicable.

THE BERLIN RECITAL
Yuja Wang
HIGDON: HARP CONCERTO
Yolanda Kondonassis; Ward Stare, conductor (The Rochester Philharmonic Orchestra)
MARSALIS: VIOLIN CONCERTO; FIDDLE DANCE SUITE
Nicola Benedetti; Cristian Măcelaru, conductor (Philadelphia Orchestra)
THE ORCHESTRAL ORGAN
Jan Kraybill
TORKE: SKY, CONCERTO FOR VIOLIN
Tessa Lark; David Alan Miller, conductor (Albany Symphony)

80. Best Classical Solo Vocal Album Award to: Vocalist(s), Collaborative Artist(s) (Ex: pianists, conductors, chamber groups) Producer(s), Recording Engineers/Mixers with 51% or more playing time of new material.

THE EDGE OF SILENCE – WORKS FOR VOICE BY GYÖRGY KURTÁG
Susan Narucki (Donald Berman, Curtis Macomber, Kathryn Schulmeister & Nicholas Tolle)
HIMMELSMUSIK
Philippe Jaroussky & Céline Scheen; Christina Pluhar, conductor; L’Arpeggiata, ensemble (Jesús Rodil & Dingle Yandell)
SCHUMANN: LIEDERKREIS OP. 24, KERNER-LIEDER OP. 35
Matthias Goerne; Leif Ove Andsnes, accompanist
SONGPLAY
Joyce DiDonato; Chuck Israels, Jimmy Madison, Charlie Porter and Craig Terry, accompanists (Steve Barnett and Lautaro Greco)
A TE, O CARA
Stephen Costello; Constantine Orbelian, conductor (Kaunas City Symphony Orchestra)

Best Classical Compendium
Award to the Artist(s) and to the Album Producer(s) and Engineer(s) of over 51% playing time of the album, if other than the artist.

AMERICAN ORIGINALS 1918
John Morris Russell, conductor; Elaine Martone, producer
LESHNOFF: SYMPHONY NO. 4 ‘HEICHALOS’; GUITAR CONCERTO; STARBURST
Giancarlo Guerrero, conductor; Tim Handley, producer
MELTZER: SONGS AND STRUCTURES
Paul Appleby & Natalia Katyukova; Silas Brown & Harold Meltzer, producers
THE POETRY OF PLACES
Nadia Shpachenko; Marina A. Ledin & Victor Ledin, producers
SAARIAHO: TRUE FIRE; TRANS; CIEL D’HIVER
Hannu Lintu, conductor; Laura Heikinheimo, producer

Best Contemporary Classical Composition
A Composer’s Award. (For a contemporary classical composition composed within the last 25 years, and released for the first time during the Eligibility Year.) Award to the librettist, if applicable.

BERMEL: MIGRATION SERIES FOR JAZZ ENSEMBLE & ORCHESTRA
Derek Bermel, composer (Derek Bermel, Ted Nash, David Alan Miller, Juilliard Jazz Orchestra & Albany Symphony Orchestra)
HIGDON: HARP CONCERTO
Jennifer Higdon, composer (Yolanda Kondonassis, Ward Stare & The Rochester Philharmonic Orchestra)
MARSALIS: VIOLIN CONCERTO IN D MAJOR
Wynton Marsalis, composer (Nicola Benedetti, Cristian Măcelaru & Philadelphia Orchestra)
NORMAN: SUSTAIN
Andrew Norman, composer (Gustavo Dudamel & Los Angeles Philharmonic)
SHAW: ORANGE
Caroline Shaw, composer (Attacca Quartet)
WOLFE: FIRE IN MY MOUTH
Julia Wolfe, composer (Jaap Van Zweden, Francisco J. Núñez, Donald Nally, The Crossing, Young People’s Chorus Of NY City & New York Philharmonic)

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Classical music: University Opera succeeded brilliantly by setting Britten’s “A Midsummer Night’s Dream” in the 1960s at Andy Warhol’s The Factory

November 23, 2019
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By Jacob Stockinger

Larry Wells — the Opera Guy for this blog – took in two performances last weekend of the University Opera’s production of Benjamin Britten’s “A Midsummer Night’s Dream,” which played to three sold-out houses at Music Hall. He filed this review. Performance photos are by Benjamin Hopkins and Michael Anderson.

By Larry Wells

The University Opera’s production of Benjamin Britten’s “A Midsummer Night’s Dream” was set in Andy Warhol’s Factory of the 1960s with countertenor Thomas Alaan (below) as a Warhol-like Oberon presiding over the antics.

The opera by Britten (below) follows Shakespeare’s play fairly closely. The magical transformations and herbs of the original were translated to a hallucinogen-filled milieu of go-go dancing fairies, master-slave relationships and same-sex liaisons.

And for me it worked. That is to say, this production contained the same strangeness and wonder as the traditional productions I have seen. The play itself is very strange and wonderful.

