The Well-Tempered Ear

Classical music: Pianist Stephen Hough returns to solo with the Madison Symphony Orchestra this weekend in a program of “firsts” that includes music by Barber and Saint-Saens as well as Tchaikovsky’s famous “Pathétique” Symphony

February 13, 2017
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By Jacob Stockinger

This coming weekend, the Madison Symphony Orchestra (below) offers one of the best must-hear programs of the season – or so thinks The Ear.

MSO-HALL

Pianist Stephen Hough (below, in a photo by Sim Canetty-Clarke) returns for his fourth appearance with the Madison Symphony Orchestra (MSO), led by music director and conductor John DeMain.

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The concert will open with Samuel Barber’s Second Essay, a dramatic piece written in the midst of World War II, followed by a performance of the exotic Saint-Saëns Piano Concerto No. 5 (“Egyptian”) featuring soloist Stephen Hough, who won major awards for his recordings of the complete works for piano and orchestra by Saint-Saëns. The concert will close with a performance of Tchaikovsky’s emotional Symphony No. 6 (“Pathétique”).

The concerts are Friday, Feb. 17, at 7:30 p.m.; Saturday, Feb. 18, at 8 p.m.; and Sunday, Feb. 19, at 2:30 p.m. in Overture Hall of the Overture Center, 201 State Street. (Ticket information is below.)

Samuel Barber (below) was one of the new generation of mid-20th century American composers with contemporaries Howard Hanson, Aaron Copland, David Diamond and, later, Leonard Bernstein.

His Second Essay was written in 1942, in the middle of the Second World War. Barber once wrote: “Although it has no program, one perhaps hears that it was written in a war-time.” This will be the first time this piece is performed by the Madison Symphony Orchestra.

barber 1

The Piano Concerto No. 5 (“Egyptian”) by Camille Saint-Saëns (below) was composed while he was on a winter vacation in the Egyptian temple city of Luxor, in 1895-96. The location of this piece is important because it helped give the piece its nickname, and also influenced the sound of the score. This will be the first time this piece is performed by the Madison Symphony Orchestra.

camille saint-saens younger

Peter Ilyich Tchaikovsky (below) wrote his final piece between February and August 1893. The Symphony No. 6 (Pathétique) was then performed in Oct. 1893 and was conducted by Tchaikovsky himself. Nine days later he was dead.

Tchaikovsky’s late symphonies are autobiographical, and the sixth being “the best, and certainly the most open-hearted,” according to Tchaikovsky himself. Seeing that he was a troubled man, dealing with a dark depression, Symphony No. 6 (Pathétique) is filled with poignancy and deep sorrow, as you can hear in the finale in the YouTube video at the bottom.

Tchaikovsky 1

One hour before each performance, Randal Swiggum (below), artistic director of the Elgin Youth Symphony Orchestra Artistic Director and the newly appointed Interim Music Director of the Wisconsin Youth Symphony Orchestras, will lead a 30-minute Prelude Discussion in Overture Hall to enhance concertgoers’ understanding and listening experience.

Randall Swiggum

For more background on the music, read the program notes by MSO trombonist and UW-Whitewater professor Michael Allsen (below, in a photo by Katrin Talbot) at: http://www.allsenmusic.com/NOTES/1617/5.Feb17.html

J. Michael Allsen Katrin Talbot

Single Tickets are $16 to $87 each, and are available at madisonsymphony.org/hough and through 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, madisonsymphony.org/groups

Student rush tickets can be purchased in person on the day of the concert at the Overture Center Box Office at 201 State Street. Students must show a valid student ID and can receive up to two $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.

Find more information at madisonsymphony.org

John DeMain and MSO from the stage Greg Anderson

Major funding for the February concerts is provided by: Irving and Dorothy Levy Family Foundation, Inc., Stephen Morton, and BMO Wealth Management. Additional funding is provided by: Boardman & Clark LLP, Forte Research Systems & Nimblify, James and Joan Johnston, and the Wisconsin Arts Board with funds from the State of Wisconsin and the National Endowment for the Arts.


Classical music: Pianist Gabriela Montero plays music by Schubert and Schumann and then does her own spontaneous improvisations this Saturday night at the Wisconsin Union Theater

February 8, 2017
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By Jacob Stockinger

Pianist Gabriela Montero (below, in a photo by Shelley Mosman) will perform in Shannon Hall at the Wisconsin Union Theater on this Saturday night, Feb. 11, at 8 p.m. Montero last performed in Madison with the Madison Symphony Orchestra and wowed the house at the Overture Center.

