By Jacob Stockinger
Conductor Carl St. Clair (below) returns for a third visit as guest conductor with the MSO to lead a pair of early 19th-century works with 112 musicians performing the largest of Richard Strauss’s symphonic tone poems. (MSO music director and conductor John DeMain is conducting a production of Puccini’s opera “Turandot” in Virginia.)
The program begins with the Egmont Overture by Ludwig van Beethoven, followed by the MSO’s premiere performance of the Trumpet Concerto by Johann Nepomuk Hummel, featuring Helseth. The concert ends with a nod to the awesome splendor of the Bavarian Alps, “An Alpine Symphony,” by Richard Strauss.
The concerts are this weekend on Friday at 7:30 p.m., Saturday at 8 p.m., and Sunday at 2:30 p.m. in Overture Hall, 201 State Street. See below for ticket information.
Beethoven (below top) composed his Egmont Overture in 1810. Both Beethoven himself, and playwright Johann Wolfgang von Goethe (below bottom) upheld the ideals of human dignity and freedom in their works.
Their personal relationship stemmed from Beethoven’s incidental music for a new production of Goethe’s play Egmont in 1810. This play about a nobleman’s betrayal by the Spanish monarchy, is beautifully paired with Beethoven’s music. As Goethe called it, Egmont Overture is a “Symphony of Victory.” (You can hear the dramatic “Egmont” Overture, performed by the Vienna Philharmonic under Leonard Bernstein, in the YouTube video at the bottom.)
Another friend of Beethoven’s, was Johann Nepomuk Hummel (below). Even though they were rivals, their respect for each other’s talent kept the relationship afloat.
Hummel’s Trumpet Concerto is a frisky fanfare with “playful dancelike” episodes laced throughout. This is the first time Hummel’s Trumpet Concerto will be performed by the Madison Symphony Orchestra.
Richard Strauss (below top) composed his Eine Alpensinfonie (“An Alpine Symphony”) from 1911-15. The final score used materials from some of his unfinished works, including an Artist’s Tragedy and The Alps.
Though there are many influences for this piece, the main is Strauss’s love for the Bavarian Alps. In his diary he wrote: “I shall call my alpine symphony: Der Antichrist, since it represents: moral purification through one’s own strength, liberation through work, worship of eternal, magnificent nature.” Antichrist is a reference to an essay by philosopher Friedrich Nietzsche (below bottom), and though the title was dropped for its publication, the work still carries many of Nietzsche’s ideals.
One hour before each performance, Michael Allsen (below, in a photo by Katrin Talbot), the author of MSO program notes and an MSO trombonist as well as a UW-Whitewater Professor of Music, will lead a 30-minute Prelude Discussion in Overture Hall to enhance concertgoers’ understanding and listening experience.
For more background on the music, please visit the Program Notes at: http://www.allsenmusic.com/NOTES/1617/6.Mar17.html.
Single Tickets are $16 to $87 each, available at madisonsymphony.org/helseth and through the Overture Center Box Office at 201 State Street or call the Box Office at (608) 258-4141.
Groups of 15 or more can save 25% by calling the MSO office at (608) 257-3734. For more information, visit madisonsymphony.org/groups.
Club 201, MSO’s organization for young professionals, has continued to fulfill its mission for the past 11 years as the premiere organization promoting classical music and networking opportunities to the young professionals’ community in Madison. Tickets are $35 each and include world-class seating in Overture Hall, an exclusive after-party to be held in the Promenade Lounge, one drink ticket and a cash bar.
The conductor as well as musicians from the symphony may also be in attendance to mingle with Madison’s young professionals during the after-party.
The deadline to purchase tickets is Thursday, March 9, pending availability. Tickets can be purchased for this event, as well as the other events throughout the 2016-17 season by visiting the Club 201 page on the MSO’s website at http://www.madisonsymphony.org/club201.
Student rush tickets can be purchased in person on the day of the concert at the Overture Center Box Office at 201 State Street. Students must show a valid student ID and can receive up to two $12 or $15 tickets. More information is at: madisonsymphony.org/studentrush. Students can receive 20% savings on seats in select areas of the hall on advance ticket purchases.
Seniors age 62 and up receive 20% savings on advance and day-of-concert ticket purchases in select areas of the hall.
Discounted seats are subject to availability, and discounts may not be combined.
Major funding for the March concerts is provided by: The Madison Concourse Hotel & Governor’s Club, An Anonymous Friend, and Madison Gas & Electric Foundation, Inc. Additional funding is provided by: Audrey Dybdahl, Family and Friends, in loving memory of Philip G. Dybdahl, John A. Johnson Foundation, a component fund of the Madison Community Foundation, Madison Veterinary Specialists, Gary and Lynn Mecklenburg, and the Wisconsin Arts Board with funds from the State of Wisconsin and the National Endowment for the Arts.
