The Well-Tempered Ear

Classical music: What music is helping you get through the Coronavirus by staying home? Help create a Pandemic Playlist

March 25, 2020
9 Comments

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By Jacob Stockinger

Starting today, Wisconsin joins other states and countries in proclaiming a stay-at-home emergency condition to help fight the coronavirus pandemic.

That means non-essential businesses and schools are closed; restaurants can only deliver food and do pick-up; and residents must stay at home except for essential services and travel such as buying food, seeing a doctor and getting medicine.

For a couple of weeks, many of us have already been spending almost all our time hunkering down at home.

And the Internet and other mass media are full of helpful hints about how to handle the loneliness, fear and anxiety that can come with self-isolation and self-quarantining.

For many, music proves a reliable coping strategy.

Since there are no live concerts to preview or review, now seems like a good time for The Ear to ask readers: What music helps you deal with the isolation of staying at home?

Is listening to music a part of your daily schedule, structure or routine?

Maybe you are using the time to discover new music or neglected composers, works and performers.

Maybe you are using the time to revisit old favorites by Bach, Mozart and Beethoven.

Maybe you prefer darker and deeper, more introverted works such as symphonies by Mahler, Bruckner and Shostakovich?

Maybe you prefer the stories and drama of operas by Verdi and Puccini, oratorios by Handel and songs by Schubert?

Maybe, like The Ear, you find the music of Baroque Italian composers, such as the violin concertos by Vivaldi and Corelli, to be a great, upbeat way to start the day with energy and a good mood.

One more modern but neo-classical work that The Ear likes to turn to — a work that is rarely heard or performed live – is the beautiful “Eclogue” for piano and strings by the 20th-century British composer Gerald Finzi (below).

Finzi wrote it as a slow movement to a piano concerto, but then never finished the concerto. The “Eclogue” — a short pastoral poem — was never performed in his lifetime. So it continues to stand alone.

But like so much English pastoral music, the poignant Eclogue feels like sonic balm, some restorative comfort that can transport you to a calmer and quieter place, put you in a mood that you find soothing rather than agitated.

Hear it for yourself and decide by listening to it in the YouTube video at the bottom, then let The Ear know what you think.

Perhaps you have many other pieces to suggest for the same purpose.

But the series of reader suggestions is meant to be ongoing.

The idea is to build a collective “Pandemic Playlist.”

So right now and for this time, please post just ONE suggestion – with a YouTube link, if possible — in the Comment section with perhaps what you like about it and why it works for you during this time of physical, psychological and emotional distress from COVID-19.

What do you think of the idea of creating a Pandemic Playlist?

The Ear hopes that you like his choice, and that he and other readers like yours.

Be well and stay well.

Let’s get through this together.

 


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Classical music: Starting this Sunday, radio station WORT-FM 89.9 will air recordings that Rich Samuels made of many live performances in the Madison area

March 21, 2020
6 Comments

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ALERT: The Wisconsin Youth Symphony Orchestras (WYSO) will be suspending the remainder of its spring season until further notice. Music director Kyle Knox and executive director Bridget Fraser says they are hopeful that an adjusted end-of-year schedule might be possible. Many ideas are under consideration. But they say they have no idea at this point what might be possible given the restrictions currently in place at the UW-Madison. “All we can do is explore possible scenarios and be ready to react if the restrictions are lifted,” they add.

By Jacob Stockinger

The Ear has received the following note from Rich Samuels (below), a retired Chicago reporter and broadcaster who is often seen at concerts with microphones and a laptop computer. His public service is especially commendable and useful during the current coronavirus pandemic when almost all live concerts in music-rich Madison have been canceled or postponed for the foreseeable future.

Jake:

WORT (89.9 FM and at wortfm.org) will shortly start to air recordings of past public performances by Madison area classical musicians within its regularly scheduled classical music broadcasts.


This should help keep our local musician friends in the public ear even though their local venues have been shuttered and their gigs canceled.

I’ve had the good fortune to record hundreds of hours of local performances since 2012. I’m now editing them into segments that can be inserted into the shows of WORT’s classical music hosts.

The first segment to air, if all goes well, will be part of the “Musica Antiqua” early music program, hosted by Carol Moseson, this Sunday, March 22, from 8 to 11 a.m.

