By Jacob Stockinger
The Wisconsin Baroque Ensemble — an acclaimed and veteran group specializing in early music performed on period instruments and with historically informed performance practices — will give a concert of baroque chamber music on this coming Sunday afternoon at 3 p.m.
The concert is in Saint Andrew’s Episcopal Church (below are exterior and interior views), 1833 Regent Street, on Madison’s near west side.
Members and performers in the Wisconsin Baroque Ensemble include: UW-Madison professor Mimmi Fulmer – soprano; Nathan Giglierano – baroque violin; Brett Lipshutz – traverse flute; Eric Miller – viola da gamba; Sigrun Paust – recorder; Consuelo Sañudo – mezzo-soprano; Monica Steger – traverse flute and harpsichord; Anton TenWolde – baroque cello; and Max Yount – harpsichord.
Tickets at the door are: $20 for the general public; $10 for students.
A FREE post-concert reception will be held at 2422 Kendall Ave, second floor.
The program features:
Giovanni Legrenzi – “Ave Regina Coelorum” (Hail, O Queen of Heaven)
Jacques Morel – Chaconne en trio, from “Livre de pieces de viola” or Book of Pieces for Viol)
Jean-Baptiste Lully – “Plaite de Vénus sur la mort d’Adonis” (Lament of Venus on the Death of Adonis)
Georg Friedrich Handel (below) – Sonata for violin and basso continuo, Opus 1, No. 3 (You can sample the lovely opening movement, played by Simon Standage on violin and The English Concert’s director Trevor Pinnock on harpsichord, in the YouTube video at the bottom.)
Georg Philipp Telemann (below) – “Hemmet den Eifer, verbannet die Rache” (Restrain Your Zeal, Banish Your Revenge)
Jacob Friedrich Kleinknecht – Sonata for traverso and basso continuo, Opus 1, No. 2
Giacomo Carissimi – “Rimante in pace ormai” (Remain in Peace Henceforth)
Georg Philipp Telemann – Quartetto in G major, TWV 43:G6
For more information about the Wisconsin Baroque Ensemble, go to: http://wisconsinbaroque.org
CORRECTION: In a recent post, The Ear used a wrong date and time for the Chopin and Debussy house concert by pianist Trevor Stephenson. The correct time is SATURDAY, FEB. 25, at 7 p.m. For more information, go to:
By Jacob Stockinger
The all-women chamber group Arbor Ensemble will perform a recital of all-French chamber music this weekend.
It will take place this SATURDAY (NOT Friday, as mistakenly reprinted form a faulty press release), Feb. 4, at 7:30 p.m. at the First Unitarian Society of Madison, 900 University Bay Drive, in Madison.
Admission is $10 general, and $5 for students and seniors.
The group will perform rarely heard chamber works by French composers, featuring Madison soprano Rachel Edie Warrick (below).
The program includes the Trio Sonata by Claude Debussy; Prelude, Recitative and Variations by Maurice Duruflé; “Où voulez-vous aller?” (Where do you want to go?) by Charles Gounod; “Une Flûte Invisible” (An Invisible Flute) by Camille Saint-Saëns; and Trio No. 2 in A minor by Cécile Chaminade (below).
You can hear the Chaminade Trio No. 2 in the YouTube video at the bottom.
Founding members of the Arbor Ensemble are flutist Berlinda Lopez (below top), violist Marie Pauls (below middle) and pianist Stacy Fehr-Regehr (below bottom).
The ensemble often performs programs by female composers.
For more information, go to Arbor Ensemble’s website at www.arborensemble.com.
By Jacob Stockinger
The fourth annual Schubertiade – a concert to mark the birthday of the Austrian early Romantic composer Franz Schubert (below top, 1797-1828) – is now a firmly established tradition at the University of Wisconsin-Madison School of Music (below bottom, in Mills Hall, which is rearranged for more intimate and informal on-stage seating.)
Over the past there years, the Schubertiade has become a popular and well-attended event. And with good reason.