By Jacob Stockinger
Here is a special posting, a review written by frequent guest critic and writer for this blog, John W. Barker. Barker (below) is an emeritus professor of Medieval history at the University of Wisconsin-Madison. He also is a well-known classical music critic who writes for Isthmus and the American Record Guide, and who hosts an early music show once a month on Sunday morning on WORT FM 89.9 FM. For years, he served on the Board of Advisors for the Madison Early Music Festival and frequently gives pre-concert lectures in Madison.
By John W. Barker
The program opened with a rarely performed symphony, No. 30 in D Major, K. 202, by Wolfgang Amadeus Mozart. Mozart did not muster in this score anything like the ideas he delivered in his symphonies on either side of this one.
Still, it is an engaging piece, and maestro Sewell always shows great sympathy for the Austrian Classical-era composers of the late 18th century, so the performance was nicely molded.
The guest soloist this time was Croatian-born guitarist Ana Vidovic (below). She was originally scheduled to play the Second Guitar Concerto by Mario Castelnuovo-Tedesco, but for some reason she switched late on to the more substantial Concierto de Aranjuez by the 20th-century Spanish composer Joaquín Rodrigo.
Unfortunately, Vidovic followed other guitarists of today who feel they must fortify their performances with electronic amplification, so she brought her own rig with her. The result was a boomy, hollow sound, completely artificial, pitted in fake balance against the natural world of the orchestral writing that was rendered, by the way, with charm and delicacy.
The composer (below) was very careful about not allowing the orchestra to overwhelm the intimate guitar, and generations of guitar players have been able to perform this and parallel concertos without benefit of sonic hype.
Alas, the combination of technology with egotism! Vidovic is obviously a musician of genuine artistry, but she quite sabotaged her playing by use of this six-string howitzer. And the knobs were still on through an encore, a trivial Cavatina by one Stanley Meyer.
The evening was richly redeemed by the main work. Sewell has, in recent years, been working his way into the symphonies of the 19th century, late Romantic Austrian composer Anton Bruckner—a composer usually tackled by large orchestras. But he has brought off the first two numbered symphonies with aplomb, and now was the turn of the Third.
This is a work with a complex history of versions and revisions. Sewell bravely chose to use the 1874 revision of the original 1873 version, rather than the ill-fated revision of 1877 or the once-standard bowdlerization of 1889.
Sewell could command only 20 string players, but they proved quite sufficient, even with the occasional divisions of the violins. The reduced lushness resulting allowed inner parts to come through, and the rest of the orchestra played magnificently. Sewell understands Bruckner’s individual rhetoric, with its stop-and-start pacings and dramatic shifts between tremendous power and great delicacy.
Sewell (below) is indeed a born Bruckner conductor. The second movement in particular I have never heard played so eloquently. (You can hear the second movement of the 1874 edition in the YouTube video at the bottom.) I don’t know if Sewell plans to probe still further into Bruckner’s symphonies, but I am ready to follow him eagerly if he does.
Far from being put off by the often-maligned music of Bruckner, the very large audience gave the performance a justly deserved standing ovation. This was, I think, a genuine landmark in the WCO’s history.
By Jacob Stockinger
This Friday night at 7:30 p.m. in the Capitol Theater of the Overture Center, the Wisconsin Chamber Orchestra (below) opens the second half of its season with a promising concert that has both sunny lyricism and dark drama.
Tickets run $10 to $80. Here is a link to the Wisconsin Chamber Orchestra’s website with information about the concert, the soloist and how to get tickets:
As usual, WCO music director Andrew Sewell (below) has created a program that mixes music of different moods from different eras.
The guest artist is classical guitarist Ana Vidovic (below top), who performed with the WCO two years ago to critical and audience acclaim.
This time Vidovic will perform the popular “Concierto de Aranjuez” by the 20th-century Spanish composer Joaquin Rodrigo (below bottom), who took inspiration from Baroque music for this work. (You can hear the gorgeously tuneful slow movement in the YouTube video at the bottom.)
Jazz great trumpeter Miles Davis also used to play the slow movement from the Rodrigo concerto.
The concert will open with the Symphony No. 30 in D Major by Wolfgang Amadeus Mozart and will close with the Symphony No. 3 in D minor by the Austrian late Romantic composer Anton Bruckner (below), who is often coupled with Gustav Mahler.
For many listeners, the big draw is the Bruckner symphony since Bruckner does not get heard often here.
