Sant’Ambrogio will solo in CamilleSaint-Saëns’ stormy Cello Concerto No. 1 in A Minor, a first-time performance of the work by the MSO under its music director and conductor John DeMain.
The opening piece, MauriceRavel’s sensuous Valses Nobles et Sentimentales,showcases the classical simplicity and ultimate decadence of the waltz, and the colors of all the instruments in the orchestra.
Finally, the MSO will perform the groundbreaking Symphonie Fantastique by Romantic composer Hector Berlioz (below). It is an unorthodox five-movement work that vividly captures an artist’s tortured infatuation and the haunted hallucinations of an opium trip.
The concerts are in Overture Hall on Friday night at 7:30 p.m.; Saturday night at 8 p.m.; and Sunday afternoon at 2:30 p.m. in the Overture Center, 201 State Street.
Sara Sant’Ambrogio is an internationally-renowned soloist and founding member of the Eroica Trio (below). She launched her international career when she was a winner at the Eighth International Tchaikovsky Violoncello Competition in Moscow, Russia. She holds degrees from the Curtis Institute of Music and The Juilliard School, and won a Grammy Award for Best Chamber Music Performance for Leonard Bernstein‘s “Arias and Barcarolles.” She last appeared with the Madison Symphony Orchestra in 2001 as part of the Eroica Trio.
Written in 1872, Saint-Saëns’ Cello Concerto No. 1 was instantly regarded as a masterpiece by the Paris public. Saint-Saëns rejected the standard concerto form in this work by interlinking the piece’s three movements into one continuous musical expanse, held together by the rich lyrical power of the cello.
The composer found the Cello Concerto No.1 difficult to write, so much so that he vowed never to compose for cello again; Saint-Saëns broke this vow 30 years later with his Cello Concerto No. 2.
One hour before each performance, John DeMain, music director and principal conductor of the Madison Symphony Orchestra, will lead a FREE 30-minute Prelude Discussion in Overture Hall to enhance concertgoers’ understanding and listening experience.
Single Tickets are $16 to $85 each, available at www.madisonsymphony.org/singletickets 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 percent 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. 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 percent savings on seats in select areas of the hall on advance ticket purchases.
Seniors age 62 and up receive 20 percent savings on advance and day-of-concert ticket purchases in select areas of the hall.
Discounted seats are subject to availability, and discounts cannot be combined.
Major funding for the November concerts is provided by Barbara Ryder, DeEtte Beilfuss-Eager and Leonard P. Eager, Jr., in memory of Karen “Lovey” Johnson, and Rosemarie Blancke. Additional funding is provided by Martha and Charles Casey, Sunseed Research, LLC, and the Wisconsin Arts Board with funds from the State of Wisconsin and the National Endowment for the Arts.
Sara Sant’Ambrogio (below) recently agreed to an email Q&A with The Ear:
Could you briefly bring readers up to date on your career since 2001 when you last appeared with the Madison Symphony Orchestra as part of the Eroica Trio and performed the Triple Concerto for piano trio? What are current and future major plans and projects?
Wow, a lot has happened since 2001! I had a son, Sebastian, who just turned 11. I’ve recorded for solo CDs, the complete Bach solo suites, the Chopin collection and “Dreaming,” which has had a number of tracks used in movie soundtracks such as the HBO movie “A Matter of Taste.” I’ve recorded another Eroica Trio CD, “An American Journey,” which was nominated for a Grammy award.
I’ve toured China and all over Asia, and also the Arabian peninsula, which was amazing and mind-blowing. Petra in Jordan was like being in an Indiana Jones movie. It has been a truly amazing 14 years!
There seems to be a revival or rediscovery going on of the works of the French composer Camille Saint-Saëns. Why do you think that is?
Saint-Saens (below) has been grossly underrated in my view. His music has a wonderful mix of gorgeous melodies that speak to the human condition, sparkling virtuous pyrotechnics and a joie de vivre, which is just infectious! What’s not to love!
You are performing on an all-French program with Berlioz’ “Symphonie Fantastique” and Ravel’s “Valses Nobles et Sentimentales.” What elements or traits do identify as being typically French in classical music, and does Saint-Saëns fit the mold?
I think there is a lushness to French music that Saint-Saens shares. There is also a very human quality to the best of French music.
What would you like to say about the piece you will be performing in Madison, the Cello Concerto No. 1? What is typical or unusual about it? What in particular would you like the public to listen to and notice?
Just to have a blast! The Saint-Saens starts with a bang and never lets up till the joyous end! (Note: You can hear it played by the late Russian cellist, conductor and human rights activist Mstislav Rostropovich in a YouTube video at the bottom.)
What else would you like to say?
I can’t wait to come back and play in Madison again. I had such a fantastic time playing there last time with my trio that the town loomed so large in my imagination, I had no idea until this interview that it had been 14 years since I was last there.