On this Friday, from 4:30 to 6 p.m. in Mills Hall, Montero will also hold a master class, FREE and OPEN TO THE PUBLIC, at the University of Wisconsin-Madison School of Music.

gabriela-montero-2017-shelley-mosman

Here are ticket prices for her recital: UW-Madison students are $10; Union members and non-UW students are $42, $38 and $25; UW-Madison faculty and staff are $44, $40 and $25; the general public is $46, $42 and $25; and young people 18 and under are $20.

Tickets can be bought online; by phone at 608-265-ARTS (2787); or in person — see locations and hours here.

The first half of Montero’s program features the first set of Four Impromptus, Op. 99, D. 899, by Franz Schubert and the playfully Romantic “Carnival” by Robert Schumann.

After intermission, the former prodigy will perform the spontaneous improvisations – usually on themes suggested by the audience – that she is acclaimed for.

According to The New York Times, “[Gabriela] Montero’s playing has everything: crackling rhythmic brio, subtle shadings, steely power in climactic moments, soulful lyricism in the ruminative passages and, best of all, unsentimental expressivity.”

Here she is performing the third Schubert impromptu, in G-flat major, in the set of four that she will play here:

Montero was born in Venezuela and gave her first performance to a public audience at the age of five. When she was eight, she made her concerto debut in Caracas, which led to a scholarship for private study in the United States.

Montero played with cellist Yo-Yo Ma, violinist Itzhak Perlman and clarinetist Anthony McGill at Barack Obama’s 2008 Presidential Inauguration.

She has been invited to perform with the world’s most respected orchestras, including the New York Philharmonic, Los Angeles Philharmonic, Liverpool Philharmonic, Vienna Symphony and more, performing in the Kennedy Center, Avery Fisher Hall and Wigmore Hall, among others.

Celebrated for her ability to brilliantly improvise, compose and play new works, Montero is an award-winning and best-selling recording artist.

She has received the Bronze Medal at the Chopin Competition, two Echo Klassik Awards in 2006 and 2007, and a Grammy nomination for her Bach and Beyond follow-up Baroque work in 2008.

She participated in the 2013 Women of the World Festival in London and spoke at the World Economic Forum in Switzerland. She has also been recognized as a composer for her Piano Concerto No. 1.

In the YouTube video at the bottom you can hear Montero improvise on a famous melody by Sergei Rachmaninoff in the style of Johann Sebastian Bach.

This performance is presented by the Wisconsin Union Directorate’s Performing Arts Committee and was supported in part by a grant from the Wisconsin Arts Board with funds from the State of Wisconsin and the National Endowment for the Arts. Media sponsors are WORT 89.9 FM and the UW-Madison student station WSUM 91.7 FM. 


Classical music: Don’t “monetize” the Pro Arte Quartet, which performs three FREE concerts this week. It embodies the Wisconsin Idea

February 1, 2017
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By Jacob Stockinger

It’s no secret that the University of Wisconsin-Madison School of Music is strapped for money, especially for hiring staff and funding student scholarships — if less so for the construction of new buildings that are financed by selling naming rights.

Certain events, such as the UW Choral Union, have always charged admission. And most UW-Madison musical events, especially faculty and student performances, remain, thankfully, FREE and OPEN TO THE PUBLIC.

But under increasing financial pressure, a few years ago the UW started charging admission to more events: the UW Brass Festival, the UW Concerto Competition Winners’ Concert and the annual Schubertiade to name a few.

So one can well imagine the temptation to “monetize” — charge admission to – concerts by the popular Pro Arte String Quartet (below, in a photo by Rick Langer), which typically draws both critical acclaim and large audiences.

Pro Arte Quartet new 2 Rick Langer

Yet The Ear thinks that would be a mistake, even if the purpose or intent is the best.

The Pro Arte Quartet, which ended up here from its native Belgium when it was exiled here on tour during World War II when Hitler and the Nazis invaded and conquered Belgium, is a primary example of The Wisconsin Idea in action.

The Wisconsin Idea – under siege now by the governor and many legislators — is that the boundaries of the UW are the borders of the state and that the UW should serve the taxpayers who support it.

No single musical group at the UW does that job that better than the hard working Pro Arte Quartet, which has done it for many decades.

The quartet practices for three hours every weekday morning. It tours and performs frequently in Madison and elsewhere in the state, including Door County. It has played in Carnegie Hall in New York City and toured Europe, South America and Asia. It has commissioned and premiered many new works. It has made numerous outstanding recordings. It is a great and revered institution.

