By Jacob Stockinger
Talk about world-class honors.
The University of Wisconsin-Madison is one of only five venues worldwide — and the only one in the United States — selected to host, perform and participate in “Playing the Jewish Archive: Rediscovering Jewish Music, Literature and Theater.”
The ambitious project, launched by the University of Leeds in the United Kingdom, is designed to rediscover and revive Jewish and Yiddish music, and culture in general, that were threatened with extinction by World War II and the rise of Hitler and the anti-Semitism of the Nazis in Europe during the Holocaust.
A preview of the project happened last fall. Here is a link to a previous two-part posting about that event:
But this time the ticketed events (usually $10, $5 for students) – which start this Sunday, May 1, and run through Thursday, May 5 — are longer and more ambitious.
Here is a link to the preview and complete day-by-day programs of composers, works and performers that is on the website of the University of Wisconsin-Madison School of Music. It also has information about obtaining tickets and a lot of background and context:
And here are two links to other stories in Isthmus and the Wisconsin State Journal, which also highlight the pivotal role that Teryl Dobbs, a professor of music education and the department chair of music education at the UW, played in securing this prestigious as well as historically and artistically important event for Madison and the UW-Madison:
Finally, here is a link to a list of the many programs and performers with times and venues:
By Jacob Stockinger
Loyal readers know that The Ear is a big supporter of music education and amateur music-making.
All the more reason to honor Janet Jensen (below), then, who is retiring as the string pedagogue at the University of Wisconsin-Madison School of Music.
Jensen has spent almost 50 years teaching strings not only to specialists but also to music educators and amateur student musicians.
Her final concert with the All-University Strings (below) is this Saturday afternoon at 4 p.m. in Mills Hall. It will also feature the Sonora Strings from the Suzuki Strings of Madison plus soloists John Povolny and Lili Kim as well as guest conductors Mikko Rankin Utevsky and Brandi Pease.
The FREE concert will feature string music by Johann Sebastian Bach (the Brandenburg Concerto No. 3, which you can hear in a YouTube video at the bottom); Antonio Vivaldi; John Rutter; Ernest Bloch; Edvard Grieg; Leonard Bernstein; and others.
In a prepared statement, Jensen (below, in a photo by Katrin Talbot) said:
“This concert marks the 25th anniversary of my leadership. It also marks my retirement from the School of Music, where I’ve been a student, staff member and faculty member – an association spanning nearly 50 years.
“In my dual faculty roles of Professor of String Pedagogy and Associate Director I have had the opportunity to serve many populations – colleagues, music majors and non-majors – but I’ve found particular authenticity in the All-University String Orchestras and in bringing majors and non-majors together.
“That sense of authenticity derives from several sources. A former, and maybe future, public school music teacher, I realized that musical groups for non-music majors in fact serve the teachers, mentors and programs that produced them.
“I’m a product of public education and the beneficiary of tenets of the Wisconsin Idea and University Extension programs, so it also became clear to me that such musical groups extend UW’s impact beyond the campus to the state borders and beyond.
“Deeply influenced by the values inherent in community music programs and life-long learning in music, I realized that providing a musical setting that could be balanced with multiple degrees and academic loads would better ensure that non-majors would opt to keep music in their lives — and, as they themselves become voters, parents and advocates, in the lives of others.”
Here is a link to a website posting with the compete program plus a very informative and even moving set of remarks by Jensen who discusses the program, her personal background and her commitment to a broad music education:
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. Barker also took the performance photos.
By John W. Barker
The University of Wisconsin-Madison’s Choral Union and UW Chamber Orchestra (both below) again pulled off a choral spectacular on Sunday afternoon.
The one-time concert was devoted to the great Classical era oratorio by Franz Joseph Haydn, The Creation, which is too big a work to be performed very frequently. But Haydn modeled it admiringly on the great Baroque oratorios of George Frideric Handel, which we almost NEVER get to hear — let’s not talk about the quite unrepresentative Messiah — by comparison. So we can be grateful for the opportunities we do have.
As always, the campus and community Choral Union sounded magnificent. It is supposed to, with a complement of 116 listed singers, as against an orchestra of a mere 34 players. So it could not avoid overshadowing and overawing all other factors. And particular power, volume and homogeneity resulted from the practice of mixing the singers completely, instead of having them stand as members of vocal sections.