Every time The Ear has gone, he has enjoyed himself immensely and even been moved by the towering and prolific accomplishments, by the heart-breaking beauty of this empathetic and congenial man who pioneered “Lieder,” or the art song, and mastered so many instrumental genres before g his early death at 31.
But there are some important changes this year that you should note.
One is that the time has been shifted from the night to the afternoon – specifically, this Sunday afternoon at 3 p.m. in Mills Hall.
Admission is $15 for adults, $5 for students. (Below is this year’s poster, mistaking this year’s event of the third, with a painting by Gustav Klimt of Schubert playing piano at a salon musicale.)
After the concert, there is another innovation: a FREE reception, with a cash bar, at the nearby University Club. There you can meet the performers as well as other audience members.
The program, organized by pianist-singers wife-and-husband Martha Fischer and Bill Lutes (below), will last a little over two hours.
Usually there is a unifying theme. Last year, it was nature.
This year, it is friends Schubert knew and events that happened to him. It is called “Circle of Friends” and is in keeping with the original Schubertiades, which were informal gatherings (depicted below, with Schubert at the keyboard) at a home where Schubert and his friends premiered his music.
Performers include current students, UW-Madison alumni and faculty members. In addition, soprano Emily Birsan, who is a graduate of the UW-Madison and a rising opera star, will participate.
For more about the event, the performers and how to purchase tickets, go to:
Here is a complete list of performers and the program with the initials of the perfomer who will sing the pieces:
Emily Birsan (EB), Rebecca Buechel (RB), Mimmi Fulmer (MFulmer), Jessica Kasinski (JK), Anna Polum (AP), Wesley Dunnagan (WD,) Daniel O’Dea (DO), Paul Rowe (PF), Benjamin Schultz (BS), singers. Bill Lutes (BL) and Martha Fischer (MF), pianists.
Trost im Liede (Consolation in Song ), D. 546 (MF, BL)
Franz von Schober (1796-1882)
Der Tanz (The Dance), D. 826 (AP, RB, WD, PR, MF)
Kolumban Schnitzer von Meerau (?)
Der Jüngling und der Tod (The Youth and Death), D. 545 (PR, BL)
Josef von Spaun (1788-1865)
4 Canzonen, D. 688 (EB, BL)
No. 3, Da quel sembiante appresi (From that face I learnt to sigh)
No. 4, Mio ben ricordati (Remember, beloved)
Pietro Metastasio (1698-1782)
From the Theresa Grob Album (November, 1816)
Edone, D. 445 (WD, MF)
Friedrich Gottlieb Klopstock (1724-1803)
Pflügerlied (Ploughman’s Song), D. 392 (BS, MF)
Johann Gaudenz von Salis-Seewis (1762-1834)
Am Grabe Anselmos (At Anselmo’s Grave), D. 504A (JK, MF)
Matthias Claudius (1740-1815)
Mailied (May Song), D. 503 (DO, BL)
Ludwig Hölty (1748-1776)
Marche Militaire No. 1, D. 733 (MF, BL)
Viola (Violet), D. 786 (EB, BL)
Ständchen (Serenade), D. 920A (RB, DO, WD, PR, PR, MF)
Franz Grillparzer (1791-1872)
Epistel ‘An Herrn Josef von Spaun (Letter to Mr. Joseph von Spahn), Assessor in Linz, D. 749 (EB, MF) Matthäus von Collin (1779-1824)
Geheimnis (A Secret), D. 491 (EB, MF)
Johann Mayrhofer (1787-1836)
Des Sängers Habe (The Minstrel’s Treasure), D. 832 (PR, MF)
Franz Xavier von Schlechta (1796-1875)
An Sylvia, D. 891 (MF, BL)
Shakespeare, trans. Eduard von Bauernfeld (1802-1890)
Nachtstück (Nocturne), D. 672 (DO, BL)
Das Lied in Grünen (The Song in the Greenwood), D. 917 (MFulmer, BL)
Johann Anton Friedrich Reil (1773-1843)
8 Variations sur un Thème Original, D. 813 (MF, BL)
Cantate zum Geburtstag des Sängers Johann Michael Vogl, D. 666 (AP, DO, PR, BL) Albert Stadler (1794-1888)
Ellens Gesang No. 3, Ave Maria, D. 839 (EB, MF)
Sir Walter Scott (1771-1832), from The Lady of the Lake, trans. Adam Storck (1780-1822)
An die Musik, D. 547 (You can hear it performed by the legendary soprano Elisabeth Schwarzkopf and pianist Gerald Moore in the YouTube video at bottom)
Everyone is invited to sing along. You can find the words in your texts and translations.