The Pro Arte Quartet is, in short, a great ambassador for the state of Wisconsin, the UW-Madison and the UW System. It has given, and will continue to give, countless listeners a start on loving chamber music.

If you are unfamiliar with the history of the Pro Arte Quartet, which is now over 100 years old and is the longest lived active quartet in the history of Western music, go to this link:

http://www.music.wisc.edu/pro-arte-quartet/

Pro Arte Haydn Quinten

And you might consider attending or hearing one of the three FREE PUBLIC performances this week in the Madison area:

THURSDAY

From 7 to 9 p.m., the Pro Arte Quartet will perform FREE at Oakwood Village Auditorium, 6209 Mineral Point Road on Madison’s far west side near West Towne. The program is the same as the one listed below on Saturday.

The Oakwood Village concert is OPEN to the public.

Here is a link to more information:

http://www.music.wisc.edu/event/pro-arte-quartet-at-oakwood-village/

Oakwood Village Auditorium and Stage

SATURDAY

At 8 p.m., in Mills Hall, the Pro Arte Quartet, joined by University of Maryland guest pianist Rita Sloan (below top), will perform a FREE program that features the Fuga in E-flat Major, (1827) by Felix Mendelssohn; the String Quartet No. 20 in F major, Op. 46, No. 2 (1832-33) by the prolific but neglected 19th-century French composer George Onslow (below bottom); and the rarely heard Piano Quintet in A minor, Op. 84, (1919) by Sir Edward Elgar. (You hear the lovely slow movement from the Elgar Piano Quintet in the YouTube video at the bottom.)

For information, go to:

http://www.music.wisc.edu/event/pro-arte-quartet-6/

rita-sloan

george-onslow

SUNDAY

At 12:30 p.m. in the Brittingham Gallery III (below) of the Chazen Museum of Art, the Pro Arte Quartet will perform for “Sunday Afternoon Live From the Chazen,” where over the years it has become the chamber music ensemble in residence.

The program is the same as the one on Saturday night.

Here is information about reserving seats and also a link for streaming the concert live via the Internet:

https://www.chazen.wisc.edu/index.php?/events-calendar-demo/event/sunday-afternoon-live-at-the-chazen-2-5-17/

SALProArteMay2010

Do you have an opinion about the Pro Arte Quartet?

Should admission to Pro Arte concerts be started? Or should the quartet’s performances remain free?

Leave a COMMENT below with the why and your reasoning.

The Ear wants to hear.


Classical music: A revived 12-hour marathon Bach Around the Clock celebration is seeking musicians to mark Johann Sebastian’s 332nd birthday on Saturday, March 18

January 20, 2017
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By Jacob Stockinger

Here is some news that The Ear is overjoyed to announce: An annual Bach Around the Clock celebration is being revived this year in Madison.

batc-logo-1-2017

For three years, a similar event, inspired by celebrations in New Orleans, was sponsored by Wisconsin Public Radio and coordinated by its music director Cheryl Dring. But when she left in 2013, and so did WPR.

But now baroque and modern violist Marika Fischer Hoyt (below right), who plays with the Madison Symphony Orchestra, the Wisconsin Chamber Orchestra, the Ancora String Quartet and the Madison Bach Musicians, has undertaken to revive it.

So let’s help resume the tradition and call it Bach Around the Clock 4.

Ancora Trio 2 2014 Robin Ryan, Benjamin Marika Fischer Hoyt Whitcomb

The place has changed.

But the concept remains the same.

The event is now looking for musicians -– professional and amateurs, teachers and students – to sign up to participate.

Bach1

Here are particulars:

Bach Around The Clock 2017

Saturday, March 18

12 Noon to 12 Midnight

St. Andrew’s Episcopal Church (below)

1833 Regent St., Madison, WI 53726

St. Andrew's Episcopal Madison Front

The event is FREE and OPEN TO THE PUBLIC.

Bach Around The Clock is a 12-hour celebration of the music of Johann Sebastian Bach (1685-1750). Held on the Saturday closest to Bach’s birthday, it offers all members of the musical community, from young students to seasoned professionals, the opportunity to perform selections by this sublime composer.

This year’s BATC takes place in the sanctuary (below) of St. Andrew’s Church, and will be opened with an organ work and a performance by the St. Andrew’s Chancel Choir, under the leadership of music director and organist Ken Stancer.

St. Andrew's Church interior

NOTE: The entire event will be recorded, and audio/video live streaming will be available for those unable to attend.