The Madison Symphony Orchestra has just announced its next season for 2015-16. It is the 90th season for the MSO, and marks the 22nd season of music director and conductor John DeMain’s tenure.
Here is the press release that The Ear received.
More news and comments from music director and conductor John DeMain, who will conduct seven of the eight concerts, will follow.
Concerts are in Overture Hall on Fridays at 7:30 p.m; Saturdays at 8 p.m.; and Sunday afternoons at 2:30 p.m.
Single tickets for the Season 2015-16 will range from $16 to $85. (They are currently $16 to $84.)
Subscriptions to five or more concerts in Season 2015-16 are on sale now at www. madisonsymphony.org or by calling the MSO office at (608) 257-3734. New subscribers can receive up to 50 percent off.
The incomparable pianist Emanuel Ax and the soul-stirring orchestral/choral music of “Carmina Burana” are just two of the exciting highlights of John DeMain (below, in a photo by Prasad) and the Madison Symphony Orchestra’s (MSO) 2015-2016 Season.
MSO Music Director DeMain said, “We want audiences to be moved with great classical music as we excite their imaginations, lift their spirits, and stir their emotions.”
Beginning with a September program that focuses on the highly talented musicians in the orchestra, DeMain will lead the audience through an exhilarating variety of themes and cultures throughout the season. France and Scotland are just two of the sound worlds the MSO will explore, while monumental works central to the repertoire, such as Orff’s Carmina Burana and Tchaikovsky’s Symphony No. 4, will anchor the year.
A world-class roster of guest artists will also join the season’s performances, including pianist Emanuel Ax, violinist James Ehnes, cellist Sara Sant’Ambrogio, violinist Alina Ibragimova, and pianist Garrick Ohlsson.
The MSO’s own Principal Clarinet Joseph Morris will play a pivotal role in the September concert also.
The immeasurable talent set to perform in Overture Hall ensures that the coming season is not to be missed!
(* below denote first-time performances for the MSO under Conductor John DeMain.)
Sept. 25, 26, 27, 2015: Tchaikovsky’s Fourth. John DeMain, Conductor. Joseph Morris, Clarinet (below)
The most popular of the four overtures Beethoven penned for his opera Fidelio, Leonore Overture No. 3 packs more than its share of heroic energy into 13 minutes.
Commissioned by the clarinetist and legendary bandleader Benny Goodman, Copland’s jazz-infused Clarinet Concertouses slapping basses and thwacking harp sounds to simulate a rhythm section.
Tchaikovsky’s monumentalSymphony No. 4unites blazing brass fanfares, dance-like passages, and aching melodies to explore ideas of fate, happiness, and longing.
Nicknamed “La Reine” because it was the favorite of French Queen Marie Antoinette, Haydn’s spirited Symphony No. 85 is one of six symphonies commissioned by the private concert society Les Concerts de la Loge Olympique in Paris.
Bruch’s Scottish Fantasy for violin and orchestra blends rustic folk tunes and tender themes to convey the stark Scottish landscape. Droning tones imitate bagpipes, while the violins mimic the sound of a country fiddle.
Written during World War II, Rachmaninoff’s Symphonic Dancesfeatures an extended saxophone solo, as well as quotes from Russian Orthodox chant and the Mass of the Dead. The piece was the composer’s final score, and he died believing that it would never be as popular as his earlier music.
Nov. 20, 21, 22, 2015: French Fantastique. John DeMain, Conductor. Sara Sant’Ambrogio, Cello (below bottom)
MAURICE RAVEL Valses Nobles et Sentimentales*
CAMILLE SAINT-SAËNS Cello Concerto No.1*
HECTOR BERLIOZ Symphonie Fantastique
Inspired by Schubert and originally written for piano, Ravel’s sensuous Valses Nobles et Sentimentalescombines the classical simplicity of the waltz with the colorful aural array of the sounds of all the instruments in the orchestra.
Saint-Saëns eschewed standard concerto form in his Cello Concerto No.1by interlinking the piece’s three movements into one continuous musical expanse, held together by the rich lyrical power of the cello.
Meant to depict the haunted hallucinations of an opium trip, Berlioz’s grand and imaginative Symphonie Fantastiqueis marked by an obsessive return to a striking theme symbolizing Berlioz’s beloved, Shakespearean actress Harriet Smithson, who did not return his affections.
Dec. 4, 5, 6, 2015. A Madison Symphony Christmas. John DeMain (below top), Conductor. Emily Fons, Mezzo-soprano. David Govertsen, Bass-Baritone. Madison Symphony Chorus, Beverly Taylor, Director. Madison Youth Choirs (below middle), Michael Ross, Artistic Director. Mt. Zion Gospel Choir (below bottom), Tamera and Leotha Stanley, Directors.