So The Ear thought it might be useful to read comments about Bruckner by the world-famous maestro Daniel Barenboim, who was the music director of the Chicago Symphony Orchestra for many years.
This week, Barenboim (below top conducting and below bottom in an informal portrait photo by Andrea Gjestvang for The New York Times) is leading the Staatskapelle Berlin in a complete cycle of Bruckner symphonies — coupled with Mozart piano concertos played and conducted by Barenboim himself from the keyboard — in Carnegie Hall in New York City. He also recently recorded all the Bruckner symphonies with the same orchestra. And just yesterday he got rave review from The New York Times for the first two Bruckner-Mozart concerts.
Here is a link to the interview and story in The New York Times:
By Jacob Stockinger
You may recall that several days ago, The Ear named the Willy Street Chamber Players (below) as Musicians of the Year for 2016.
He also mentioned that although there were not yet any YouTube videos of the group, which will have its third season this summer, the alternative radio station WORT-FM 89.9 has broadcast recordings of live performances.
Here is a link to that posting:
If you haven’t yet heard the Willy Street Chamber Players live, you can hear them this Thursday morning on WORT FM 89.9.
Here is what Rich Samuels, radio host and friend of the Willys, writes:
“Thursday morning, Jan. 5, at 7:28 a.m. on my WORT “Anything Goes” broadcast, I’ll be airing the Willy Street Chamber Players performing the Clarinet Quintet in A Major, K. 581, by Wolfgang Amadeus Mozart, which I recorded last July 29 at Madison’s Immanuel Lutheran Church.
(In the YouTube video at the bottom, you can hear the opening movement of Mozart’s beautiful Clarinet Quintet performed by the Emerson String Quartet with clarinetist David Shifrin of the Lincoln Center Chamber Music Players in New York City.)
“Michael Maccaferri is the clarinet soloist (below). He’s a member of the eighth blackbird ensemble of Chicago. He’s participated in four eighth blackbird Grammy-winning releases on the Cedille label, the local nonprofit recording label that is also in Chicago and that recently turned 25.
“Violinist Eleanor Bartsch (below), who presently freelances in Chicago, recruited Maccaferri for this event. In addition to Eleanor, this performance features Willy Street violinist Beth Larson, violist Rachel Hauser and cellist Lindsay Crabb.
“It was my privilege to record most of the first two seasons of the Willy Street Chamber Players for broadcast on WORT.
“Hopefully I’ll be able to continue that tradition in 2017.”
Here is a link about upcoming strong quartet concert on Jan. 21 and 22 and about the Willy Street Chamber Players in general:
By Jacob Stockinger
Recently The Ear stumbled upon a fascinating story, on a blog by Nathan Cole, about famous violin concertos.
It was NOT about the Top 10 Best Violin Concertos ranked in order.
It was NOT about the Top 10 Most Difficult Violin Concertos.
It was simply about the most difficult openings of violin concertos – about what happens when the violinist walks on stage and starts up along with the orchestra or before it or after it.
It uses the Olympics’ sports competitions as a model and awards degrees of difficulty along with explanations for the scoring.
(For a close to simultaneous start by orchestra and soloist, listen to American violinist Hillary Hahn, who played a recital last spring at the Wisconsin Union Theater, and conductor Paavo Jarvi in the opening of the popular Violin Concerto in E Minor by Felix Mendelssohn in the YouTube video at the bottom. It has over 8 million hits and it is very relevant to the story.)
The story reminds The Ear of famous literary critic Frank Kermode’s classic book “The Sense of an Ending” — only now it would be “The Sense of a Beginning,” a subject the late literary critic, cultural analyst and Palestinian activist Edward Said wrote about in his book “Beginnings: Intention and Method.”
The musical discussion features accessible and informative analysis by an accomplished violinist as well as terrific audio-visual clips of each concerto and the openings in question.
It’s a long piece – good for weekend reading, perhaps because it can be done in different segments at different times.
But even if you read only a part of it, it certainly imparts a sense of the challenges that a soloist faces. You vicariously experience the thrill and intimidation of walking out on stage and starting to play.
And it enhances your appreciation of some famous violin concertos and of what it takes to pull them off in live performance.
Like The Ear, you will come away with a new appreciation of the challenges that any concerto soloist – violinist, pianist, cellist, brass player, wind player, whatever — faces.
Here is a link:
The Ear also hopes the website violinist.com follows up with a listing or ranking of the most difficult ENDINGS of violin concertos and a discussion of what makes them so difficult.
In the meantime, The Ears asks:
Do violinists out there agree or disagree with the scoring and reasons?
Do they care to leave a comment one way or the other?
The Ear wants to hear.