Alaan is a fine singer and played a manipulative and somewhat slimy Warhol/Oberon whose flat affect seemed to be reflected in the relative lack of expressivity in the voice. Pitted against Oberon were Amanda Lauricella and Kelsey Wang alternating as Tytania.

Although the program stated that the portrayal of Tytania was loosely based on Edie Sedgwick in this production, without the platinum hair I missed the references. Both portrayals were much more assertive than Edie ever was, and both singers’ ardent coloratura voices tended to overshadow Oberon’s, which may have been intentional. Wang (below, far right) was an intense actress who put sparks into her portrayal, while Lauricella really has a superb voice.

(Below, from left, are Michael Kelley as Puck; Thomas Alaan as Oberon; Tanner Zocher as a young man; and Kelsey Wang as Tytania.)

The four lovers (below left) seemed to be employees at The Factory. Tenor Benjamin Liupaogo portrayed Lysander. The vocal part has an uncomfortable upper range, but Liupaogo’s singing in the second act particularly was up to the challenge.

His rival Demetrius was portrayed by baritone Kevin Green. Their contending affections for Hermia and Demetrius’ initial scorn for Helena were oddly lacking in ardor.

Hermia was double cast with Julia Urbank, a promising soprano, and Chloe Agostino, who was also a very good singer. Poor Helena, first ignored and then pursued by both men, was also double cast with a terrific Rachel Love and an equally gifted Jing Liu.

(The four lovers, below from left, were: Benjamin Liupaogo as Lysander; Chloe Agostino as Hermia; Jing Liu as Helena;, Kevin Green as Demetrius; and Paul Rowe as Theseus with Lindsey Meekhof as Hippolyte.)

As I have noted before, the female singers in the opera program often seem to be very solid performers. (You can hear the lovers’ quartet in the YouTube video at the bottom.)

And then there were the “Rustics” (below), the workers who have come together to put on the play “Pyramus and Thisbe” for the upcoming wedding of the local duke, or in this case a rich art patron.

(The six rustics, below from left, were: James Harrington as Bottom; Jacob Elfner as Quince; Benjamin Galvin as Snug; Jack Innes as Starveling; Thore Dosdall as Flute; Jeffrey Larson as Snout; with Kevin Green as Demetrius, seated.)

The six men were each talented comic actors and provided many of the performance’s laughs. Foremost was James Harrington’s Bottom. Not only a very funny actor, he produced in my opinion the finest singing among the many talented students.

Mention must be made of the very amusing Flute, hysterically portrayed by Thore Dosdall, and the promising bass Benjamin Galvin as the slow learner Snug.

These men not only sang well together and separately, but also provided many guffaws whenever they appeared. (Below are: Jacob Elfner as Quince; Jeffrey Larson as Snout; James Harrington as Bottom; Jack Innes – back row up on box – as Starveling; Benjamin Galvin as Snug; and Thore Dosdall as Flute.)

Additionally we had the fairies — all female voices in this production — who sounded wonderful together and got to demonstrate their incongruous ‘60s dance moves to Britten’s score.

Professor Paul Rowe (below left, with Lindsey Meekhof as Hippolyta) made an appearance as Theseus, the duke. His singing was that of a mature artist, a quality to which the students are clearly aspiring.

As the opera drew to a close with a beautifully harmonious chorus, one felt the transformation from dissonance to harmony in the opera and conflict to resolution embodied in the original play.

Many mentions of woods and forest are made in the libretto. Director David Ronis had the walls of the factory cleverly hung with changing arrays of Warhol-like multiple images of flowers and animals. With the amount of weed being smoked and who knows what being ingested onstage, it was easy to believe that the characters might think they were in a forest despite being in a Manhattan warehouse (below).

(The cast, below from left, included Amanda Lauricella and Thomas Alaan in the foreground as Tytania and Oberon. Others were: Julia Urbank on the floor; Benjamin Liupaogo, on the floor; Chloe Flesch; Maria Steigerwald; Amanda Lauricella; Maria Marsland; Angela Fraioli; Thomas Aláan; and James Harrington lying on the couch.)

Presiding over all of this were members of the UW Symphony Orchestra led by new conductor Oriol Sans (below). I have heard maestro Sans conduct the students several times this fall, and I feel he is an outstanding addition to the music school. His control over the forces was amazing, and the subtlety he drew from the players was remarkable.

Ronis (below, in a photo by Luke Delalio) has tried original twists in several of his previous productions, but I think this has been the most outlandish. And I have to say that I really loved it. So carry on, please.

He has a penchant for Britten, one of my favorite composers. His previous productions included “Albert Herring” and “Turn of the Screw.” I wonder if readers have suggestions for another Britten opera he could conceivably produce here. I have my own wish list.