It will feature Eric Miller on viola da gamba and Daniel Sullivan on harpsichord performing a suite by French Baroque composer Louis Couperin. I recorded the concert (below) last Oct. 11 in the Landmark Auditorium of the First Unitarian Society of Madison (FUS).

Other such segments will follow on the weekday classical music shows that air from 5 to 8 a.m. We are still working on the details.

Additionally, I’ll be pre-recording three-hour broadcasts that can be run in place of the regularly scheduled classical music shows, assuming the host, for whatever reason, is unable to make it to the station.

These will hopefully include complete concert performances from the FUS Friday Noon Musicale, Grace Presents (in the YouTube video at the bottom) and Willy Street Chamber Players (below) series.

I gave up my own Thursday morning WORT show about a year ago after my wife developed some health issues. But I’ve continued to record local musicians whenever possible. (My wife, by the way, is presently in good shape).

Hopefully, this WORT effort will benefit both local musicians and their audiences. (Below is Samuels recording at Bach Around the Clock, which has been canceled this year.)

Please join The Ear in thanking Rich Samuels and WORT for their service to the community by leaving word in the Comment section.

What do you think of his project?

 


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Classical music: A reader urges others to donate ticket refunds to support the arts. What do you think?

March 18, 2020
8 Comments

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ALERT: The Wisconsin Chamber Choir has canceled its upcoming concert, “Music She Wrote,” on April 18.

By Jacob Stockinger

A reader — who prefers to remain anonymous but who has been deeply involved in the Madison arts scene for a long time — recently wrote:

“I’d like to suggest an angle for your column: Encourage subscribers to the various arts organizations and single ticket holders who can afford it NOT to ask for a refund on their upcoming cancelled concerts, if or when they are offered that option.

“I subscribe — on my own or as part of others’ subscriptions — to the Madison Symphony Orchestra (below, in photo by Peter Rodgers), the Madison Opera, the Broadway musicals at the Overture Center, Forward Theater, and the Wisconsin Union Theater’s Concert series. (I also buy a lot of single tickets to chamber music concerts by the Bach Dancing and Dynamite Society and to American Players Theatre in Spring Green.)

“As all those arts organizations cancel their concerts and plays, they still have costs. Forward Theater, for instance, is paying the full contract of all the people who were involved with the production of “The Amateurs.” And I’m glad they are.

“Personally, I will not be asking for a refund on any of the tickets I long ago purchased. I want the arts to stay healthy in Madison, and not asking for a refund is a small gesture in trying to make sure they are able to move forward.” (At bottom is the Bach Dancing and Dynamite Society, which just announced its summer schedule from June 7 to June 28 and has not cancelled anything. Go to: https://bachdancing.org)

“You reach a lot of people and you could plant a lot of powerful seeds by making this the topic of a column.”

If you are a member of a performing arts group, what do you think?

If you are a ticket holder, what do you think?

The Ear wants to hear.


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Classical music: Home or concert hall? Will older listeners follow new CDC guidelines about the coronavirus to stay home and avoid attending concerts? What will performers and presenters do in response?

March 7, 2020
17 Comments

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By Jacob Stockinger

Late yesterday the U.S. Centers for Disease Control (CDC) issued new guidelines for behavior during the outbreak of the coronavirus and COVID-19.

The CDC is asking all adults over 60, especially those with compromised immune systems and serious underlying illnesses and conditions, to “stay home as much as possible” and avoid attending events with big crowds. (Below is a sample of a full house at the Madison Symphony Orchestra in Overture Hall.)

Here is the full story — which also mentions other kinds of mass events such as movie theaters, mall shopping, sports events and religious services — from CNN: https://www.cnn.com/2020/03/06/health/coronavirus-older-people-social-distancing/index.html

Moreover, the new guidelines apply nationwide — including here in Wisconsin where only one case has been confirmed and is now healthy– during the increasingly widespread, worldwide outbreak of confirmed cases and deaths.

The Ear wonders if the new advice will hit classical music especially hard because so much of the audience for it is made up of older people who are more vulnerable.

Will the guidelines affect your own attendance at concerts, even tonight and this weekend at the Madison Symphony Orchestra, the University of Wisconsin-Madison and the Wisconsin Union Theater? 

Will a lack of attendance and a more severe outbreak lead to empty concert halls and the cancellation of concerts? Refunds for seniors?

Will the guidelines lead to alternative ways of “attending” and hearing, such as live-streaming and other virtual attendance?