By Jacob Stockinger
Here is a special posting, a review written by frequent guest critic and writer for this blog, John W. Barker. Barker (below) is an emeritus professor of Medieval history at the University of Wisconsin-Madison. He also is a well-known classical music critic who writes for Isthmus and the American Record Guide, and who for 12 years hosted an early music show every other Sunday morning on WORT FM 89.9 FM. He serves on the Board of Advisors for the Madison Early Music Festival and frequently gives pre-concert lectures in Madison. He also took the performance photos.
By John W. Barker
The mostly amateur Middleton Community Orchestra (below) finished its fifth season with a concert on Wednesday night that was a kind of brass sandwich—that is, a brass filling between two noisy slices of bread.
The opener was the popular “Carnival” Overture by Antonin Dvorak, the closest this composer ever came to producing a cheap crowd-pleaser.
(I wish that the enterprising conductor Steve Kurr (below), had chosen instead one of the other two overtures in Dvorak’s trilogy of “Nature, Life and Love,” which are much more substantial.)
The orchestra gave the overture a lusty performance, revealing some interesting wind details that one does not often hear.
There were two sandwich fillers.
The first was a concerto for tuba, dating from 2015. The composer, local musician and University of Wisconsin-Madison School of Music alumnus Pat Doty (below), was also the soloist.
Of its three movements, the first was clearly in the idiom of music for marching band, in which Doty has had long UW experience. The second movement was an attempt at a waltz, while the finale had Latin American odors and featured a prominent part for marimba. What to say? The program bio made the sensible point that Doty’s music “never takes itself too seriously.”
A more substantial score was the other filling, the Concerto for Horn and Orchestra, Op. 91, by Russian late-Romantic Reinhold Glière, also in three movements. (Sadly, the program booklet failed to list the movements for each concerto.)
While this score may not be really great music, it is a splendid, if difficult, vehicle for the soloist.
Another UW-Madison grad, Paul Litterio (below), a player in many area orchestras including both the Madison Symphony Orchestra and the Wisconsin Chamber Orchestra (and with a sideline in handbells), was the soloist. Playing with perfect technique, an elegant style and just a touch of teasing vibrato, Litterio gave a fascinating demonstration of his instrument in a solo capacity that we do not often hear.
The closing bread for the sandwich was another example of near-vulgar bombast by one of its masters: Tchaikovsky (below). If that was the kind of music to be written, he was the one to do it, and still make you admire him.
The Capriccio Italien, Op. 40, was the composer’s reaction to a visit to Rome. He evoked his neighborhood and, above all, the riotous sounds and songs of a Roman Carnival. (You can hear it in the YouTube video at the bottom.)
Tchaikovsky’s capacity for making bombast sound like fun creates a really delightful score, and the Middleton players poured all their energies into it.
(An interesting footnote: Tchaikovsky’s other musical product of his visits to Italy is a very different work, the gorgeous string sextet Souvenir de Florence (Memory of Florence), which is less about Italy itself and more a picture of the composer’s homesickness. As it happens, that masterpiece will be played on July 8 by the Willy Street Chamber Players.)
By Jacob Stockinger
The mostly amateur Middleton Community Orchestra (MCO, below), which has gotten better and better and rarely disappoints even in ambitious and difficult music, will wind up its fifth anniversary season this coming Wednesday night with a brass extravaganza.
The performance is at 7:30 p.m. in the modern, comfortable and spacious Middleton Performing Arts Center (below) that is attached to Middleton High School.
Tickets are $10; students get in for FREE.
Advance tickets are available at Willy Street Coop West. The Box office opens at 6:30 p.m. and the doors open at 7 p.m.
The program includes The “Capriccio Italienne” by Peter Tchaikovsky; the Carnival Overture by Antonin Dvorak; the Horn Concerto by Reinhold Glière with soloist Paul Litterio (below); and the world premiere of the Tuba Concerto by University of Wisconsin-Madison School of Music graduate Pat Doty, who will also be the soloist.
Steve Kurr (below) will conduct.
Here is a link with more information about the MCO and how to join it and support it:
Composer and tuba performer Pat Doty (below, in a photo by Steven Thompson) answered an email Q&A for The Ear:
Can you tell us briefly about your background, including your education and performance history?
I grew up in Mount Horeb, Wisconsin. I hold a master’s degree in tuba performance from the University of Wisconsin–Madison, where I was a member of the University of Wisconsin Marching Band for four years, including three trips to the Rose Bowl.
While at the UW-Madison, I performed with the Wind Ensemble (including a performance at Carnegie Hall in New York City), Concert Band, Tuba and Euphonium Ensemble, the Middleton Community Orchestra, Low Brass Ensemble, 4BA Tuba Quartet, Madrigal Singers and the Lumberjack Brass Quintet.