Posted in Classical music
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Classical music: What happens when Shakespeare and Benjamin Britten meet Andy Warhol and The Factory? The University Opera explores a new spin on an old tale

November 12, 2019
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ALERT: At 7:30 p.m. this Thursday night, Nov. 14 — the night before it opens the opera production below — the UW-Madison Symphony Orchestra, under conductor Oriol Sans, will perform a FREE concert in the Mead Witter Foundation Concert Hall of the new Hamel Music Center, 740 University Avenue, next to the Chazen Museum of Art. The program offers Darius Milhaud’s “The Creation of the World,” Maurice Ravel’s “Mother Goose Suite” and Franz Joseph Haydn’s Symphony No. 101 “The Clock.”

By Jacob Stockinger

The Big Event in classical music this week in Madison is the production by the University Opera of Benjamin Britten’s “A Midsummer Night’s Dream.”

It is a chance to see what happens when Shakespeare (below top) meets Britten (below bottom) through the lens of the Pop art icon Andy Warhol.

The three-hour production – with student singers and the UW-Madison Symphony Orchestra under conductor Oriol Sans — will have three performances in Music Hall, at the foot of Bascom Hill: this Friday night, Nov. 15, at 7:30; Sunday afternoon, Nov. 17, at 2 p.m.; and Tuesday night, Nov. 19, at 7:30 p.m.

Tickets are $25 for the general public; $20 for seniors; and $10 for students.

For more information about the production and how to obtain tickets, go to: https://www.music.wisc.edu/event/university-opera-a-midsummer-nights-dream/2019-11-15/

For more information about the performers, the alternating student cast and a pre-performance panel discussion on Sunday, go to: https://www.music.wisc.edu/wp-content/uploads/2019/10/A-Midsummer-Nights-Dream-Media-release.pdf

And here are notes by director David Ronis (below, in a photo by Luke Delalio) about the concept behind this novel production:

“When the artistic team for A Midsummer Night’s Dream met last spring, none of us expected that we would set Britten’s opera at The Factory, Andy Warhol’s workspace-cum-playspace.

“For my part, I wanted to find a way to tell this wonderful story that would be novel, engaging, entertaining, and thought-provoking.

“I only had one wish: that we did a production that did not feature fairies sporting wings – a representation that, to me, just seemed old-fashioned and, frankly, tired.

“As we worked on the concept, we found that The Factory setting allowed us to see the show in a new, compelling light and truly evoked its spirit and themes. The elements of this “translation” easily and happily fell into place and now, six months later, here we are!

“A Midsummer Night’s Dream tells the intersecting stories of three groups of characters – Fairies, Lovers and Rustics – and its traditional locale is that of a forest, the domain of Oberon, the Fairy King. (You can hear the Act 1 “Welcome, Wanderer” duet with Puck and Oberon, played by countertenor David Daniels, in the YouTube video at the bottom.)

“In our production, the proverbial forest becomes The Factory, where our Oberon, inspired by Andy Warhol (below, in a photo from the Andy Warhol Museum), rules the roost. He oversees his world – his art, his business, and “his people.” He is part participant in his own story, as he plots to get even with Tytania, his queen and with whom he is at odds; and part voyeur-meddler, as he attempts to engineer the realignment of affections among the Lovers.

“Tytania, in our production, is loosely modeled on Warhol’s muse, Edie Sedgwick (below top), and Puck resembles Ondine (below bottom), one of the Warhol Superstars.

The Fairies become young women in the fashion or entertainment industries, regulars at The Factory; the Lovers, people who are employed there; and the Rustics, or “Rude Mechanicals,” blue-collar workers by day, who come together after hours to form an avant-garde theater troupe seeking their 15 minutes of fame.

“For all these people, The Factory (below, in a photo by Nat Finkelstein) is the center of the universe. They all gravitate there and finally assemble for the wedding of Theseus and Hippolyta – in this setting, a rich art collector and his trophy girlfriend.

“Magic is an important element in Midsummer. In the realm of the fairies, Oberon makes frequent use of magical herbs and potions to achieve his objectives. In the celebrity art world of mid-1960s New York City, those translate into recreational drugs.

“The people who work in and gather at The Factory are also are involved in what could be called a type of magic – making art and surrounding themselves in it. They take photographs, create silk screen images, hang and arrange Pop art, and party at The Factory.

“Not only does this world of creative magic provide us with a beautiful way to tell the story of Midsummer, but it also becomes a metaphor for the “theatrical magic” created by Shakespeare and Britten, and integral to every production.

“We hope you enjoy taking this journey with us, seeing A Midsummer Night’s Dream in perhaps a new way that will entertain and delight your senses and, perhaps, challenge your brain a bit.”