Birthday cake will be served at midnight!

The month of March has been designated as the official ‘Early Music Month’ by the organization Early Music America <www.earlymusicamerica.org/endeavors/early-music-month>, and the Madison Bach Around The Clock is listed on their website as one of the many partners participating in this annual nationwide celebration.

BATC 3 audience

For more information on BATC, or to request a time to perform, please visit the website <https://bacharoundtheclock.wordpress.com>, or email batcmadison@gmail.com

BATC 3 Sked 1

The Ear — who himself played solo piano works and accompanied a famous Siciliano movement from a flute sonata — has such great memories of past ones.

Those memories include hearing whole studios of young piano students performing; duos and trios done by siblings and friends, by parents and children, by teachers and students; accomplished professional and amateur instrumentalists, including UW-Madison faculty members; church choirs in cantatas; lots of intriguing arrangements including the solo cello suites on the saxophone and a flute and bassoon duo performing some Two-Part Inventions (in the YouTube video at the bottom)  as well as Bach on the accordion and bagpipes. And on and on.

BATC 3 Confident kids

BATC1MarcMayes

BATC 3 Sean Michael Dargan bagpiper

And to give you the flavor of the event, here links to the events, complete with photos, to the past Bach Around the Clock celebrations when they were sponsored by Wisconsin Public Radio and held at the Pres House near the UW-Madison campus:

From 2010:

https://welltempered.wordpress.com/2010/03/20/classical-music-events-here-is-the-line-up-for-saturdays-bach-around-the-clock/

From 2011:

https://welltempered.wordpress.com/2011/03/21/classical-music-review-the-marathon-“bach-around-the-clock”-concert-is-now-officially-a-tradition-in-madison-wisconsin/

From 2012:

https://welltempered.wordpress.com/2012/03/23/classical-music-here-are-8-lessons-i-learned-from-my-day-of-berlitz-bach-at-wisconsin-public-radios-bach-around-the-clock-3-last-saturday/


Classical music education: Retiring UW-Madison and Wisconsin Youth Symphony Orchestras maestro James Smith gets the monthly ‘Making a Difference’ award from NBC TV Channel 15

December 29, 2016
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ALERT: In yesterday’s post about the upcoming house concert of keyboard music by Trevor Stephenson, The Ear listed the wrong date in the headline. It was corrected, but The Ear apologizes and feels a correction is still needed for those who missed it: The concert is on Friday, Jan. 6, at 7 p.m. For more information, go to:

https://welltempered.wordpress.com/2016/12/28/classical-music-trevor-stephenson-will-use-a-variety-of-period-keyboard-instruments-to-perform-a-house-concert-of-music-by-baroque-classical-romantic-and-impressionistic-composers-on-jan-7/

By Jacob Stockinger

It comes as welcome and heart-warming news at a time when so much news is negative, accusatory and depressing.

Maestro James Smith (below, in a photo by Michael Anderson) — who has been conducting the UW-Madison Symphony Orchestra, the UW-Madison Chamber Orchestra and the University Opera as well as the Wisconsin Youth Symphony Orchestras for 32 years — has received a fine piece of community recognition.

UW Chamber Orchestra, James Smith, conductor

Smith has just received the monthly “Making a Difference” award from NBC TV Channel 15, which also broadcast once again three times WYSO’s traditional concert “Sounds of the Season” on Christmas Eve and Christmas Day.

james smith Jack Burns

Here is the 3-1/2 minute video, which includes an interview with Smith as well as testimony from a former student who has gone on to have a professional career in music, about the NBC award:

http://www.nbc15.com/content/news/Maestro-making-a-difference–408450735.html

Such recognition is nothing new for Smith, who has won many honors as well as the esteem of his colleagues, his students and his audiences.

Smith_Jim_conduct07_3130

Six years ago, The Ear named Smith as ‘Musician of the Year’ for 2010:

Here is that post:

https://welltempered.wordpress.com/2010/12/31/classical-music-uw-and-wyso-conductor-james-smith-is-“musician-of-the-year”-for-2010/

WYSO 50th James Smith conducting

More recently, The Ear talked about Smith’s upcoming retirement and his post-retirement plans in a post about four major people who will retire this spring from the UW-Madison School of Music:

https://welltempered.wordpress.com/2016/12/19/classical-music-four-major-retirements-this-spring-will-put-the-uw-madison-school-of-music-in-a-staffing-bind-and-could-further-hurt-the-standing-of-the-uw-madison/

The Ear loves Smith’s reply when he was asked by anchor John Stofflet of NBC for advice to his successor:

“Learn from the students,” said Smith, a trained professional and concertizing clarinetist who turned to conducting.