My solo tuba performance credits range from solo recitals to guest appearances at schools across southern Wisconsin.
When and how did you start composing? What works have you written in the past?
I first started writing music when I was in high school and I was very interested in singer/songwriters like Elton John and Billy Joel. During my time at Mount Horeb High School, I wrote more than 500 songs, most of which never made it past the grand piano in the living room.
When I started graduate school, the tuba studio at UW-Madison was treated to a guest performance by Øystein Baadsvik, who really inspired me to start writing for tuba. I was also heavily influenced by my undergraduate professor, John Stevens (below).
My catalogue now includes dozens of works for solo tuba, chamber ensembles and large ensembles. It probably comes as no surprise that I compose rather frequently for tuba quartet and brass quintet.
Additionally, I write a great deal of music for my wife Brigid, who holds a degree in vocal performance from UW-Madison, to sing with me accompanying her on the piano.(You can hear them in a YouTube video at the bottom in a song by Pat Doty.)
How would you describe your compositional style — tonal or atonal, accessible, melodic and so forth?
My music is tonal, accessible, melodic and so forth. I jest, but I really do strive to write music that is very fun, beautiful and accessible to a wide-ranging audience.
My major influences are not famous classical composers, but rather those musicians who I listened to when I was growing up.
For example, I draw a lot from pop music and classic rock. I know that might seem like an odd connection — pop music and the tuba — but I have always fallen back on my vocal training to instruct my tuba playing, and I see no reason why the same connection shouldn’t exist in my compositions.
To put it simply, I approach writing for solo tuba (with any sort of accompaniment) in quite the same way that I approach writing a song at the piano. I always have a poem, an idea, something in mind that inspires me. For example, my tuba duet “Mendota” is based on a poem that I wrote for a pop song, but it works beautifully for an instrumental piece.
What would you like the public to know about your new Tuba Concerto, which you will perform and premiere with the Middleton Community Orchestra?
First and foremost, my Tuba Concerto doesn’t take itself too seriously. That is a recurring theme in my music. I am very excited for the premiere with the Middleton Community Orchestra, which is sounding great by the way, and I really hope that people have as much fun and find as much joy in listening as I do playing this music.
A couple of interesting quirks to note are that there is a large, essential euphonium part in this piece, and that there is a marimba solo in the third movement. These are both things that, I think it is safe to say, are not particularly common in orchestral music.
I used a euphonium (below) and no tuba in the orchestra because I want this to be a piece that an orchestra could use to feature their own tubist if they so choose. Also, I am friends with quite a few euphonium players.
What else would you like to say?
First, I would like to say thank you to the Middleton Community Orchestra for premiering my Tuba Concerto. I am very much looking forward to the performance for many reasons, not the least of which is that this will be my first chance to present my compositions to a broad classical music audience.
I would also like to mention my new record label, Merp Entertainment, which I co-founded with my wife Brigid last year. Our debut CD “Dare to Entertain” has found national success, particularly on the internet streaming service Spotify, where it has amassed more than 3 million song streams to date.
ALERT: The Madison Symphony Orchestra (MSO) will offer a free hymn sing with Principal Organist Samuel Hutchison in Overture Hall, 201 State Street, in this Saturday, April 30, at 11 a.m. All ages are welcome to join in the singing with the Overture Concert Organ. No tickets or reservations are needed for the free Hymn Sing, which will last approximately 45 minutes.
By Jacob Stockinger
The Madison Symphony Orchestra and Chorus will close out the current season this weekend with three performances of Carl Orff’s popular 1937 secular or profane oratorio “Carmina Burana” and Ottorino Respighi’s “The Pines of Rome.”
Also participating are Boychoir members from Madison Youth Choirs, Michael Ross, Artistic Director; soprano Jeni Houser, who was acclaimed for her role in the Madison Opera’s recent production of “The Tales of Hoffmann”; tenor Thomas Leighton; and baritone Keith Phares.
The concerts are in Overture Hall, 201 State Street, on Friday at 7:30 p.m.; Saturday at 8 p.m.; and Sunday at 2:30 p.m.
For more information, visit:
Single tickets are $16 to $85 each, available on the MSO website; the Overture Center Box Office at 201 State Street or by calling the Box Office at (608) 258-4141.
Groups of 15 or more can save 25% by calling the MSO office at (608) 257-3734. For more information visit, www.madisonsymphony.org/groups
Student rush tickets can be purchased in person on the day of the concert at the Overture Box Office at 201 State Street. Students must show a valid student ID and can receive up to two $12 or $15 tickets. More information is at: www.madisonsymphony.org/studentrush. Students can receive 20% savings on seats in select areas of the hall on advance ticket purchases.