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Classical music: How did Baroque composer Telemann get overshadowed and why is he being rediscovered? Trevor Stephenson talks about his all-Telemann concerts this weekend

October 2, 2019
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IF YOU LIKE A CERTAIN BLOG POST, PLEASE SPREAD THE WORD. FORWARD A LINK TO IT OR, SHARE IT or TAG IT (not just “Like” it) ON FACEBOOK. Performers can use the extra exposure to draw potential audience members to an event. And you might even attract new readers and subscribers to the blog.

By Jacob Stockinger

This weekend, the Madison Bach Musicians (MBM) will give two performances of a concert devoted exclusively to the music of Baroque composer Georg Philip Telemann (below).

The performances are: Saturday night, Oct. 5, at 8 p.m. in the Atrium Auditorium of the First Unitarian Society of Madison, 900 University Bay Drive, where MBM will be artists-in-residence this season; the second performance is on Sunday afternoon, Oct. 6, at 3:30 p.m. at the Holy Wisdom Monastery, 4200 County Road M, in Middleton.

Tickets are $35 in advance and are available at the Willy Street Coop East and West, and at Orange Tree Imports. Tickets at the door are $38 for the general public; $35 for seniors; and $10 for student rush tickets that go on sale 30 minutes before each lecture. The lectures take place 45 minutes before the performance, at 7:15 p.m. and 2:45 p.m, respectively.

Why focus on the music of Georg Philipp Telemann (1681-1767)?

Trevor Stephenson, the founder and director of the Madison Bach Musicians, talks about it in an email Q&A with The Ear:

Why does Telemann, who was so respected in his day, seem to get far less play, fewer performances and less mentioning today than his contemporaries Bach, Vivaldi and Handel?

Telemann was born in 1681 — three years after Vivaldi and four years before Bach and Handel. He was astonishingly prolific and it is estimated that he wrote more than Bach and Handel combined.

On top of this, he was very highly respected and was widely published and performed during his life. Remember, it was Telemann — not Bach — whom the Leipzig council wanted to hire for the music director position in 1723. But Telemann was enjoying his wonderful new post in Hamburg—a thriving port city — and was not about to go back to landlocked Leipzig where he had spent his student days.

At any rate, after the 18th century had passed and its music became somewhat marginalized, in the early 19th century it was Bach’s music, not Telemann’s, that suddenly re-emerged.

Bach’s tremendous emotional depth, contrapuntal mastery and ability to control large-scale forms in an almost heroic way spoke with greater urgency to the Romantic sensibility than did Telemann’s elegant craftsmanship. Indeed, 19th-century Bach scholars often mean-spiritedly used Telemann as a foil for Bach.

Telemann’s music nevertheless received a modicum of performances in the early 20th century, but in the 1980s and 1990s, as the Early Music movement really got rolling—and the level of period-instrument performance increased—it became apparent that Telemann’s music really was hot stuff!

Now his music is enjoying a wonderful and well-deserved revival.

What are the appealing and admirable qualities you see in Telemann’s music? Are there any drawbacks to his compositions?

Telemann had a wonderful sense of melodic invention — probably music’s analog to an artist’s ability to draw — and his tunes seem to flow out effortlessly. And although his output was opulent, he had an uncanny sense of form and how much weight – duration — any given musical scene could bear.

He also was a masterful musical polyglot, able to jump back and forth easily between Italian, French and German musical idioms; and like Bach, he was also adept at integrating them into a unified style—this integration of national styles was a frequently acknowledged goal of 18th-century composers.

Telemann’s limitations are apparent when he is juxtaposed with Handel, who could dramatically really take the roof off and who could also find the inner essence of the human voice, and Bach who, like Shakespeare, through a near alchemy of sound and meaning could consistently define and further what it means to be human.

How and why did you put this program together? What unifies it and what would you like the public to know about it?

Madison Bach Musicians’ concertmaster and assistant artistic director Kangwon Kim (below left with Emily Dupere) did the heavy lifting in putting together this wonderful program of Telemann’s chamber music. MBM will present three of Telemann’s programmatic or story works, one church cantata and three purely instrumental selections.

With narration and graphics, we’ll walk you through how he cleverly depicts scenes from Swift’s Gulliver’s Travels (1726, below), which had been in print only two years when Telemann wrote his topical Gulliver Suite in 1728. Telemann loved ludicrous irony, like the tiny Lilliputians dancing a heavy chaconne—which Telemann notates in a hilarious, confounding mass of 64th and 128th notes. And then there’s the Brobdingnagian giants doing their rendition of a light-footed gigue, rendered in loopy, cumbersome whole notes!

We’ll also present the marvelous Suite Burlesque based upon Cervantes’ Don Quixote (below): Quixote’s love for Dulcinea, his jousting with windmills, and how a crowd mocks Quixote’s faithful, world-weary servant Sancho Panza.