Here is a link to a story in The Wisconsin State Journal with more background:
And if you want to get the flavor of the past Schubertiades, here are two reviews from past years:
By Jacob Stockinger
Baseball season is done.
Football season is almost over.
Basketball season is here.
It is also a good story about good luck to run today, on Friday the 13th, a date that is traditionally synonymous with bad luck.
The story concerns J’Nai Bridges (below) who started out wanting to be a professional basketball player.
That dream fell apart dramatically and suddenly — though she doesn’t reveal if it was an injury or some other cause.
But then good luck unexpectedly stepped in.
During her senior year in high school, she signed up for choir as an elective and her teacher immediately recognized her gift.
She started late, but she had the right attitude to stay open to new discoveries and new possibilities.
And now she has gone on to a career in opera and is a rising star singing major roles in major opera houses around the world.
The Ear thinks that Bridges’ words reflect wisdom that others should share in.
For one, her moving story also highlights the importance of a liberal arts education, where you can try out many different subjects you have no idea about and see what you like and how you do. That gives students a chance to explore their untapped interests and potential.
It also runs contrary to some of the current politicians who want to reform secondary and higher education into a kind of trade school or vocational training ground for work and careers.
It also is a fine summary of the role that music plays both for the performer and for the audience.
Here is a link to the moving and informative story:
By Jacob Stockinger
Of course it has something to do with a quirk of packaging and marketing – specifically a 200-CD set of the complete works by Mozart that is selling well at holiday time.
The Ear doesn’t think it means much in the way of reversing the decline in attendance at live classical concerts or the need to find bigger and younger audiences for the classics.
To be sure, the Grammys will still devote more air time and publicity to Beyoncé, Adele and Drake.
And The Ear is betting the same thing won’t happen again next year. Or the year after that. Or maybe ever.
But it still feels good, even if only temporarily.
And the phenomenon does say something about where the recording industry is heading.
To find out more here is a good summary story, which you can listen to or read, that appeared on National Public Radio (NPR)
What is your favorite Mozart work?
An opera? A work of chamber music? A sonata for solo piano or for piano and violin? A string quartet or quintet?
Leave word and, if you can, a link to your favorite recording of it.
The Ear wants to hear.
By Jacob Stockinger
This posting is both a news story and a holiday gift guide of classical recordings you might like to give or get.
It features the classical music nominations for the 59th annual Grammy Awards that were just announced this past week.
As you can see, several years ago, the recording industry decided that the Grammys should put more emphasis on new music and contemporary composers as well as on less famous performers and smaller labels as well as less well-known artists and works. You don’t see any music by Bach, Beethoven or Brahms this year, although you will find music by Mozart, Handel, Schumann and Dvorak. And clearly this is not a Mahler year
The winners will be announced on a live TV broadcast on Sunday night, Feb. 12, on CBS.