This follows the pernicious gospel preached, going way back, to Robert Fountain, who founded the UW Choral Union many decades ago. One argument for it was that each singer should become more self-reliant, less dependent on the one next to him or her.
But if this practice makes for blockbuster, socko sound, it does so at the cost of part-writing clarity, especially in fugal segments. It misrepresents musical texture by exchanging its definition for a power-oriented blend, a hyped-up sludge.
It strikes me as strange that advocates for applying this doctrine to choruses do not also demand it for orchestras. Think of it: each violin individually next to a trombone, each viola mixed in with the trumpets. Now there would be a chance for socko homogeneity!
The UW Chamber Orchestra’s winds were strong enough, but the strings were woefully understaffed. At times, the ensemble sounded just a tad under-rehearsed, but on the whole it did well under its handicaps.
The soloists played a multiplying game. In Parts I and II, the three Angels, Gabriel (soprano), Uriel (tenor) and Raphael (bass), who narrated and celebrated the stages of the Creation, were taken by a fixed trio (below).
The familiar Jamie-Rose Guarrine (below top) has a strong and beautiful soprano voice. Faculty tenor James Doing (below middle) is also a valued local standby. Baritone Benjamin Schultz (below bottom) has a pleasant voice, but it lacks a true bass range.
In Part III, when Adam and Eve come on the scene, Guarrine shifted to the latter role, and another baritone weak in the low-register, Benjamin Li (below top), took over as Adam. For the final ensemble, a choral alto slipped in to round out the solo quartet (below bottom).
I note the title of the work as The Creation, rather than giving its original title, Die Schöfung, because the performance was sung in a modernized English translation.
Once in a while, those English words came through, but much of them were simply lost in mixed diction values. It might have been better — if not easier for the singers — to have kept to the original German. But all praise for an unusually ample program booklet, containing the full English text as sung.
Beverly Taylor (below), the conductor of the choir and orchestra, led with consistent energy and enthusiasm. Certainly the audience responded with great enthusiasm. (You can hear the famous chorus “The Heavens Are Telling” in a YouTube video at the bottom.)
This was, to be sure, not an ideal performance, even a lopsided one. But, after all, the point of these events is to give the choristers a chance to participate in this wonderful music, and to give the audience a relatively rare opportunity to encounter it. On those counts, this was a highly successful event.
Now, even if we are not likely to get a follow-up with Handel, we at least have Haydn’s own successor oratorio, Die Jahreszeithen, or The Seasons. That would be wonderful to hear in its turn.
ALERT: This Friday night at 8 p.m. in Mills Hall, guest conductor Andreas Stoehr of Vienna will lead the UW Symphony Orchestra and his Wisconsin-born wife, soprano Elizabeth Hagedorn, who has taught at the UW-Madison for the past three years, in a FREE concert.
The program includes the Overture to the opera “Der Freischuetz” by Carl Maria von Weber; the “Wesendonck Lieder,” or songs, by Richard Wagner; and the Symphony No. 6 “Pathetique” by Peter Ilyich Tchaikovsky. The Ear hears from a knowledgeable source that the concert will be outstanding.
For more about the impressive background of the conductor, visit:
And here is a link to a story on the A Temp blog with some quotes from the conductor about the program:
By Jacob Stockinger
The Ear has received the following notice:
The Madison Area community is invited to celebrate the 46th anniversary of Earth Day – which was founded by former Wisconsin Governor and U.S. Senator Gaylord Nelson — with an afternoon concert and reception on this Saturday, April 23, and Sunday, April 24.
The event is sponsored and organized by the group Maestro Productions.
The Madison Area Community Earth Day Celebration Concert and Reception features the Madison Area Community Chorus and Orchestra (below, from 2015) with guest soloists and the Ringing Badgers Handbell Ensemble.
It will be held at Immanuel Lutheran Church, 1021 Spaight Street, on Saturday, April 23, at 2 p.m. and on Sunday, April 24, at 2 p.m.
The program opens with Maestro’s Ringing Badgers Handbell Ensemble.
Following intermission, the Madison Area Community Chorus and Orchestra, under the direction of Mark Bloedow (below), presents George Frideric Handel‘s choral work”Ode for St. Cecelia’s Day” and other selections. (You can hear an excerpt from the Handel work in the YouTube video at the bottom.)
Guest soloists include soprano Rachel Edie Warrick (below top) and lyric tenor J. Adam Shelton (below bottom).