To top it off, guest artist mezzo-soprano Clara Osowski (below) will sing the droll and sweetly amusing cantata about the demise — brought about by the cat! — of a favorite and very artistic canary. Osowski will also sing the church cantata Weicht, ihr Sünden, bleibt dahinten (Yield, You Sins, and Stay Behind Me). Telemann wrote more than 1,000 church cantatas.

The concert includes non-programmatic works for string band: the dramatic and Corelli-esque Sonata à 6 in F minor for two violins, two violas, cello and continuo; and the sparkling Sinfonia Spirituosa (heard in the YouTube video at the bottom). I will also perform some fascinating Fantasy miniatures for solo harpsichord, and will give a pre-concert lecture at both events.

For more information about the program, the performers and tickets, go to: www.madisonbachmusicians.org

Posted in Classical music
Tags: #18thCentury, #19thCentury, #20thCentury, #AntonioVivaldi, #ArcangeloCorelli, #AtriumAuditorium, #BaroqueComposer, #BaroqueContinuo, #BaroqueMusic, #BlogInterview, #BlogPost, #BlogPosting, #CelloMusic, #ChamberMusic, #ChristianChurch, #ClaraOsowski, #ClassicalMusician, #ContrapuntalMusic, #DonQuixote, #EarlyMusicMovement, #FacebookPost, #FacebookPosting, #FirstUnitarianSocietyofMadison, #GeorgeFridericHandel, #GeorgPhilippTelemann, #GuestArtist, #Gulliver'sTravels, #HamburgGermany, #HarpsichordMusic, #HeavyLifting, #HolyWisdomMonastery, #HotStuff, #HumanVoice, #InstrumentalMusic, #JohannSebastianBach, #JonathanSwift, #KangwonKim, #Large-scale, #LeipzigGermany, #MadisonBachMusicians, #Mezzo-sopranoSinger, #MigueldeCervantes, #MusicalStyle, #MusicDirector, #OrangeTreeImports, #PeriodInstrument, #PortCity, #Pre-concertLecture, #RomanticMusic, #SacredCantata, #SacredMusic, #SanchoPanza, #SaturdayNight, #SeniorCitizen, #StringMusic, #Sundayafternoon, #ViolaMusic, #ViolinMusic, #VocalMusic, #WholeNotes, #WilliamShakepseare, #WillyStreetCoop, #WillyStreetCoopEast, #WillyStreetCoopWest, 18th century, 19th century, 20th-century, ability, afternoon, alchemy, analog, analogue, Antonio Vivaldi, Arcangelo Corelli, artist, artist-in-residence, Atrium Auditorium, Bach, band, Baroque, behind, blog, Burlesque, Cantata, cellist, Cello, chaconne, Chamber music, Christian, Christianity, church, Clara Osowski, Classical music, classicalmusic, composer, Concert, concertmaster, contemporary, continuo, contrapuntal, control, Corelli, council, counterpoint, craftsmanship, crowd, cumbersome, dance, dancing, days, depth, devoted, Don Quixote, draw, Dulcinea, Early music, elegant, email, emotional, enjoy, exclusive, Facebook, faithful, fantasy, fascinating, First Unitarian Society of Madison, form, forward, French, Georg Philipp Telemann, George Frideric Handel, German, giant, giants, gigue, goal, guest artist, Gulliver's Travels, Hamburg, Handel, harpsichord, heavy lifting, heroic, hire, Holy Wisdom Monastery, hot stuff, human voice, idiom, instrumental, interview, invention, irony, Italian, Johann Sebastian Bach, Jonathan Swift, jousting, Kangwon Kim, landlocked, lecture, Leipzig, like, Lilliputian, link, loopy, Love, ludicrous, Madison Bach Musicians, marginalized, marvelous, mastery, me, mean-spirit, meaning, melodic, melody, mention, Mezzo-soprano, Middleton, Miguel de Cervantes, miniature, movement, Music, Music director, musical, musical style, national, night, notes, opulent, Orange Tree Imports, output, performance, performer, period-instrument, play, polyglot, port city, position, post, posting, programmatic, prolific, public, pure, Q&A, rediscover, respect, revival, Romantic, sacred cantata, sacred music, Sancho Panza, Saturday night, scene, scholar, senior, sense, sensibility, servant, Shakespeare, share, sins, solo, Sonata, Sound, story, string, Student, style, subscriber, Suite, Sunday, tag, tickets, tiny, tune, tunes, uncanny, unified, urgency, use, Viola, Violin, violinist, violist, Vivaldi, vocal music, weight, well-deserved, whole, whole notes, Willy Street Coop, windmill, Wisconsin, wonderfu, world-weary, yield

Classical music: Soprano Sarah Brailey and nine UW-Madison cellists team up for the FREE concert of songs at Grace Presents this Saturday at noon

September 20, 2019
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By Jacob Stockinger

This Saturday, Sept. 21, at noon, a FREE one-hour program in the Grace Presents series will feature soprano Sarah Brailey (below) in “My Loyal Heart,” a recital of songs by Arvo Pärt, John Tavener, Guillaume de Machaut, Dmitri Shostakovich and Heitor Villa-Lobos.