The Ear, who was a longtime teacher himself, knows the truth of that answer.

Thank you and bravo, Maestro Smith.

Bravissimo!!


Classical music: Madison Bach Musicians perform their sixth annual Baroque holiday concert this coming Saturday night. Plus, the Wisconsin Chamber Orchestra’s “Messiah” on Friday night is close to selling out

December 5, 2016
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ALERT: The Wisconsin Chamber Orchestra and its acclaimed music director Andrew Sewell are pretty busy these days playing the accompanying music for the Madison Ballet‘s multiple performances of Peter Tchaikovsky‘s holiday ballet “The Nutcracker.”

Then on this coming Friday night at 7 p.m. at the Blackhawk Church in Middleton, the WCO, the WCO Chorus, the Festival Choir of Madison and guest soloists, all under the baton of Sewell, also give their annual and usually sold-out performance of George Frideric Handel‘s oratorio “Messiah.” The Ear has been told that this year’s performance is also close to selling out to. For more information and tickets, go to: 

http://www.wisconsinchamberorchestra.org/performances/messiah-at-blackhawk-church-middleton/

By Jacob Stockinger

At 8 p.m. this Saturday night, Dec. 10, the Madison Bach Musicians (below top) will give their sixth annual Baroque Holiday Concert.

mbm-baroque-holiday-2015-all-singing

The event will once again be held in the beautiful and sonorous sanctuary (below) of the First Congregational United Church of Christ, 1609 University Avenue.

mbm-baroque-holiday-2015-audence-and-players

MBM holiday 2014 Marc Vallon on bassoon JWB

There is a free pre-concert lecture by the always witty, informative and entertaining MBM founder, artistic director and harpsichordist Trevor Stephenson (below) at 7:15 p.m. NOTE: Trevor Stephenson will also discuss the upcoming holiday concert and play excerpts from past ones TODAY AT NOON on The Midday program aired by Wisconsin Public Radio.

Trevor Stephenson full face at keyboard USE

The program will feature: a cappella (solo vocal) masterworks by Orlando di Lassus and Josquin des Prez performed by a vocal quartet; a Christmas Cantata for soprano and strings by Alessandro Scarlatti—featuring soprano soloist Chelsea Morris (below top); a trio sonata by Johann Joseph Fux; an intriguing  Partita for two scordatura violins (scordatura means the open strings are re-tuned into a new interval configuration!) by Heinrich Biber; the Sonatina in A minor for baroque bassoon and continuo by Georg Philipp Telemann ― with soloist and UW-Madison professor Marc Vallon (below bottom, in a photo by James Gill); one of the Christmas Cantatas, BWV 122Das neugeborne Kindelein (The Newborn Baby) by Johann Sebastian Bach (heard in the YouTube video at the bottom); and a bonus feature ― a preview of MBM’s upcoming April performance of Bach’s oratorio  St. John Passion, the tenor aria Ach, mein Sinn.

CHELSEA Shephard

Marc Vallon 2011 James Gill (baroque & modern)[2]

Advance-sale discount tickets: $28 for general admission, $23 for students and seniors 65 and over. They are available at Orange Tree Imports, Farley’s House of Pianos, Room of One’s Own, and Willy Street Co-op (East and West) . You can also find online advance-sale tickets at madisonbachmusicians.org 

Tickets at the door are: $30 for general admission; $25  for students and seniors 65 and over.
 Student Rush tickets are $10 at the door and go on sale 30 minutes before lecture (student ID is required)

Musicians will include: Chelsea Morris, soprano; Joseph Schlesinger, counter-tenor; Scott Brunscheen, tenor; Matthew Tintes, bass; Kangwon Kim and Brandi Berry, baroque violins; Marika Fischer Hoyt, baroque viola; Martha Vallon, baroque cello; Marc Vallon, baroque bassoon; and Trevor Stephenson, harpsichord


Classical music: The Madison Bach Musicians perform Baroque and Renaissance English music this coming Friday night and Sunday afternoon

October 3, 2016
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ALERT: The strike by the players in the Philadelphia Orchestra has been settled. For details, go to this website:

http://www.philly.com/philly/news/20161003_Philadelphia_Orchestra_strike_ends__contract_vote_73-11.html

For more background about that strike and others, which The Ear writes about yesterday, go to:

https://welltempered.wordpress.com/2016/10/02/classical-music-the-pittsburgh-and-philadelphia-symphony-orchestras-start-their-seasons-with-a-strike-by-the-players/

By Jacob Stockinger

The Madison Bach Musicians will open its 2016-17 season this coming weekend with two performances of a program that features English music from the Baroque and Renaissance eras.

mbm-2016

The first performance is this Friday, Oct. 7, at 7:30 p.m., preceded by 6:45 lecture, in the Atrium Auditorium (below, in a photo by Zane Williams) of the First Unitarian Society of Madison, 900 University Bay Drive.