A reception will follow the concert in Immanuel’s Lakeview Room.
Tickets for the event are $15 for adults, $12 for seniors and $8 for children and students. They are available from Willy Street Co-op Stores (East and West Locations), online at http://maestroproductions.brownpapertickets.com, and at the door.
More information is available at Maestro’s website: www.maestroproductions.org.
By Jacob Stockinger
There are many great violinists playing today. But arguably the most important and innovative is 36-year-old Hilary Hahn (below), the thoughtful virtuoso who returns to perform a MUST-HEAR recital in Shannon Hall of the Wisconsin Union Theater at 7:30 p.m. this coming Sunday night.
The last two recitals there by Hahn were two of the most memorable live chamber music performances The Ear has ever heard.
Tickets are $27.50 to $50.50. UW-Madison students are $10.
Here is a link to information about tickets, the program and audio samples:
During her 20-year career, Hahn – who often mixes the old and new both in live performances and on recordings — has consistently turned in astounding performances of the violin repertoire, including classics. Those works include concertos and sonatas by Johann Sebastian Bach, Wolfgang Amadeus Mozart, Ludwig van Beethoven, Felix Mendelssohn, Niccolo Paganini, Johannes Brahms, Peter Ilyich Tchaikovsky, Charles Ives, Jean Sibelius, Edward Elgar, Ralph Vaughan Williams, Samuel Barber, Igor Stravinsky, Arnold Schoenberg, Sergei Prokofiev, Dmitri Shostakovich, Leonard Bernstein and others.
But she also frequently commissions and adds new works to the repertoire, including a concerto by Edgar Meyer and a Pulitzer Prize-winning concerto by Jennifer Higdon, who teaches composition at the Curtis Institute of music where Hahn studied. Plus, she is a talented and charming “postcard” blogger and interviewer.
Both sides of Hilary Hahn’s artistry – the classic and the contemporary — will be on display during her Madison recital. The very busy Hahn (below, in a photo by Peter Miller) recently agreed to do an email Q&A with The Ear:
You have long been known as an innovative artist. What are your new and upcoming projects, including recordings and commissions?
I’m in the middle of a 14-month-long artist residency at the Vienna Konzerthaus. It’s my first such experience, so I feel like a kid in a candy store, getting to try out ideas sequentially that I would otherwise have to stretch over several years.
I’m excited to include among my residency performing as soloist with five different orchestras in the same hall, as well as giving a recital there and developing local initiatives to bring the community and classical music even closer together. Next year, I will be in residence in Seattle and Lyon. It’s been fun seeing what residency activities I want to carry over and what I can add that is specific to each city.
As far as commissions go, over this season and next, I’m world-premiering and touring a significant new contribution to the solo violin repertoire, Six Partitas by Antón García Abril (below), written for me.
That is a meaningful project for me, because I sensed that Mr. García Abril would write a fantastic set of pieces if I could convince him to take on the assignment. He decided to do it and the music turned out to be more wonderful and inspiring to play than I could have imagined. It feels like those phrases breathe with me and the notes fit in my hands.
In addition, I am in the process of wrapping up the original trajectory of my project, In 27 Pieces: the Hilary Hahn Encores. After some concerts on this upcoming tour, as encores, my recital partner Cory Smythe and I will be giving world premieres of the Honorable Mentions from my Encores contest.
Finally, in the fall, the complete edition of the sheet music for all 27 original works will be published as a single edition, with my fingerings, bowings and performance notes.
Is there an underlying unity or purpose to your program of works by Mozart, Bach, García Abril, Copland and Davidson?
I hope the listeners will find their own versions of unity and purpose in the program. The pieces weren’t assembled randomly, but then again, everyone listens differently.
García Abril’s Six Partitas, of which I will play No. 1, entitled “Heart,” are solo polyphonic works. The violin alone carries multiple melodic lines, as well as providing its own harmonies. Johann Sebastian Bach (below top) wrote his polyphonic Six Sonatas and Partitas for Solo Violin in 1720. I felt it was important to carry forward this particular type of composition into the present day, so I commissioned Mr. García Abril (below bottom, in a photo by Julio Ficha) to create this set of works. (You can hear Hilary Hahn interview Anton Garcia Abril in a YouTube video at the bottom.)