Seniors age 62 and up receive 20% savings on advance and day-of-concert ticket purchases in select areas of the hall.
Discounted seats are subject to availability, and discounts may not be combined.
Here is a link to program notes by Michael Allsen:
Here is a link to translations of the Latin texts:
This season also marks the 20th anniversary of assistant MSO conductor Beverly Taylor, who also directs choral activities at the University of Wisconsin-Madison School of Music.
The ever-busy Taylor agreed to an email Q&A with The Ear about her duties and the program:
You are the very busy director of choral activities at the UW-Madison. But this is your 20th anniversary directing the Madison Symphony Chorus and serving as assistant conductor of the MSO. Can you take us behind the scenes and tell us what your MSO duties are?
They are three-fold.
First, I’m a “cover” conductor, meaning I’m supposed to be prepared to take over for John DeMain on short notice in case he’s suddenly sick or injured. This hasn’t happened in 20 years, but I HAVE covered some rehearsals by schedule when he’s been out of town or we fear a delayed plane arrival.
Normally the cover conductor conducts the concert if the delay or injury occurs at the beginning of the concert. If it happens in the second half, orchestras often just end the concert—like calling a baseball game after the five official innings.
My second job is preparing the chorus to sing for John De Main. Our rehearsals are like any other chorus rehearsal at first. We focus on notes, intonation, rhythmic accuracy, pronunciation and diction, beautiful phrasing and appropriate tone and balance.
Then closer to the performance, I check with Maestro De Main (below, in a photo by Prasad) on any special markings or tempos he may want. During my early years he often came to our last chorus rehearsal, but we’ve worked together for so many years now that he trusts me to put his choices into the chorus’ training.
In the long term, my duties also include programming and conducting our non-orchestral concerts, auditioning new singers and ensuring that returning singers keep their abilities high.
My third job is challenging, interesting and fun. It’s to give Maestro Demain information from the audience’s point of view. That means balances between guest soloist and orchestra, balances and rhythmic acuity between sections of the orchestra, and any other notes or opinions that he might find useful.
His own hearing is acute, but anyone who conducts can tell you that the instruments right in front of you make so much noise, that you can’t always judge the relative balances of the orchestra as they project outwards.
Depending on how much time is available in the rehearsal, I make fast notes as the orchestra plays, and give him the notes after the Maestro has done most of his rehearsing. If we’re out of time, I give him the notes backstage and occasionally am asked to pass these notes on to the players involved – for example, a little more triangle, less cello and bass on measures 45-48, etc.)
How has the chorus changed over the past two decades?
I think the biggest way in which the chorus has changed is that it sight-reads better and is more acute with a cappella intonation. The main point in having good sight-readers is that it is a HUGE time saver in rehearsal and allows us to get deeper into musical decisions and development. Having said that, we do still take some people with fast ears and good voices who can prove they can keep up.
What do you think explains the immense popularity of “Carmina Burana” by Carl Orff (below)? How does it compare in popularity to other choral works, especially modern ones?
I think the work is easy to understand. The rhythms are clear, pulsing, repetitive and engaging, and the melodies are memorable and singable. In many ways, it has the appeal of musical comedies. The use of percussion instruments also is appealing and is familiar to people used to bands or popular music. (You can hear the mesmerizing opening in a YouTube video at the bottom.)
While perhaps not the most profound work, it is well crafted. And who hasn’t heard the opening tune in commercial after commercial?
The “modern” style today can’t be well defined because so many composers do so many things. I giggle a bit when audiences say they don’t like dissonance when five minutes in a movie theater with eyes closed will make the listener aware of FAR more dissonant music than in most modern concerts.
Many modern works can be understood at first hearing. Others yield more with a little study. It’s not really different from sports. You may have one person go to a baseball game for the weather, popcorn and home runs who will be disappointed if they miss those. Others will go noticing bad calls for strikes and balls, the stance of the batter, and will quote statistics from past games. They may have a richer experience because they know more, but it doesn’t mean people can’t go and get what they want out of it. Just go to concerts with open minds!
Are there special things you would like to point out to the public about “Carmina Burana” in general and about this performance in particular?
There are three basic sections to “Carmina,” with an introduction and ending. The opening is based mainly on the subject of Fortune (the introduction) and songs that come out of the monk’s life—some of them were obviously sent to the monastery without a vocation!