Pretty soon we should start hearing from music presenters and performers about their reactions, solutions and advice.

Meanwhile, here is a news story from The New York Times about what one string quartet did in Venice, Italy: https://www.nytimes.com/2020/03/04/arts/music/arts-coronavirus.html

Are you an older or vulnerable person?

Will you go to concerts or stay home?

What do you think presenters and performers should do to deal with the situation?

Please leave word about your plans and your thoughts.

The Ear wants to hear.


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Classical music: Today is the Winter Solstice. It’s a good time to listen to Schubert’s “Winterreise” (Winter Journey)  — this year in English translation

December 21, 2019
1 Comment

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By Jacob Stockinger

Winter starts today – Saturday, Dec. 21, 2019 – when the Winter Solstice arrives tonight at 10:19 p.m.

That means tonight — the longest night of the year — we turn the corner. The days start getting longer and the nights shorter.

It is also the day when The Ear likes to listen to the best winter music ever written: the cycle of 24 songs called “Winterreise” (Winter Journey) by Franz Schubert (1797-1828).

Over the years, The Ear has heard many fine versions. Among his favorite singers are Ian Bostridge, Dietrich Fischer-Dieskau, Matthias Goerner and Thomas Quasthoff.

Next year, you can probably expect to see a new release of the performance this past week by mezzo-soprano Joyce DiDonato and the pianist-conductor Yannick Nézet-Séguin.

But this year, he is listening – even as he writes – to a 2018 version by the critically acclaimed British baritone Roderick Williams (below top) with pianist Christopher Glynn (below bottom) on the Signum Classics record label.

The real and unusual appeal is that all the songs are sung in English — not the original German.

And The Ear finds it very appealing not to have to read translations but instead to sit back and listen directly to the meaning of the stories in the songs — all sung with excellent diction — in the austere, subtle and outstanding translation by theater director and writer Jeremy Sams (below).

It makes The Ear want to hear more Lieder or art songs sung in English translation — both live and recorded — just as he likes the translation, used by the Metropolitan Opera, done by the late American poet J.D. “Sandy” McClatchy of Mozart’s opera “The Magic Flute”

Try it and see what you think.

Here is the first song on YouTube, where the audio proceeds through the remainder of the 70-minute cycle after the end of each song.

Enjoy. And let us know what you think of the English translation:

 


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Classical music: The gala opening this weekend of the UW-Madison’s new Hamel Music Center is SOLD OUT. What do you think of the building, the music and the event? Plus, veteran music critic John W. Barker has died

October 25, 2019
7 Comments

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ALERT: Word arrived late last night that the respected longtime music critic John W. Barker, a retired UW-Madison professor of medieval history, died Thursday morning. He wrote locally for Isthmus, The Capital Times and this blog. Details will be shared when they are known. 

By Jacob Stockinger

This weekend, Oct. 25-27, marks the official gala opening of the new Hamel Music Center (below, in a photo by Bryce Richter for University Communications) at the University of Wisconsin-Madison Mead Witter School of Music. It is located at 740 University Ave., next to the new wing of the Chazen Museum of Art, which has a special exhibit relating to the new music center.

The impressive $58-million structure, which has taken many years to fund  (completely privately) and then to build, will celebrate its opening tonight, Saturday night (while the 14th annual Halloween FreakFest on State Street is happening) and Sunday afternoon.

The performers will include distinguished alumni, faculty members and students.

Here is a link to an overall schedule as published on the School of Music’s home website: https://www.music.wisc.edu/hamel-music-center-opening-schedule/

Thanks to an astute reader who found what The Ear couldn’t find, here is a complete schedule — long, varied and impressive — of works and performers: https://www.music.wisc.edu/wp-content/uploads/2019/10/20191025-Hamel-Music-Center-Opening-Weekend.pdf

And here is a link to the official UW-Madison press release with more background and details about the building: https://news.wisc.edu/mead-witter-school-of-musics-hamel-music-center-opening-this-fall/

UW-Madison composer Laura Schwendinger (below) has been commissioned to write a Fanfare that will receive its world premiere tonight.

The opening promises to be a success, complete with receptions at the end of each performance.

In fact, the public has signed on enough that the FREE tickets to all events are SOLD OUT, according to the School of Music’s home website.

Taste is personal and varies, and The Ear has heard mixed reviews of the new building. (For the special occasion, you can hear “The Consecration of the House” Overture by Beethoven, performed by the La Scala opera house orchestra in Milan under Riccardo Muti, in the YouTube video at the bottom.)