FUS Atrium, Auditorium Zane Williams

The second is this coming Sunday, Oct. 9, at 3:30 p.m., preceded by a 2:45 lecture, at the Holy Wisdom Monastery (below), 4200 County Highway M in Middleton.

Holy Wisdom Monastery interior

If bought in advance, tickets are $28 for the general public and $23 for students and seniors over 65; at the door tickets will be $30 and $25, respectively. Student rush tickets are $10, require a student ID and are available 30 minutes before the lectures. For more information, visit www.madisonbachmusicians.org

The program features: Sonata in Four Parts in F major “Golden Sonata” by  Henry Purcell (1659−1695); Suite No. 2 in D major from “Consort of Four Parts” by Matthew Locke (c. 1621−1677); Songs to texts by William Shakespeare by Robert Johnson (1583−1633); “Diverse bizzarie Spra La Vecchia” by Nicola Matteis (c. 1650−c. 1709); Division No. 7 for two bass viols by Christopher Simpson (c. 1606−1669); “Solus cum sola” for solo lute solo  by John Dowland (1563−1626); “The Broken Consort” Part 1, Suite no. 2 in G major by Matthew Locke; “The Carman’s Whistle” by William Byrd (c. 1540−1623); “Light of Love” by Anonymous as arranged by David Douglass; “John Come Kiss Me Now” by John Playford (1623−c. 1686) as arranged by David Douglass; “Long Cold Night” and “Queen’s Jig.”

Performers include: Dann Coakwell, tenor; David Walker, lute and theorbo; Kangwon Kim violin and concertmaster; Brandi Berry, violin; Anna Steinhoff and Martha Vallon, viola de gamba; and Trevor Stephenson, harpsichord.

mbm-playing-2016

PROGRAM NOTES

Here are some edited notes by MBM founder and director Trevor Stephenson (below):

Madison Bach Musicians is delighted to start off its 13th season with a foray into new repertoire for the group: English music from the Renaissance and Baroque.

A special feature of the program will be the recognition in song of the 400th anniversary of the death of William Shakespeare (1564-1616).

Both the smaller lute and the larger theorbo were considered ideal for accompanying the voice in songs, and the theorbo could project a bit better in larger ensembles.

Like the lute, the viola da gamba is also fretted, but it is bowed and not plucked. Moreover, the gamba is held between the legs, the “gams,” and its name literally means “viol of the legs.”

MBM Trevor Stephenson at Immanuel concertos

The baroque violins we’ll use in this program will be strung in the usual fashion of the 16th and 17th centuries, that is, with gut strings (from dried sheep intestine); and the bows will be of the Elizabethan “short” variety (shorter length, and with the stick arching away from the hair), which make them ideally suited for the intricate articulations and lively dance rhythms of this repertoire.

All of these instruments enjoyed great popularity in England during the 16th and 17th centuries.

Henry Purcell (below) flourished during the arts boom of the Restoration period under King Charles II and is widely known for his theater music and operas. However, he also wrote quite a bit of instrumental music.

The four parts of this sonata refers here not to numbers of movements, but to the number of simultaneous instrumental lines—in this case, four, which is notably different from the typical three-part (or trio sonata) Italianate texture of the 17th century.

purcell

The Purcell sonata is followed by an instrumental Suite in D major by Matthew Locke (c. 1621-1677). Locke was a close friend of the Purcell family and in particular of Purcell’s father, Henry Purcell Sr. The younger Henry Purcell wrote a musical elegy on Locke’s death in 1677.

Locke’s years of greatest musical activity in London began as the period of Puritanical Commonwealth rule, under Oliver Cromwell, was waning in the late 1650’s. The Commonwealth had severely restricted the theater and the arts in general. Fun fact: Locke (below) was the first composer to indicate a musical crescendo and decrescendo in a score.

matthew-locke

The texts for the songs are from various Elizabethan poets—John Fletcher, John Webster and Shakespeare himself—and all of the music was composed by lutenist Robert Johnson (below, 1583-1633).