The second section is for tenors and basses only—“At the Tavern,” and it’s operatic in its depiction of the fun of mocking life at the monastery, concluding in the great drinking song sung by the men in the style of Gilbert and Sullivan — excuses to toast everyone of every shape and size, and listing who drinks, which is everyone!
The third section, known as the court of love, is beautiful and emotional as the women who know the off-duty monks think about love and if they should yield or not. We finish off with the monumental “O Fortuna” — if Frank Sinatra was singing it would be “sometimes you’re up, sometimes you’re down.”
There are techniques commonly and cheekily attributed to late Romantic works, especially Tchaikovsky: fast is good, loud is better, fast and loud is best. Orff follows this: his pacing builds steadily so that you are swept up in the excitement.
Is there anything else you would like to say?
This isn’t the only thing on the program. Most people will adore the gorgeous “Pines of Rome” by Ottorino Respighi (below), full of color, majesty and the sound of trumpets all through the hall!
Plus, I give the pre-concert lecture this weekend. It’s free for all ticket-holders and is held in the hall an hour before the performance, lasting for half an hour. This means on Friday, it’s 6:30-7 p.m.; Saturday 7-7:30 p.m.; and Sunday 1:30-2 p.m.
ALERT: Today — as of midnight plus one minute — the Madison Symphony Orchestra is announcing its new season for 2016-17. The eight-concert season features many returning soloists, 13 first-time performances for the MSO, two multi-media events and another Beyond the Score that was so popular when it premiered several years ago. Here is a link to check it out for yourself:
The Ear has received the following note:
THE OAKWOOD CHAMBER PLAYERS PRESENT: Children’s Games
Join the Oakwood Chamber Players (below) as they continue their concert season with the theme of playful whimsy in a concert entitled Children’s Games on Saturday, March 5, at 7 p.m. and Sunday, March 6, 1:30 p.m.
Tickets can be purchased with cash or personal checks at the door – $20 general admission, $15 seniors and $5 students. Visit www.oakwoodchamberplayers.com or call (608) 230-4316 for more information.
Children over 6 years of age will receive free admission to either performance.
The concerts will both be held at the Oakwood Center for Arts and Education, 6209 Mineral Point Road, on Madison’s far west side..
The concert title is drawn from the composition Jeux d’enfants or Children’s Games by French composer Georges Bizet (below). You can hear the original version played by sister Katia and Marielle Labeque in a YouTube video at the bottom.
Originally a 12-movement work written for two pianos, a representative suite has been arranged by the Oakwood Chamber Players for woodwind quintet. It includes the energetic march “Trompette et tambour”; the compelling melodic exchanges in “Petit mari, petite femme”; “La toupie” which depicts the frantic spinning of a top; the lulling berceuse of “La poupee”; and the exhilarating galop dance form in “Le bal.”
The title of this work is inspired by a poignant toast given by a character in the best-selling romantic novel The Bridges of Madison County by Robert Waller The work includes a prologue followed by eight brief variations based on historic compositional styles enlivened by 20th-century technique.
The woodwind quintet includes two guest artists: flutist Dawn Lawler (below top) and oboist Jennifer Morgan (below bottom).
The ensemble’s performance will also include the engaging, tongue-in-cheek composition “One, Two, Buckle My Shoe” by American composer Irving Fine (below) who sets up delightful dueling interplays between two woodwinds (oboe and clarinet) and two string instruments (violin and cello).
Overall, the program will provide a fascinating combination of compelling and entertaining compositions.
This is the fourth of five concerts in the Oakwood Chamber Players 2015-2016 “Play” season series titled Play. Summer Splash on May 14 and 15 will be final concerts of the season.
The Oakwood Chamber Players is a group of Madison-area professional musicians who have rehearsed and performed at Oakwood Village for over 30 years.
The Oakwood Chamber Players are a professional music ensemble proudly supported by Oakwood Lutheran Senior Ministries and the Oakwood Foundation.
By Jacob Stockinger
This week, the Wisconsin Chamber Orchestra will open the second half of its indoor season with a program that plays to its strong suits.
The concert takes place this Friday night at 8 p.m. in the Capitol Theater of the Overture Center, 211 State St,
The program feature works from the 18th, 19th and 20th centuries.
There will be the Overture to the opera “Cosi Fan Tutte” by Wolfgang Amadeus Mozart and the Symphony No. 6 in C Major by Franz Schubert.
In between will come two rarely heard piano concertos that feature the return of soloist Adam Nieman (pronounced KNEE-man), who several years ago made a fine recording of early Mozart piano concertos with the WCO and its music director and conductor Andrew Sewell, who possesses a mastery of the Classical-era style and has a special fondness for French music.