The concert is at Grace Episcopal Church (below), located downtown on the Capitol Square at 116 West Washington Avenue.

Brailey is an acclaimed professional singer who often tours and who is doing graduate work at the University of Wisconsin-Madison’s Mead Witter School of Music.

Brailey will be joined by friends and colleagues. They include UW baritone Paul Rowe and members of the UW Madison Cello Ensemble, featuring nine local Madison cellists who include Grace Presents program coordinator James Waldo. (Below is a summer cello choir at the UW-Madison from several years ago.)

The works will be sung in Russian, Portuguese, and both modern and medieval French.

Here is an introduction from Waldo:

“It is often said that the cello is the instrument most like the human voice.

“My Loyal Heart,” devotes an entire program to music for soprano Sarah Brailey and cello from the 14th century to the 20th century.

“It opens with Arvo Pärt’s L’abbé Agathon about the legend of Father Agathon from the 4th century book “The Desert Fathers,” followed by a new arrangement by Brailey for soprano and cello trio of Guillaume de Machaut’s elegant love song Se quanque amours puet donner.

“This intimately ardent piece is followed by a more tragic love story, that of Shakespeare’s Ophelia, in the opening movement of Dmitri Shostakovich’s Seven Romances on Poems by Alexander Blok.

“The program continues in Russian with Sir John Tavener’s powerful and darkly spiritual Akhmatova Songs with poetry by Russian-Soviet Modernist poet, Anna Akhmatova.

“The concert concludes with the hauntingly beautiful and famous first movement and the playful concluding dance of Bachianas Brasileiras (Brazilian Bach Suites) No.5 for soprano and eight cellos by Brazilian composer Heitor Villa-Lobos. (You can hear the Villa-Lobos aria in the YouTube video at the bottom.)

“Text and translations will be provided.

“This program will not be performed anywhere else in Madison.”

Posted in Classical music
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Classical music: Here is a year-long list of concerts at the University of Wisconsin Mead Witter School of Music. They start Tuesday night with the 40th annual Karp Family Labor Day Concert

September 1, 2019
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By Jacob Stockinger

Get out your datebooks and calendars.

Here is a complete listing for major concerts and events at the University of Wisconsin Mead Witter School of Music during the new 2019-20 season.

The calendar starts with the FREE season-opening 40th annual Karp Family Labor Day Concert this coming Tuesday night, Sept. 3, at 7:30 p.m. in Mills Hall. The program features chamber music by Mozart, Beethoven, Schumann and Dvorak. For more information about the program and performers, go to: https://www.music.wisc.edu/event/40th-karp-family-concert/

Using the search engine on this blog, you could also consult whenever individual or group you want. You could print it out and have it in hand instead of the usual brochure, which will not be printed this year. See a previous blog post: https://welltempered.wordpress.com/2019/08/19/classical-music-the-uw-madison-school-of-music-will-not-have-a-complete-brochure-for-the-new-season-go-to-the-website-and-sign-up-for-an-email-newsletter-the-30th-karp-family-labor-day-concert-is-s/

Most concerts this season will take place in the new Hamel Music Center (below), which has a three-day opening celebration Oct. 25-27.

Please note that just a few programs are listed. For other programs, and for information about any admission charge, you can go to the School of Music’s home website closer to the event and click on Concerts and Events: https://www.music.wisc.edu/events/

Tuesday, Sep 3, 2019	Karp Family Concert	7:30 PM	Mills Hall
Sunday, September 29, 2019,	Jessica Martin & John O’Brien – Nordic song recital	4:00 PM	Morphy Hall
Monday, Sept. 30, 2019	Beth Wiese, Tuba, Guest Artist Recital	7:30 PM	Morphy Hall
Friday, October 4, 2019	Pro Arte Quartet	8:00 PM	Mills Hall
Sunday, Oct. 6, 2019	Chanticleer	7:30 PM	Mead Witter Hall
Tuesday, Oct. 8, 2019	Wind Ensemble	7:30 PM	Mead Witter Hall
Friday, October 11, 2019	UW-Madison Symphony Orchestra	8:00 PM	Mead Witter Hall
Sunday, October 13, 2019	University Bands	2:00 PM	Mead Witter Hall
Tuesday, October 15, 2019	Contemporary Jazz & Blue Note Ensemble	7:30 PM	Collins Hall
Wednesday, October 16, 2019	Wisconsin Brass Quintet – Faculty Concert Series	7:30 PM	Mead Witter Hall
Thursday, October 17	Jazz Faculty Quintet with special guest Michael Dudley, trumpet	7:30 PM	Collins Hall
Monday, October 21, 2019	Afro-Cuban Jazz Ensemble and UW Jazz Orchestra	7:30 PM	Play Circle
Tuesday, October 22, 2019	Concert Band	7:30 PM	Mead Witter Hall
Wed, October 23, 2019	Jazz Composers Group & Jazz Standards	7:30 PM	Collins Hall
Thu, October 24, 2019	Parry Karp with Eli Kalman, piano	7:30 PM	Collins Hall
Friday, October 25, 2019	Opening Celebration Weekend: Hamel Music Center. Please check our website for details.	All Day	740 University Avenue
Saturday, October 26, 2019	Opening Celebration Weekend: Hamel Music Center. Please check our website for details.	All Day	740 University Avenue
Sunday, October 27, 2019	Opening Celebration Weekend: Hamel Music Center. Featured Event: Collins Fellows Concert	1:00 PM	Collins Recital Hall, Hamel Music Center
Wed, October 30, 2019	Master Class with Violist Nobuko Imai	6:30 PM	Collins Hall
Thu, October 31, 2019	Violist Nobuko Imai with Pro Arte Quartet	12:00 PM	Collins Hall
Fri, November 1, 2019	Madrigal Singers	8:00 PM	Mead Witter Hall