Basically, people seem to agree that the acoustics are much improved over Mills Hall and Morphy Recital Hall in the old Humanities Building.

But public opinion seems more divided over other aspects, from the overall external architecture and interior design to the smaller size of the big hall, the seats and seating layout, and the restrooms.

So if you go – or have already gone – let the rest of us know what you think about those various aspects of the new building and about the various performers and programs.

As a warm-up preview, here are photos of the main halls or spaces, all taken by Bryce Richter for University Communications:

Here is the 660-seat Mead Witter Concert Hall:

Here is the 300-seat Collins Recital Hall:

And here is the Lee/Kaufman Rehearsal Hall:

But what do you say? You be the critic.

The Ear and others hope to see COMMENTS from listeners and especially performers. What is it like to perform there? Or to sit and listen?

What does the public think of the new building and concert halls? Are you satisfied? What do you like and what don’t you like?

Should some things have been done – or not done – in your opinion?

Does the building and do the concert halls live up to the expectations and hype?

The Ear wants to hear.


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Classical music: This afternoon is your last chance to hear the all-Russian program by violinist Rachel Barton Pine and the Madison Symphony Orchestra. Here are two very positive reviews and a more critical one

October 20, 2019
9 Comments

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By Jacob Stockinger

This afternoon, at 2:30 p.m. in Overture Hall, is your last chance to hear the highly praised all-Russian program by the Madison Symphony Orchestra (below, in a photo by Peter Rodgers), conducted by music director John DeMain.

The  guest soloist is the critically acclaimed, virtuoso violinist Rachel Barton Pine (below) from Chicago.

For more details about the program, the performers, program notes and tickets, go to: https://welltempered.wordpress.com/2019/10/17/classical-music-this-weekend-guest-violinist-rachel-barton-pine-solos-in-an-all-russian-program-of-khachaturian-prokofiev-and-shostakovich-by-the-madison-symphony-orchestra/

The concert features the Violin Concerto in D Minor by Aram Khachaturian; the “Lieutenant Kijé Suite” film score by Sergei Prokofiev; and the Symphony No. 9 by Dmitri Shostakovich. 

From the previews, the thematic program – all works were composed in the Soviet Union under the threatening shadow of the terrorist-dictator Josef Stalin (below) — sounded promising.

And it turns out that that the promise was, to varying degrees, fulfilled.

Here are two very positive reviews of the concert.

The first is by Michael Muckian (below), who has taken over reviewing duties at Isthmus for the now retired critic John W. Barker: https://isthmus.com/music/wildrussianride/

Here is a review by Greg Hettmansberger (below): https://whatgregsays.wordpress.com/2019/10/19/madison-symphony-triumphs-over-the-soviets/

And here is a somewhat more critical review by UW-Madison music graduate Matt Ambrosio (below) written for The Capital Times: https://madison.com/ct/entertainment/arts-and-theatre/review-rachel-barton-pine-gives-memorable-performance-with-the-mso/article_61f34b8d-8dd8-514d-8e75-576a47826a04.html

What did you think of the programs, the performers and the performance?

Which critic do you most agree with?

The Ear wants to hear.


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Classical music: The 10th anniversary concert of the Middleton Community Orchestra hit all the right notes – including a surprise of high beauty

October 13, 2019
3 Comments

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By Jacob Stockinger

Last Wednesday night at the Middleton Performing Arts Center, the mostly amateur but critically acclaimed Middleton Community Orchestra (below, in a photo by Brian Ruppert) celebrated its 10th anniversary.

The MCO hit all the right notes. And there were many of them, both big and small.

But perhaps the biggest one was also the quietest one.

It came during the repetition section near the end of the heart-rending slow movement of the Clarinet Concerto in A Major, K. 622, by Mozart.

The Ear knows the piece and considers it one of the most perfect compositions ever written. But suddenly he heard the familiar work in a fresh way and with a new appreciation, thanks to the talented guest soloist J.J. Koh, who is principal clarinet of the Madison Symphony Orchestra. (You can hear the slow movement in the YouTube video at the bottom.)

The movement was going beautifully when suddenly, Koh (below) brought the dynamics down to almost a whisper. It felt prayer-like, so quiet was the sound. Yet it was completely audible. The tone was rich and the notes on pitch, even though Koh sounded as if he were barely breathing. It was a heart-stopping, breathtaking moment of high beauty.