His writing for violin is compelling, fluid, emotional, clever and expressively rich in a way that I felt needed to be explored further. Especially as this is the premiere tour of his Partita No. 1, I wanted to juxtapose the new work with one of Bach’s, namely the Third Sonata with its complex and multifaceted fugue.
As for the duo pieces on the program, the compositional styles — though they span 250 years — have a certain openness in common: the writing is not densely layered, leaving lots of room for imagination.
What about the works by Mozart and Copland?
Mozart’s set of sonatas for keyboard and violin is one of the most extensive for this instrumentation, and since I was a student, I’ve been adding at least one to my repertoire annually. It’s wonderful to explore such a prolific composer’s work over a long stretch of time. This particular sonata vacillates among stormy drama, lyricism and playfulness.
The piece by Aaron Copland (below) is gorgeous, revealing. In this sonata, Copland’s musical language is clearly recognizable, but the texture is more sparse than in his famous larger-ensemble works, making it boldly direct and engrossing to listen to.
And the music by Tina Davidson?
The work by Tina Davidson (below) follows on the tonality of the Copland, but the composer’s treatment of the music goes in an entirely different direction. “Blue Curve of the Earth” was written in Wyoming during an artist residency, and was inspired by a photo of the edge of the Earth from space. The music is dreamy yet dimensional, angular yet lush. “Blue Curve of the Earth” is from the Encores project.
What would you like the public to know about composers Antón García Abril and Tina Davidson and their violin music or music in general?
I like to picture where pieces were written; the surroundings can add another dimension to the music. Environment influences the creative process. The studio is the private stage. Antón works in a studio outside of Madrid that his son, the architect by the same name, designed for him. Tina is based out of a refashioned church in Pennsylvania, with vaulted ceilings and a garden.
Both write beautifully for voice. Since violin can be a lyrical instrument and is tonally varied, capable of both sustaining and articulating, the ability to write expressively for voice transfers to the violin. Also, I have the impression that both composers start from a strong conceptual point with their works. When I play their music, the big line is the first thing that jumps out at me; the myriad fine details support the gestures.
If you play an encore or two, will they be from the ones you commissioned a couple of years ago and won a Grammy for?
That’s the plan! I feel very close to those pieces. Great encores exist from previous centuries, too; I never rule out the classics.
Why did you commission 27 short encores?
I began to notice that new encore pieces were not being showcased as much as other types of contemporary works. Shorter pieces remain a crucial part of every violinist’s education and repertoire, and I believed that potential new favorites should be encouraged and performed as well.
How successful have they been with the public and with other artists?
The public embraced the project. The music contained within the Encores is varied and imaginative. Each composer had a different concept of what an encore can add to today’s musical landscape.
I think every listener can find at least one work that is particularly poignant. I want the audience to discover these pieces for themselves. It is thrilling to listen to music that you have never heard before and, uninfluenced by other people’s opinions, be free to feel your own response.
This project is something I’ve been working on for a long time; I would estimate that my direct involvement in all of the different parts will wind up having a 15-year arc. What I have learned on musical and creative levels from working with the composers will stay with me for my whole career, and the logistical lessons from organizing such a big project will influence my future work.
Most importantly, I hope the Encores themselves will continue in the active repertoire beyond my lifetime. That will be up to other performers, of course.
You have played here several times, both concertos and solo recitals. Is there anything you would like to say about performing in Madison and about Madison audiences?
I really enjoy Madison itself. It’s in a beautiful part of the country. I’ll never forget the first time I visited, in the winter, when the city was covered by snow and one of the sidewalks featured a table topped by a tower of knit hats and sweaters. As for the Madison audience, their curiosity and involvement are energizing.
Is there anything else you would like to say?
By Jacob Stockinger
This coming Sunday afternoon at 3:30 p.m. in Mills Hall, the campus-community UW-Madison Choral Union (below), the UW Chamber Orchestra and soloists will perform the oratorio the “The Creation” by the Classical-era master Franz Joseph Haydn.
First, The Ear wants to clear up any confusion about the date of the performance – which is ONE-TIME ONLY. (In the past, the Choral Union usually gave two performances.) The performance was originally scheduled for Sunday afternoon. Then it was moved to Saturday night and then, after a conflict with the Jewish Passover was seen, moved back to Sunday afternoon.