Johnson worked closely with Shakespeare in theatrical productions at the court of James I during the first few years of the 17th century. Johnson even provided music for Shakespeare’s original production of “The Tempest.”

robert-johnson-lute

The first part of the MBM program will conclude with two works that explore a favorite 17th-century technique of ornamentation over a repeated bass line, sometimes called a ground bass or chaconne.

The first is by the Italian virtuoso violinist Nicola Matteis (below, in a painting by Gottfried Kneller, c. 1650-1709), who enjoyed a successful career in London during an era when the English were importing Italian music masters by the dozens.

nicola-matteis-by-godfrey-kneller

The second work, by Christopher Simpson (below, c. 1606-1669), explores “divisions” or variations tossed back and forth between two bass viols (gambas) while they simultaneously repeat a ground bass.

christopher-simpson

The second half of the program will feature songs for tenor and voice by John Dowland (below). We’ll also play Locke’s Broken Consort, “broken” meaning “mixed”–in that violins and gambas, which were considered in Elizabethan times to be artistically quite different instruments—were being asked by the composer to play nicely together.

John Dowland

Following that, I’ll play a rousing set of variations for harpsichord, “The Carman’s Whistle,” by William Byrd (below).

William Byrd

And to conclude the program, the consort will play a set of sprightly dances originally published in 1651 in the collection “The English Dancing Master” by John Playford (below).

john-playford

 


Classical music: The Madison Symphony Orchestra opens its new season this weekend with music by Holst and photographs by NASA in “The Planets: An HD Odyssey”

September 21, 2016
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By Jacob Stockinger

The Ear has received the following announcement from the Madison Symphony Orchestra:

The Madison Symphony Orchestra (MSO, below), with Music Director John DeMain conducting, opens its 91st season – and its 23rd season under Maestro DeMain — with three works by 20th-century composers.

John DeMain and MSO from the stage Greg Anderson

Science, music and stunning visuals come together with Gustav Holst’s The Planets accompanied by a spectacular, high-definition film featuring NASA imagery. (Below is a photo of Jupiter, “The Bringer of Jollity” to Holst. The musical depiction of Jupiter — performed by James Levine conducting the Chicago Symphony Orchestra — is in the YouTube video at the bottom.

nasa-jupiter2

MSO’s Concertmaster Naha Greenholtz is featured in the Chaconne, a dramatic theme by John Corigliano, from The Red Violin film. The concert begins with George Enescu’s Romanian Rhapsody No. 1.

The concerts are in Overture Hall on this Friday., Sept. 23, at 7:30 p.m.; Saturday, Sept. 24, at 8 p.m.; and Sunday, Sept. 25, at 2:30 p.m.

A national hero in his homeland, Enescu rarely included hints of his Romanian heritage in his music, except when he composed the Romanian Rhapsodies as a teenager. Romanian Rhapsody No. 1 captures a series of Romanian folk songs, including melodies of increasingly wild Gypsy dances. This is MSO’s first performance of this work.

In the Chaconne, American composer John Corigliano (below) draws the audience in with a foreboding and haunting signature tune, which he wrote for the powerful film about music, The Red Violin. His film score for the movie earned him an Academy Award in 1999 for his original music. This will be the first time MSO has performed this Oscar-winning work, and features MSO Concertmaster Naha Greenholtz.

John Corigliano

Greenholtz (below) has captivated audiences as Concertmaster of the MSO and the Quad City Symphony Orchestra. A Canadian violinist, Greenholtz was born in Kyoto, Japan, where she began her violin studies at age three.

Since her solo debut at 14, she continues to perform internationally, most notably with: the Oregon Symphony, Calgary Philharmonic, National Ballet of Canada, Omaha Symphony, and Memphis Symphony.

Naha Greenholtz [playing

The Planets is known as Holst’s most popular work. The musical movements were inspired by characteristics connected with astrology’s seven planets. For instance, ominous sounding Mars, the Bringer of War, is followed by the calmly flowing Venus, the Bringer of Peace. (Below top is Mars and below bottom is Venus.)

nasa-mars

nasa-venus-2

The performances will be accompanied by a high-definition film projecting celestial images above the main stage.

According to New York Times senior critic Anthony Tommasini, the film shows “photographs from rovers and satellites, radar images and computer-generated graphics … combining to give the audience the impression of circling individual planets and sometimes flying over their awesomely barren landscapes.” (Below is a close-up of the surface of Mars.)

nasa-mars2

The Madison Symphony Women’s Chorus (below top, in a photo by Greg Anderson), under the direction of Beverly Taylor, will be part of the final movement of The Planets, and the Overture Concert Organ (below bottom) is featured at several moments in the piece.