It takes a virtuoso to play that softly and that solidly at the same time. And Koh was backed up with the same subtlety by the fine accompaniment provided by the scaled-down orchestra under conductor Steve Kurr.

The sublime result was nothing short of haunting, a musical moment that The Ear will remember and cherish as long as he lives.

And he wasn’t alone. A complete silence fell over the appreciative audience as Koh and the MCO were playing, and at intermission it was what everybody was talking about and wondering at. You just had to be there. It was the kind of musical experience that makes a live performance so engaging and unforgettable.

That moment of communion between soloist and ensemble by itself was enough to tell you how very much the MCO, which improves with each performance, has accomplished in its first decade.

There were other noteworthy moments too.

Of course tributes had to be paid.

So the evening started off with some brief background and introductory words from the co-founders and co-artistic directors Larry Bevic and Mindy Taranto (below).

Then Middleton Mayor Gurdip Brar (below) came on stage to read his official 10th anniversary proclamation and to urge people to applaud. He proved a jovial, good-natured cheerleader for the large audience of “good neighbors” that included many children.

When the music finally arrived, conductor Kurr (below) raised the curtain with his own original 14-minute episodic composition celebrating the “Good Neighbor City” of Middleton. It proved a fitting work for the occasion that evoked both the Midwestern harmonies of Aaron Copland and the brassy film scores of John Williams.

After intermission, the full 90-member MCO under Kurr returned and turned in a performance of Antonin Dvorak’s popular “New World” Symphony that did them all proud.

The tempo was energetic with a strong, constant pulse that didn’t falter. As usual, the string and wind sections proved outstanding – and still seem to get better each time.

But the real star this time was the brass, whose prominent part in the Dvorak symphony is hard to play. Playing consistently on pitch and expressively – they were clearly well-rehearsed — the brass boosted the whole performance and raised it to a new level. Which is exactly what the anniversary concert demanded and received.

The Ear wasn’t alone in being impressed.

A professional musician visiting from San Francisco said simply:  ”They are much better than our community orchestra.”

Is there better homage to pay to a 10th anniversary concert and to make listeners look forward to hearing more? If you aren’t going to MCO’s affordable and appealing concerts, you are only cheating yourself.

For more information about the complete season, including programs, performers, guest soloists and how to join or support the MCO, go to: http://middletoncommunityorchestra.org

If you went, what did you think of the opening anniversary concert?

Leave your opinions and good wishes in the comment section.

The Ear wants to hear.


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Classical music: Here are the winners of the seventh annual Handel Aria Competition held Friday night before a record audience

June 9, 2019
2 Comments

IF YOU LIKE A CERTAIN BLOG POST, PLEASE SPREAD THE WORD. FORWARD A LINK TO IT OR, SHARE IT or TAG IT (not just “Like” it) ON FACEBOOK. Performers can use the extra exposure to draw potential audience members to an event.

By Jacob Stockinger

Co-founders Orange and Dean Schroeder have sent the following announcement about the winners of the seventh annual Handel Aria Competition that was held Friday night in Mills Hall at the University of Wisconsin-Madison’s Mead Witter School of Music:

The seventh annual Handel Aria Competition was a joyous evening of arias! We had a record audience — we don’t have the final numbers yet, but we ran out of 240 printed ballots and figure there were 250 to 300 people present — despite a widespread power outage on the near west side and severe parking challenges.

The winners, accompanied by the Madison Bach Musicians, were: Australian soprano Morgan Balfour, first prize (below center, in a photo by Tom Miller); soprano Emily Yocum Black, second prize (below right); and bass-baritone Jonathan Woody, third prize and audience favorite (below left).

We are excited to know that Morgan will be singing in St. George’s Church, Hanover Square, next spring thanks to the London Handel Festival. In addition, she will receive $1,500 in cash and – like all finalists — $500 toward travel costs for competing. Other awards were $1,000 for second place, $750 for third place and $500 for Audience Favorite.

Here are the arias, from opera and oratorios, sung by the three winners:

Morgan Balfour: “Spietati, io vi giurai” from “Rodelinda” and “Mean as he was, he is my brother now … Author of Peace” from “Saul”

Emily Yocum Black: “Art thou not Zaphnath? … Prophetic raptures swell my breast” from “Joseph and His Brethren” and “Credete al mio dolore” from “Alcina.”