Sat, November 2, 2019	Alicia Lee, faculty clarinet	8:00 PM	Collins Hall
Sun, November 3, 2019	Wind Ensemble	2:00 PM	Mead Witter Hall
Fri, November 8, 2019	Wingra Wind Quintet	8:00 PM	Collins Hall
Sat, November 9, 2019	UW Chorale	8:00 PM	Mead Witter Hall
Thu, November 14, 2019	UW-Madison Symphony Orchestra	7:30 PM	Mead Witter Hall
Fri, November 15, 2019	University Opera: Benjamin Britten’s A Midsummer Night’s Dream	7:30 PM	Music Hall
Sun, November 17, 2019	University Opera: Benjamin Britten’s A Midsummer Night’s Dream	2:00 PM	Music Hall
Tue, November 19, 2019	University Opera: Benjamin Britten’s A Midsummer Night’s Dream	7:30 PM	Music Hall
Sat, November 16, 2019	Low Brass Ensemble	4:00 PM	Collins Hall
Sat, November 16, 2019	Combined Choirs	8:00 PM	Mead Witter Hall
Sat, November 16, 2019	Timothy Hagen, faculty flute	8:00 PM	Collins Hall
Fri, November 22, 2019	UW Concert Choir	8:00 PM	Mead Witter Hall
Fri, November 22, 2019	Pro Arte Quartet	8:00 PM	Collins Hall
Fri, November 22, 2019	UW Jazz Orchestra	5:00-7:00 PM	Rathskeller
Saturday, Nov 23, 2019	Undergrad Audition Day	All day
Sat, November 23, 2019	World Percussion Ensemble	12:00 PM	Music Hall
Sat, November 23, 2019	Brass Ensembles	1:00 PM	??
Sun, November 24, 2019	UW Concert Band with Winds of Wisconsin	5:00 PM	Mead Witter Hall
Mon, November 25, 2019	Chamber Percussion Ensemble	7:30 PM	Mills Hall
Tue, November 26, 2019	Opera Scenes	7:30 PM	Music Hall
Mon, December 2, 2019	Piano Studio Recital	6:30 PM	Collins Hall
Tue, December 3, 2019	Jazz Composers & Contemporary Jazz Ensembles	7:30 PM	Collins Hall
Wed, December 4, 2019	Jazz Standards Ensemble & Afro-Cuban Jazz	7:30 PM	Collins Hall

Thu, December 5, 2019	UW-Madison Symphony Orchestra & UW Wind Ensemble	7:30 PM	Mead Witter Hall
Fri, December 6, 2019	Saxophonist Greg Ward with the Blue Note Ensemble and UW jazz faculty	8:00 PM	Collins Hall
Sat, December 7, 2019	UW & Madison Metropolitan Jazz Festival	Final Concert, 3:00 PM	Mead Witter Hall
Sat, December 7, 2019	Choral Union: Ralph Vaughan Williams’s “A Sea Symphony”	8:00 PM	Mead Witter Hall
Sun, December 8, 2019	University Bands	2:00 PM	Mead Witter Hall
Sun, December 8, 2019	Choral Concerts at Luther Memorial Church	2:00 PM	Luther Memorial Church
Sun, December 8, 2019	Choral Concerts at Luther Memorial Church	4:00 PM	Luther Memorial Church
Sun, December 8, 2019	All-University Strings	4:30 PM	Mead Witter Hall
BEGIN 2020
Sun, January 26, 2020	Annual Schubertiade	3:00 PM	Mead Witter Hall
Sat, February 1, 2020	Christopher Taylor and Friends — Beethoven Symphony Extravaganza	8:00 PM	Mead Witter Hall
Wed, February 5, 2020	Daniel Grabois, horn	7:30 PM	Collins Hall
Thu, February 6, 2020	UW Symphony Orchestra	7:30 PM	Mead Witter Hall
Sat, February 8, 2020	The Knights	8:00 PM	Mead Witter Hall
Sun, February 16, 2020	UW Wind Ensemble	2:00 PM	Mead Witter Hall
Monday, February 17, 2020	Chamber Percussion Ensemble	7:30 PM	Mills Hall
Tue, February 18, 2020	Concert Band	7:30 PM	Mead Witter Hall
Thu, February 20, 2020	Parry Karp, faculty recital	7:30 PM	Collins Hall
Fri, February 21, 2020	Marc Vallon & Friends	8:00 PM	Collins Hall