“Corigliano: The Ghosts of Versailles” — Mark Donahue & Fred Vogler, engineers (James Conlon, Guanqun Yu, Joshua Guerrero, Patricia Racette, Christopher Maltman, Lucy Schaufer, Lucas Meachem, LA Opera Chorus & Orchestra)
“Dutilleux: Sur Le Même Accord; Les Citations; Mystère De L’Instant & Timbres, Espace, Mouvement” — Alexander Lipay & Dmitriy Lipay, engineers (Ludovic Morlot, Augustin Hadelich & Seattle Symphony)
“Reflections” — Morten Lindberg, engineer (Øyvind Gimse, Geir Inge Lotsberg & Trondheimsolistene)
“Shadow of Sirius” — Silas Brown & David Frost, engineers; Silas Brown, mastering engineer (Jerry F. Junkin & the University Of Texas Wind Ensemble)
“Shostakovich: Under Stalin’s Shadow: Symphonies Nos. 5, 8 & 9” — Shawn Murphy & Nick Squire, engineers; Tim Martyn, mastering engineer (Andris Nelsons & Boston Symphony Orchestra)
PRODUCER OF THE YEAR, CLASSICAL
Marina A. Ledin, Victor Ledin
Judith Sherman (pictured below with the Grammy Award she won last year. She came to Madison to record the double set of new commissions for the centennial of the University of Wisconsin-Madison’s Pro Arte Quartet)
Robina G. Young
BEST ORCHESTRAL PERFORMANCE
“Bates: Works for Orchestra” — Michael Tilson Thomas, conductor (San Francisco Symphony). You can hear excerpts in the YouTube video at the bottom.
“Ibert: Orchestral Works” — Neeme Järvi, conductor (Orchestre De La Suisse Romande)
“Prokofiev: Symphony No. 5 In B-Flat Major, Op. 100” — Mariss Jansons, conductor (Royal Concertgebouw Orchestra)
“Rouse: Odna Zhizn; Symphonies 3 & 4; Prospero’s Rooms” — Alan Gilbert, conductor (New York Philharmonic)
“Shostakovich: Under Stalin’s Shadow – Symphonies Nos. 5, 8 & 9” (below) — Andris Nelsons, conductor (Boston Symphony Orchestra)
BEST OPERA RECORDING
“Corigliano: The Ghosts of Versailles” (below) — James Conlon, conductor; Joshua Guerrero, Christopher Maltman, Lucas Meachem, Patricia Racette, Lucy Schaufer & Guanqun Yu; Blanton Alspaugh, producer (LA Opera Orchestra; LA Opera Chorus)
“Handel: Giulio Cesare” — Giovanni Antonini, conductor; Cecilia Bartoli, Philippe Jaroussky, Andreas Scholl & Anne-Sofie von Otter; Samuel Theis, producer (Il Giardino Armonico)
“Higdon: Cold Mountain” — Miguel Harth-Bedoya, conductor; Emily Fons, Nathan Gunn, Isabel Leonard & Jay Hunter Morris; Elizabeth Ostrow, producer (The Santa Fe Opera Orchestra; Santa Fe Opera Apprentice Program for Singers)
“Mozart: Le Nozze Di Figaro” — Yannick Nézet-Séguin, conductor; Thomas Hampson, Christiane Karg, Luca Pisaroni & Sonya Yoncheva; Daniel Zalay, producer (Chamber Orchestra of Europe; Vocalensemble Rastatt)
BEST CHORAL PERFORMANCE
“Himmelrand” — Elisabeth Holte, conductor (Marianne Reidarsdatter Eriksen, Ragnfrid Lie & Matilda Sterby; Inger-Lise Ulsrud; Uranienborg Vokalensemble)
“Janáček: Glagolitic Mass” — Edward Gardner, conductor; Håkon Matti Skrede, chorus master (Susan Bickley, Gábor Bretz, Sara Jakubiak & Stuart Skelton; Thomas Trotter; Bergen Philharmonic Orchestra; Bergen Cathedral Choir, Bergen Philharmonic Choir, Choir of Collegium Musicum & Edvard Grieg Kor)
“Lloyd: Bonhoeffer” — Donald Nally, conductor (Malavika Godbole, John Grecia, Rebecca Harris & Thomas Mesa; the Crossing; below)
“Penderecki Conducts Penderecki, Volume 1” — Krzysztof Penderecki, conductor; Henryk Wojnarowski, choir director (Nikolay Didenko, Agnieszka Rehlis & Johanna Rusanen; Warsaw Philharmonic Orchestra; Warsaw Philharmonic Choir)