Neiman will perform the Piano Concerto No. 2 in F Major by Russian composer Dmitri Shostakovich and the Piano Concerto in C-sharp Minor by French composer Francis Poulenc.
Tickets are $15-$80 with $10 student rush tickets on the day of the concert. For tickets, call the Overture Center box office at (608) 258-4141.
For more information about the concert, including a lengthy biography of Adam Neiman, visit:
Adam Neiman recently did an email Q&A with The Ear:
Can you briefly bring the public up to date with highlights about you and your career since you last performed here in 2008 with the Wisconsin Chamber Orchestra and recorded the early Mozart concertos?
I have been very actively performing over the last several years, since my last appearance with the WCO in 2008. My touring schedule has encompassed roughly 100 concerts a year, and I have had the pleasure of presenting some epic solo recital tours throughout the United States.
Specifically I have been engaged in three monumental projects: the Complete Liszt Transcendental Études in 2011-2012; Beethoven’s Hammerklavier Sonata and Diabelli Variations in 2013-2014; and the complete Rachmaninoff Preludes and Études-tableaux in 2014-2015.
I have issued eight recordings since the Mozart piano concertos recording with the WCO, and three more solo records are on the way in 2017. In addition, I have founded a record label, Aeolian Classics, formed in 2014.
I have simultaneously kept an active teaching profile, and in 2015 I was awarded the position of Assistant Professor of Piano at the Chicago College of Performing Arts at Roosevelt University. As a full-time member of the faculty, I have since relocated to Chicago, so now I am a fellow Midwesterner!
Composition has always played a major part in my musical life, and since 2008 I have written a number of works for premieres, including my Concerto for Piano and String Orchestra, which can be viewed on my YouTube channel at:
You have chosen an unusual program. What would you like the public to know about the Piano Concerto No. 2 by Dmitri Shostakovich? What would you like the public to know about the Piano Concerto by Francis Poulenc? Why do you think both concertos are not programmed more often? Why do you perform them and what do you like about each one?
The Piano Concerto No. 2 by Dmitri Shostakovich (below) is one of my favorite works of all time, and when Andrew approached me about the possibility of performing it in conjunction with another concerto, I immediately suggested the Piano Concerto by Francis Poulenc.
Both works share certain core qualities, namely irony, humor, radiant beauty and spirited fun. These are works that do not disparage the concept of beauty, though they were both written during a post-war generation.
As such, rare moments of absolute Romanticism are intertwined with musical jokes, sardonic twists of phrase, and ridicule, rendering the messages of each piece complex and ironic. (You can hear Neiman perform the opening of the Piano Concerto No. 1 by Shostakovich in a YouTube video at the bottom.)
At one point, during the last movement of the Poulenc, he spontaneously quotes George Gershwin’s “Swanee” in a moment of jazz ease, in between sparkly, jaunty sections of impish humor. In a sense, you could describe both pieces as tonal expressions of longing for a bygone era from the perspective of a bleak machine age.
From a compositional perspective, both works are solidly grounded in classical form, and both are ingeniously orchestrated, making use of each instrument’s range and dynamic qualities to draw out a maximum of character possibilities.
The piano writing is virtuosic, powerful, and expressive, and the combination will take the audience by storm – I think the WCO audiences will walk away from this performance humming passages of the works, and they will be delighted by the wit and charm that wins out in the end.
As to why the Poulenc is rarely performed, I can offer no other possible explanation than the innate closed-mindedness of many people in the music world.
Poulenc (below) is a composer who deserves a place at the very center of the main repertory. Yet due to the prejudices of the ignorant critics of his day who preferred to elevate the splendors of Germanic music to an Olympian height above the “avant-garde” of Russia and France, he, among others, garnered an undeservedly poor following.
What would you like to say about performing in Madison with the Wisconsin Chamber Orchestra and Andrew Sewell, with whom you seem to share a deep musical affinity? Do you have plans to record something else with them?
Each performance I have played with the WCO stands out as a musical highlight for me. The orchestra is as fine as they come, and I am inspired by the love of music that seems to be the keystone of the ensemble.
Andrew Sewell (below) is not only a very fine conductor and exemplary musician, but I am lucky to count him as a close friend. We have a musical rapport that is powerful, with a long history, and it would be a privilege to keep performing and recording with him and the orchestra in the future.
There are no current plans in place to record together, but the experience of making the Mozart concertos CD in 2008 was so sweet, that I would be happy to do it again! Maybe a Shostakovich/Poulenc disc, hmmm?
What else would you like to say?
I feel truly honored to be a part of the 2016 performance season of WCO, and I cannot wait to say hello to all my Madison friends!
For more information about me, please visit my website at www.adamneiman.com