Sunday, Feb 23, 2020	Les Thimmig, faculty recital	2:00 PM	Collins Hall
Sat, April 18, 2020	Low Brass Ensemble	4:00 PM	Mead Witter Hall
Fri, February 28, 2020	Pro Arte Quartet	8:00 PM	Collins Hall

Sat, February 29, 2020	Wingra Wind Quintet	8:00 PM	Collins Hall
Fri, February 28, 2020,	University Opera – Mozart’s Così fan tutte	7:30 PM	Music Hall
Sun, March 1, 2020	University Opera – Mozart’s Così fan tutte	2:00 PM	Music Hall
Tue, March 3, 2020	University Opera – Mozart’s Così fan tutte	7:30 PM	Music Hall
Sun, March 1, 2020	Winds of Wisconsin	5:30 PM	Mead Witter Hall
Wed, March 4, 2020	Afro-Cuban Jazz Ensemble & Jazz Composers Group	7:30	Collins Hall
Thu, March 5, 2020	Blue Note Ensemble & Jazz Standards Ensemble	7:30 PM	Collins Hall
Sat, March 7, 2020	UW-Madison Symphony Orchestra with guest pianist Wu Han	8:00 PM	Mead Witter Hall
Sun, March 8, 2020	University Bands	2:00 PM	Mead Witter Hall
Tue, March 10, 2020	Percussion Department Recital	7:30 PM	Collins Hall
Weds March 11, 2020	UW Jazz Orchestra	7:30 PM	Play Circle
Wednesday, March 11, 2020	Wisconsin Brass Quintet – Faculty Concert Series	8:00 PM	Mead Witter Hall
Thu, March 12, 2020	UW Wind Ensemble	7:30 PM	Mead Witter Hall
Fri, March 27, 2020	Le Domaine Musicale with Marc Vallon and Friends	8:00 PM	Collins Hall
Sun, March 29, 2020	Concert Band	2:00 PM	Mead Witter Hall
Sun, April 5, 2020	Beethoven Competition Winners’ Recital	3:30 PM	Collins Hall
Sun, April 5, 2020	“Symphony Showcase” Concerto Winners’ Solo Concert	7:00 PM	Mead Witter Hall
Sat, April 11, 2020	Chorale	8:00 PM	Mead Witter Hall
Fri, April 12, 2019	Perlman Trio Chamber Concert	3:00 PM	Collins Hall
Tue, April 14, 2020	Opera Scenes	7:30 PM	Music Hall
Wed, April 15, 2020	Contested Homes: Migrant Liberation Movement Suite	7:30 PM	Mead Witter Hall
Thu, April 16, 2020	Pro Arte Quartet	7:30 PM	Collins Hall
Fri, April 17, 2020	Combined Choirs	8:00 PM	Mead Witter Hall
Sat, April 18, 2020	Low Brass Ensemble	4:00 PM	Mead Witter Hall
Sat, April 18, 2020	UW-Madison Choral Reunion concert featuring Concert Choir, Madrigals and alumni	8:00 PM	Mead Witter Hall

Mon, April 20, 2020	Afro-Cuban Jazz Ensemble & Blue Note Ensemble	7:30 PM	Collins Hall
Tue, April 21, 2020	Jazz Standards Ensemble & Jazz Composers Group	7:30 PM	Collins Hall
Wed, April 22, 2020	Chamber Percussion Ensemble	7:30 PM	Mills Hall
Thu, April 23, 2020	UW Jazz Orchestra with the UW Honors Jazz Band	7:30 PM	Music Hall
Fri, April 24, 2020	Concert Band and Wind Ensemble	7:30 PM	Mead Witter Hall
Sat, April 25, 2020	All-University Strings	2:00 PM	Mead Witter Hall
Sat, April 25, 2020	Choral Union: Giuseppe Verdi’s “Requiem”	8:00 PM	Mead Witter Hall
Sun, April 26, 2020	Choral Union: Giuseppe Verdi’s “Requiem”	7:30 PM	Mead Witter Hall
Sun, April 26, 2020	University Bands	2 PM	Mead Witter Hall

Posted in Classical music
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