“Steinberg: Passion Week” — Steven Fox, conductor (The Clarion Choir)
BEST CHAMBER MUSIC/SMALL ENSEMBLE PERFORMANCE
“Fitelberg: Chamber Works” — ARC Ensemble
“Reflections” — Øyvind Gimse, Geir Inge Lotsberg & Trondheimsolistene
“Serious Business” — Spektral Quartet
“Steve Reich” — Third Coast Percussion (below)
“Trios From Our Homelands” — Lincoln Trio
BEST CLASSICAL INSTRUMENTAL SOLO
“Adams, J.: Scheherazade.2” — Leila Josefowicz; David Robertson, conductor (Chester Englander; St. Louis Symphony)
“Daugherty: Tales of Hemingway” — Zuill Bailey; Giancarlo Guerrero, conductor (Nashville Symphony)
“Dvořák: Violin Concerto & Romance; Suk: Fantasy” — Christian Tetzlaff; John Storgårds, conductor (Helsinki Philharmonic Orchestra)
“Mozart: Keyboard Music, Vols. 8 & 9” – Kristian Bezuidenhout
“1930’s Violin Concertos, Vol. 2” – Gil Shaham; Stéphane Denève, conductor (The Knights & Stuttgart Radio Symphony Orchestra)
BEST CLASSICAL SOLO VOCAL ALBUM
“Monteverdi” — Magdalena Kožená; Andrea Marcon, conductor (David Feldman, Michael Feyfar, Jakob Pilgram & Luca Tittoto; La Cetra Barockorchester Basel)
“Mozart: The Weber Sisters” — Sabine Devieilhe; Raphaël Pichon, conductor (Pygmalion)
“Schumann & Berg” — Dorothea Röschmann; Mitsuko Uchida, accompanist
“Shakespeare Songs” — Ian Bostridge; Antonio Pappano, accompanist (Michael Collins, Elizabeth Kenny, Lawrence Power & Adam Walker)
“Verismo” — Anna Netrebko; Antonio Pappano, conductor (Yusif Eyvazov; Coro Dell’Accademia Nazionale Di Santa Cecilia; Orchestra Dell’Accademia Nazionale Di Santa Cecilia)
BEST CLASSICAL COMPENDIUM
“Daugherty: Tales of Hemingway; American Gothic; Once Upon A Castle” — Giancarlo Guerrero, conductor; Tim Handley, producer
“Gesualdo” — Tõnu Kaljuste, conductor; Manfred Eicher, producer
“Vaughan Williams: Discoveries” — Martyn Brabbins, conductor; Andrew Walton, producer
“Wolfgang: Passing Through” — Judith Farmer & Gernot Wolfgang, producers; (Various Artists)
“Zappa: 200 Motels – The Suites” — Esa-Pekka Salonen, conductor; Frank Filipetti & Gail Zappa, producers
BEST CONTEMPORARY CLASSICAL COMPOSITION
“Bates: Anthology of Fantastic Zoology” — Mason Bates, composer (Riccardo Muti & Chicago Symphony Orchestra)
“Daugherty: Tales of Hemingway” — Michael Daugherty, composer (Zuill Bailey, Giancarlo Guerrero & Nashville Symphony)
“Higdon: Cold Mountain” — Jennifer Higdon, composer; Gene Scheer, librettist (Miguel Harth-Bedoya, Jay Hunter Morris, Emily Fons, Isabel Leonard, Nathan Gunn & the Santa Fe Opera)
“Theofanidis: Bassoon Concerto” — Christopher Theofanidis, composer (Martin Kuuskmann, Barry Jekowsky & Northwest Sinfonia)
“Winger: Conversations With Nijinsky” — C. F. Kip Winger, composer (Martin West & San Francisco Ballet Orchestra)
ALERT: This week’s FREE Friday Noon Musicale at the First Unitarian Society of Madison, 900 University Bay Drive, features Shannon Farley, viola, with Chris Allen, guitar; Leah King and Jason Kutz, piano; Elspeth Stalter Clouse and Ela Mowinski, violin; Leslie Damaso, mezzo-soprano; and Morgan Walsh, cello. They will perform the Piano Quintet in A Major, Op. 81, by Antonin Dvorak; Three Songs for Mezzo-soprano, viola and piano by Frank Bridge; “Beau Soir” (Beautiful Evening) for guitar and viola by Claude Debussy; and a Romance for violin by Amy Beach as arranged for viola and piano. The concert runs from 12:15 to 1 p.m.