MSO Chorus from left CR Greg Anderson

overture organ

This is the first time MSO’s performance of The Planets will be accompanied by the high-definition film.

One hour before each performance, Randal Swiggum, the artistic director of the Elgin Youth Symphony Orchestra Artistic, will lead a 30-minute Prelude Discussion in Overture Hall to enhance concertgoers’ understanding and listening experience.

For more background on the music, please view the Program Notes at: http://www.allsenmusic.com/NOTES/1617/1.Sep16.html or madisonsymphony.org/planets.

Before all of the concerts and at intermission, Friends of University of Wisconsin–Madison Astronomy will have an interactive display in the lobby concertgoers can experience.

The Symphony recommends that concert attendees arrive early for each performance to make sure they have time to pass through Overture Center’s security stations, and so they can experience the pre-concert talk and the astronomy exhibit (free for all ticket-holders).

Single Tickets are $16 to $87 each and are on sale now at madisonsymphony.org/planets, through 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, madisonsymphony.org/groups.

Student rush tickets can be purchased in person on the day of the concert at the Overture Box Center 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.

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 September concerts is provided by: NBC15, Diane Ballweg, Capitol Lakes, Friends of University of Wisconsin–Madison Astronomy, The Gialamas Company, Inc., and Nicholas and Elaine Mischler. Additional funding is provided by: Analucia and Mark Allie, for their beloved “Doc” Richard Greiner; Judith and Nick Topitzes, and the Wisconsin Arts Board with funds from the State of Wisconsin and the National Endowment for the Arts.


Classical music education: Maestro Jim Smith to retire from the Wisconsin Youth Symphony Orchestras after 30 years

August 5, 2016
3 Comments

By Jacob Stockinger

The Ear has received that following announcement to share from Bridget Fraser, the executive director of the Wisconsin Youth Symphony Orchestras (WYSO)

Dear WYSO Members and Families:

For the past 30 years, WYSO’s Music Director James Smith (below) has served as an exemplary conductor and music educator for thousands of students who have played in the ranks of WYSO’s Youth Orchestra.

At the end of the 2016-2017 season, Mr. Smith – who also directs the conducting program at the University of Wisconsin-Madison School of Music — will bring his inspiring career with WYSO to a close.

Smith_Jim_conduct07_3130

(NOTE: Smith will conduct WYSO’s eighth annual FREE Concert in the Park this coming Wednesday night. Here is a link with details about that event:

https://welltempered.wordpress.com/2016/08/04/classical-music-education-the-annual-free-concert-in-the-park-by-the-wisconsin-youth-symphony-orchestras-wyso-marks-its-15th-anniversary-this-coming-wednesday-night/

In addition to his 30 seasons conducting WYSO’s Youth Orchestra, Mr. Smith has overseen the tremendous growth in the WYSO organization.  During his tenure, the Philharmonia (below), Concert, Sinfonietta and Opus One orchestras were added to the program and outstanding leadership was chosen to lead each ensemble.

Tom Buchhauser Conducting Philharmonia Jon Harlow

WYSO Board of Director’s President John Walker confirmed this legacy stating: “During the course of his tenure with WYSO, Mr. Smith had a positive impact on the musical education of a mind-boggling number of students, both directly through their experiences in the Youth Orchestra, and indirectly through his influence on the other WYSO orchestras.

“While numerous students have gone on to successful musical careers, a large portion of the students have become leaders in their professions and communities. Mr. Smith has instilled an innate love of music and the arts in his students, recognizing that the arts transcend language, unifying us all and lifting the human spirit.”

WYSO rehesrsal Philharmonia Violins

Upon announcing his decision to retire, Mr. Smith shared:  “Please know that I will always cherish the memories of outstanding students, wonderful colleagues and a first class administration.  I have enjoyed every moment with the members of the WYSO family — students, faculty, staff and members of the Board of Directors.”

It has been an honor for me and for the entire WYSO staff to work with Jim Smith on behalf of this great organization. We will forever be grateful for his musical gifts and for his passion and dedication to the WYSO organization. We will treasure this final season with Mr. Smith and celebrate his unwavering efforts to embody the WYSO mission of enriching lives by providing transformational music experiences and opportunities.

The WYSO leadership is engaged in planning a search for the next WYSO Music Director and will share details as they become available.

 

 


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