Jonathan Woody: “Oh memory, still bitter to my soul! … Opprest with never-ceasing grief” from “Belshazzar” and “Why do the nations so furiously rage together?” from “Messiah.”

Schroeder says: “The seven finalists (below in a photo by Tom Miller) were all excellent, presenting a real challenge for audience members picking their favorite as well as for the judges.” (For names and more biographical information about the finalists and judges, go to https://handelariacompetition.com

Adds Schroeder: “The caliber of applicants gets better and better every year. This year everybody was amazing and one of the judges said he was blown away by the quality of the competition. Yet we still try to make the sure that the competition is friendly and most collegial, not cutthroat.”

All the performances from all the finalists as well as the winners were video recorded and, after they are processed, will be posted on YouTube in about a month. (The Ear will let you know when they are available.)

You can also see and hear most of the finalists from the past six years on YouTube now; and more information about the past six years of the competition is on its home website at https://handelariacompetition.com/past-competitions

Did you go to the competition?

Did you agree with the judges about the winners and the Audience Award?

What did you think of the annual competition?

The Ear wants to hear.


Posted in Classical music
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Classical music: A new blog about the future of classical music has been launched in Madison by Lydia Sewell. It is called “A View From the Stage” and features interviews with prominent musicians

March 24, 2018
5 Comments

By Jacob Stockinger

The Ear has received the following announcement to post:

As the classical music industry continues to shift and adapt to changing cultural patterns, many performers, administrators, educators, journalists, and music enthusiasts are tracking these changes and exploring best practices to keep the institution alive.

In December 2017, Madison native Lydia Sewell (below) – an accomplished  violinist and daughter of Wisconsin Chamber Orchestra artistic director Andrew Sewell — launched a blog that seeks to address those issues in a comprehensive, timely fashion.

“A View From the Stage” features the voices of world-renowned classical musicians, educators and arts administrators and their thoughts on the future of classical music and symphony orchestras.

The blog arose out of Sewell’s research on the strike by the Pittsburgh Symphony Orchestra in 2016.

Says Sewell: “As a graduate student at Duquesne University prepping for auditions, I was trying to answer the question, ‘If orchestras like the PSO are struggling to survive, what does that mean for regional orchestras who don’t have the donor bases that the majors rely on?”

“A View from the Stage” currently features interviews with musicians including Noah Bendix-Balgely, concertmaster of the Berlin Philharmonic; Scott Pingel, principal bass of the San Francisco Symphony; David Kim, concertmaster of the Philadelphia Orchestra who performed this fall at the UW-Madison; and Eric Nowlin, principal viola of the Detroit Symphony, as well as administrators including Paul Hogle, Dean of the Cleveland Institute of Music, and critic and composer Gregory Sandow.

With more than 30 interviews to roll out in the coming months, Sewell plans to continue interviewing classical thinkers and document their perspectives in “A View From the Stage,” in hopes to initiate further conversations surrounding 21st-century musicianship, concert reinvention and the sustainability of symphony orchestras.

Here are links to featured interviews, with photos below the link:

Noah Bendix-Balgely: https://www.lydiasewell.com/aviewfromthestage/2017/8/4/noah-bendix-balgely

Scott Pingel: https://www.lydiasewell.com/aviewfromthestage/2017/8/4/scott-pingel

David Kim (photo by Ryan Donnell): https://www.lydiasewell.com/aviewfromthestage/2017/10/26/david-kim

Eric Nowlin:

https://www.lydiasewell.com/aviewfromthestage/2017/8/9/eric-nowlin-principal-violist-of-the-detroit-symphony

Paul Hogle:

https://www.lydiasewell.com/aviewfromthestage/2017/10/27/paul-hogle

Gregory Sandow: https://www.lydiasewell.com/aviewfromthestage/2017/8/21/gregory-sandow

Mike Block:

 https://www.lydiasewell.com/aviewfromthestage/2017/8/4/mike-block

Upcoming interviews include:

Steve Hackman (conductor, composer, arranger)

Rachel Barton Pine (violin soloist)

Tracy Silverman (electric violin soloist)

Kate Sheeran (Dean, Provost of San Francisco Conservatory)

Philip Setzer (Emerson String Quartet)

Aaron Dworkin (Founder of Sphinx, Detroit)

Stanford Thompson (Founder Play on Philly!)


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