By Jacob Stockinger
Can the past help us understand and weather the present time with its conflicts and chaos?
In fact her latest album, for the Erato-Warner label, of arias from Baroque operas from the 17th and 18th centuries is dedicated to that proposition. The album’s title is “In War and Peace: Harmony Through Music” (below).
It includes arias from opera by George Frideric Handel (one of which you can hear in the YouTube video at the bottom), Henry Purcell, Niccolo Jommelli, Leonardo Leo and Claudio Monteverdi, and it features two world premiere recordings as well as familiar works.
She boils much of her viewpoint down to one question: In the widest of chaos, how can you find peace?
Sure seems timely, given foreign wars and domestic political strife.
Here is a link with the interview and some fetching music:
Listen to it.
See what you think.
Then let the rest of us know what you think, and whether you agree or disagree, and whether you have other works that come to mind.
The Ear wants to hear.
By Jacob Stockinger
The Oakwood Chamber Players (below) will perform a concert titled Looking Back and Forward on Sunday, Nov. 27, 2016 at 1 p.m. and 3:30 p.m.
The performances will both be held at the Oakwood Village University Woods Center for Arts and Education, 6209 Mineral Point Road, on the far west side of Madison near West Towne Mall.
An innovative recipe for A Christmas Carol is a perfect addition to the Thanksgiving holiday weekend.
Outstanding musical theater actor/singer baritone Bobby Goderich (below, seen on the right in Madison Opera‘s production of Stephen Sondheim‘s “Sweeney Todd”) will give a tour-de-force characterization of the entire cast of personalities for a rendition of Dickens’s tale in The Passion of Scrooge. A dozen musicians will give Goderich’s flair an abundant platform to show off his singing, humor, and dramatic effects.
The Passion of Scrooge by New York composer Jon Deak (below) is performed annually for holiday concerts at the Smithsonian, and the Oakwood Chamber Players are delighted to present the Wisconsin premiere of this memorable work.
Deak is known for weaving a variety of tales into “concert dramas,” turning words into music and giving instrumentalists the power to evoke speech through their sounds.
The Passion of Scrooge is laid out in two acts as the character struggles to come to grips with the past, present and future, to transform a life of avarice to one of human warmth.
Additionally, the Oakwood Chamber Players will perform music mentioned in the text of Charles Dickens’s A Christmas Carol.
When the Ghost of Christmas Past shows Scrooge a celebration hosted by his employer, Mr. Fezziwig, the fiddler plays the tune Sir Roger de Coverley. (You can hear a chamber orchestra version of the work, played by the Academy of St. Martin in the Fields under Sir Neville Marriner, in the YouTube video at the bottom.)
This traditional English country dance, set for string quartet by British composer Frank Bridge (below) in 1922, will provide an energetic introduction to The Passion of Scrooge. The musical pairing illustrates how creative expression can transform historic works to give fresh perspectives.
The Oakwood Chamber Players welcome guests Wes Luke, violin; Katrin Talbot, viola; Brad Townsend, bass; Mike Koszewski, percussion; Mary Ann Harr, harp; Bobby Goderich, baritone; and Kyle Knox, conductor (below).