John DeMain and the Madison Symphony Orchestra don their Santa hats for this signature Christmas celebration. This concert is filled with traditions, from caroling in the lobby with the Madison Symphony Chorus to vocal performances by hundreds of members of Madison’s musical community. Christmas classics are interwoven with enchanting new holiday music. The culminating sing-along is Madison’s unofficial start of the holiday season!
PETER ILYICH TCHAIKOVSKY “Romeo and Juliet” Fantasy Overture
MAURICE RAVEL “Daphnis and Chloe” Suite No. 2
LUDWIG VAN BEETHOVEN Violin Concerto
Tchaikovsky’s Romeo and Juliet Fantasy Overturetells the story of Shakespeare’s star-crossed lovers through thunderous passages portraying the conflict between the Montagues and the Capulets and a rapturous love theme.
With music from a ballet premiered by the Ballet Russes in Paris in 1912, Ravel’s lush Daphnis and Chloe Suite No. 2 depicts lovers Daphnis and Chloe reuniting at daybreak, followed by a Bacchanalian dance.
Beethoven’s technically challengingViolin Concerto premiered in 1806. The composer’s only violin concerto, this work paved the way for the great 19th-century German violin concertos by Mendelssohn, Bruch, and Brahms.
Mar. 11, 12, 13, 2016. John DeMain, Conductor. Emanuel Ax (below top), Piano. Alisa Jordheim, Soprano (below bottom)
DMITRY KABALEVSKY Colas Breugnon Overture*
CÉSAR FRANCK Symphonic Variations*
RICHARD STRAUSS Burleske
GUSTAV MAHLER Symphony No. 4
Composed in 1938 in Russia, Dmitry Kabalevsky’s dynamic Colas Breugnon Overturepreceded the opera glorifying a working man’s struggle against a corrupt aristocracy—an unsurprising theme in the time of Stalin.
Knit together by themes presented in the introduction, Franck’s tightly polished Symphonic Variationsfor piano and orchestra became better known after his death due to the efforts of the composer’s adoring students.
Richard Strauss wrote his showy and seductiveBurleskefor piano and orchestra at the age of 21. When the composer presented it as a thank-you gift to his mentor, Hans von Bülow, the prominent conductor and pianist pronounced the work “unplayable”!
Sometimes referred to as Mahler’s pastoral symphony, Mahler’s Symphony No. 4 is light, sunny, and childlike. The finale features a soprano singing a text based on folk poetry.
Apr. 1, 2, 3, 2016. John DeMain, Conductor. Garrick Ohlsson, Piano (below)
STEVEN STUCKY Symphony No. 1*
RICHARD STRAUSS Don Juan
JOHANNES BRAHMS Piano Concerto No. 1
Described by the composer as “a single expanse of music that travels through a series of emotional landscapes”, Steven Stucky’s Symphony No. 1 is one of the Pulitzer Prize-winning composer’s most recent works.
Richard Strauss’ tone poemDon Juan recounts the life, and death, of the eponymous fictional character through brazenly virtuosic flair matched by tender romantic melodies.
Brahms’ first major orchestral work, Piano Concerto No. 1, casts the piano and orchestra as equal partners working together to develop musical ideas. Written in D minor, this piece captures the composer’s grief over his friend Robert Schumann’s breakdown and eventual death in a mental asylum.
Apr. 29, 30, May 1, 2016. John DeMain, Conductor. Jeni Houser, Soprano. Thomas Leighton, Tenor. Keith Phares, Baritone. Madison Symphony Chorus (below), Beverly Taylor, Director.
OTTORINO RESPIGHI Pines of Rome
CARL ORFF Carmina Burana
Respighi’s moving tone poemPines of Romeillustrates four distinct scenes through music, and features one of the most stunningly beautiful melodies of the classical repertoire.
The epitome of “epic” music, CarlOrff’s spellbinding cantata Carmina Burana unites chorus and orchestra with rhythmic velocity and evocative lyrics. John DeMain calls it a “soul-stirring experience you’ll never forget” and “one of classical music’s most popular treasures.”
The Madison Symphony Orchestra starts its 90th season with the 2015-16 concerts. The MSO engages audiences of all ages and backgrounds in live classical music through a full season of concerts with established and emerging soloists of international renown, an organ series that includes free concerts, and widely respected education and community engagement programs. Find more information at www.madisonsymphony.org.
ALERT: This week’s FREE Friday Noon Musicale, held from 12:15 to 1 p.m. at the First Unitarian Society of Madison, 900 University Bay Drive, features violinist Kangwon Kim (below) and pianist Junghwa Moon Auer in music by Antonin Dvorak, Johann Sebastian Bach, Fritz Kreisler, Frederic Chopin, Claude Debussy and Sergei Rachmaninoff.
By Jacob Stockinger
The Wisconsin Youth Symphony Orchestras (WYSO) will present its first concerts of the new season, the Evelyn Steenbock Fall Concerts, on this Saturday afternoon, Nov. 15, and then on Saturday afternoon, Dec. 13.
More than 350 young musicians will display their great talents to the community during the three concerts, which are dedicated to private and school music teachers.
These young musicians, who get into WYSO through competitive auditions, are really good.
They also play to some of the liveliest and most responsive and enthusiastic audiences in the city.
THIS SATURDAY
WYSO’s string orchestra, Sinfonietta (below), will kick off the concert series at 1:30 p.m. on Saturday afternoon with “Highland Cathedral” by Korb and Roever; the “Danse Infernal” by Del Borgo; Eureka! by Sharp; “Fantasia on Theme from Thailand” by Meyer; the “Haunted Carousel” by Newbold; and “Tuxedo Junction” by Hawkins, Feyne, Johnson and Dash.
The Concert Orchestra (below) will then take over with Washburn’s “St. Lawrence” Overture, Del Borgo’s “Meditation,” “A Pirate’s Legend” by Newbold and Slavonic Dances by Antonin Dvorak.
At 4 p.m. on Saturday, the popular Percussion Ensemble will perform “Spanish Point” by Ben Wahlund and the “Danse Bacchanale” from the opera “Samson and Delilah” by Camille Saint-Saens.
The Philharmonia Orchestra will then end the concert with Ernest Bloch’s Concerto Grosso No. 1, the Danse Macabre, Op. 40, by Camille Saint-Saens; the “Pavane pour une infante defunte” by Maurice Ravel, featuring Logan Willis on piano; the fourth movement, “March to the Scaffold,” from the “Symphonie Fantastique” by Hector Berlioz; and the Hoedown from Aaron Copland’s “Rodeo,” featuring Moqiu Cheng on piano.
DECEMBER 13
At 1 p.m. on Saturday afternoon, Dec. 13, the Harp Ensemble (below top) will perform before the Youth Orchestra (below bottom) closes out the concert series with “The Roman Carnival” Overture by Hector Berlioz; Excerpts from “Die Meistersinger” by Richard Wagner; and movements 1, 3 and 4 from the Symphony No. 1 in D Minor, Op. 13, by Sergei Rachmaninoff.
TICKETS AND OTHER INFORMATION
The Evelyn Steenbock Fall Concerts will be held in Mills Concert Hall in the UW-Madison George Mosse Humanities Building, 455 North Park Street in Madison on the University of Wisconsin-Madison campus.
WYSO concerts are generally about an hour and a half in length, providing a great orchestral concert opportunity for families.
Tickets for each concert are available at the door, $10 for adults and $5 for youth 18 and under.
This project is supported by Dane Arts with additional funding from the Pleasant T. Rowland Foundation and the Endres Mfg. Company Foundation. This project is also supported by the Alliant Energy Foundation and by a grant from the Wisconsin Arts Board with funds from the State of Wisconsin and the National Endowment for the Arts.
ALERT: On Thursday night at 7:30 p.m. in Mills Hall, the UW Wind Ensemble Chamber will perform a FREE concert of “Integrales” b, Edgard Varese; “Rondino” by Ludwig von Beethoven; and Kammersymphonie (Chamber Symphony), Op. 9, by Arnold Schoenberg. Scott Teeple (below) is the conductor and Scott Pierson is the guest conductor.
By Jacob Stockinger
Today, Oct. 31, 2012, is Halloween in the U.S., although many celebrations took place last Saturday night to benefit from the weekend.
It is the night of scary hobgoblins and ghosts. It is also the time when disguises and costumes often reveal rather than hide one’s true identity.
But most of all it is a chance for spooky art – Houses of Horrors, Ghost stories and Horror Movies – and The Ear wants to know what you think is the scariest or spookiest music ever written.
The Ear knows one person who likes to play loud organ music – Bach’s Toccata and Fugue in D Minor – for young Trick-or-Treaters. And he is not alone. Take a look and listen at various versions of the famous organ piece at NPR’s “Deceptive Cadence” blog where you’ll be treated, not tricked, by the blog’s makeover and new appearance:
You can also hear Halloween-related music today on Wisconsin Public Radio, especially on The Midday (noon to 1 p.m.), which will, I expect, have a Quiz Question related to Halloween. For information or to stream programs, visit ww.wpr.org.
And I was struck how the clarinets are used to create a very eerie, even frightening sound, in the Witches Sabbath section. It is a masterful use of orchestration by Berlioz.
Take a listen and let me know.
What do you think is the spookiest or eeriest piece of classical music for Halloween?
Vote for your favorite by leaving a COMMENT in the blog section of this blog, preferably with a link a YouTube performance, if possible.