This is the second of five concerts in the Oakwood Chamber Players 2016-2017 season series entitled Perspective. Remaining concerts will take place on Jan. 21 and 22, March 18 and 19, and May 13 and 14.
The Oakwood Chamber Players are a group of Madison-area professional musicians who have rehearsed and performed at Oakwood Village for over 30 years.
The program lasts about 1 hour and 15 minutes.
Tickets can be purchased with cash or personal checks at the door: $20 for general admission, $15 for seniors and $5 for students.
Also, conductor Kyle Knox will discuss the music on Norman Gilliland’s show, The Midday, on Wisconsin Public Radio, 88.7 FM WERN, on this Friday, Nov. 25, from noon to 1 p.m.
Visit www.oakwoodchamberplayers.com for more information.
The Oakwood Chamber Players are a professional music ensemble proudly supported by Oakwood Lutheran Senior Ministries and the Oakwood Foundation.
By Jacob Stockinger
Grace Presents, now entering its seventh year offering FREE public concerts at Grace Episcopal Church (below), located at 116 West Washington Avenue on the Capitol Square, will host resident organist Mark Brampton Smith with violinist Maureen McCarty on this Saturday, Nov. 19.
The concert begins at noon and ends at 1 p.m. Audience members are invited to bring their lunch.
The program — an asterisk indicates that both the violin and organ will play — includes:
Psalm 19: “The Heavens Declare the Glory of God” by Benedetto Marcello (1686-1739)
Partita on “Werde munter, mein Gemüte” (Sing not yet, my soul, to slumber) by Johann Pachelbel (1653-1706)
*”Ornament of Grace” by Bernard Wayne Sanders (b. 1957)
Variations on ‘Cwm Rhondda’ by Mark Brampton Smith (b. 1954) Introduction – Allegro – Duo – Reflection – Finale
*Meditation from “Thaïs” by Jules Massenet (1842-1912)
Concerto in a minor, after Vivaldi (BWV 593) – Johann Sebastian Bach Allegro
Toccata and Fugue in d minor (BWV 565) – Johann Sebastian Bach
The final concert of 2016 will feature the widely renowned Russian Folk Orchestra on Dec. 10.
Mark Brampton Smith Biography:
Mark Brampton Smith (below) serves as the current organist at Grace Episcopal Church. Mark began his church music career as a boy soprano at St. Paul’s Parish on K Street in Washington, D.C., eventually serving on the music staff of churches in seven states. He holds degrees in organ performance from the Eastman School of Music and the University of Michigan.
As an organist, Mark won prizes in the Fort Wayne, Ann Arbor, and American Guild of Organists National Competitions, and he’s performed solo recitals at venues such as Overture Hall. As a collaborative pianist, Mark has worked with numerous singers, instrumentalists, and ensembles, including the Ann Arbor Cantata Singers, University of Michigan choirs, Colgate University Chorus, and currently the Wisconsin Chamber Choir.
Maureen McCarty Biography:
Maureen McCarty (below) began the violin in the Madison public schools, and played in the Wisconsin Youth Symphony Orchestras for many years. She received a BA in violin performance from the University of Wisconsin-Madison.
While working on her degree, she performed as a musician with American Players Theatre for five seasons. She has extensive orchestral experience playing in such local ensembles as the Madison Symphony Orchestra and Wisconsin Chamber Orchestra, as well as various orchestras in five Midwestern states, the Barcelona City Orchestra and the Orquesta Filarmónica de Gran Canaria in Spain.
Maureen returned to UW-Madison for a teaching certificate in music education in 1999, and taught strings and general music for students in grades 3-12 in Monona Grove during her fifteen years in the district. Recently retired from public school teaching, she now teaches privately, performs with the Camerata String Quartet, tutors Spanish, and takes photographs for her local newspaper. Formative violin teachers include Eva Szekely, Sharan Leventhal, Thomas Moore and Vartan Manoogian.
For more information, visit www.GracePresents.org