Tickets are $15 for the general public, $8 for students. For more information about tickets, the work and the performers, here is a link:
Beverly Taylor, director of choral activities at the University of Wisconsin-Madison School of Music who will conduct the performance, agreed to do an email Q&A with The Ear:
What is the place of Haydn’s “The Creation” is the choral literature? Was it influential? Popular?
It’s considered wonderful and innovative. Its choruses are magnificent, and the opening depiction of Chaos is unlike anything that had been heard up to that time.
It was written late in Haydn’s career, and showed many aspects of his wonderful talent, including musical depictions of non-musical things—water, birds, dawn — and has terrific pacing of the extended choruses building to majestic climaxes.
The premiere was enthusiastically received. It was indeed popular, although the composer’s late masses also deserve great attention. The other vocal works by Haydn (below), such as “The Seasons,” are more slowly paced, and although they contain great music, they are not often felt to be as compelling as “The Creation” with its easy-to-follow sequence of creative days.
Are there special moments or parts of the work you would like to point out to the public? How about special aspects of the performance?
When I first heard a dull performance of it years ago, I wondered what the big deal was. Then I took a good look at it: It contains chaotic oddities — a horn suddenly blaring loudly with no reference to other instruments, a trilling flute that never resolves its trill, bassoons and clarinets who play bubbling and pointless arpeggios until it all settles down to begin the first day of the Creation (famously depicted below by the British artist and poet William Blake).
There are also delightful musical depictions and sound paintings of weather that can be confusing unless you know that the orchestra depicts the weather before the bass tells us about it. That way hail won’t sound like snow! The same holds true for the description of animals — we hear the leaping stags before our singer tells us.
There will be terrific moments in the work — orchestral playing, fabulous choral singing. And there will be wonderful solo work by our experienced alumni and faculty artists soprano Jamie-Rose Guarrine (below top), tenor James Doing (below second), bass-baritone Benjamin Schultz (below third) and baritone Benjamin Li (below bottom). It’s a pleasure to make music with them.
Composer John Harbison says that Haydn is the most neglected of all the great composers. Why do you think Haydn isn’t thought of more highly and performed more often?
Among musicians, Haydn is certainly thought of highly, and many people enjoy his work, especially the element of surprise in his work — sforzandos, sudden silences, changes of rhythm.
But many of his works are chamber works designed for smaller rooms and audiences. And in our modern life, the size of the orchestra and special instruments and added theatrical elements often attract more people. Haydn’s chamber works are fabulous, but sometimes subtle. However, they repay well those who pay attention to them.
What else would you like to say about the composer, this particular work or this performance?
Haydn was influenced by and had influence on Wolfgang Amadeus Mozart and Ludwig van Beethoven, on all the European composers. But what inspires audiences — including, we hope, ours — is the immediacy of the beauty of the music. You don’t need special training to jump right in and listen.
Here are two preview posts that appeared here:
Here is a review written by Greg Hettmansberger for his blog WhatGregSays and Madison Magazine:
And here is a review by Lindsay Christians for The Capital Times:
By Jacob Stockinger
No new classical music group generated more great buzz last year than The Willy Street Chamber Players. And that enthusiasm was shared by The Ear, who can’t recall hearing anyone or anything being negative about the group’s inaugural season.
Here is a link to one rave review, written by John W. Barker for this blog, that focused on astounding performance of the famous Octet by Felix Mendelssohn and a Brandenburg Concerto No. 3 by Johann Sebastian Bach:
A friend of The Ear who plays with the Willy Street Chamber Players (below) sends the following word:
Newcomers to the Madison classical music scene, the critically acclaimed group The Willy Street Chamber Players, will be returning to the stage for a second season this July.
The group will perform four concerts at Immanuel Lutheran Church (below), 1021 Spaight St., and season tickets are available now.
Here is a link to the updated events page:
This summer’s concerts will include fresh performances of time-honored classics. They include the Clarinet Quintet by Wolfgang Amadeus Mozart and the fiery “Souvenir de Florence” by Peter Ilyich Tchaikovsky.
The season will also include works that will be new to many Madison audience members.
Guest artists include violinist Suzanne Beia (below top) of the UW-Madison’s Pro Arte Quartet, the Madison Symphony Orchestra and the Wisconsin Chamber Orchestra; clarinetist Joe Morris (below middle), who is leaving the Madison Symphony Orchestra; and UW-Madison graduate student pianist Thomas Kasdorf (below bottom).
New this season will be a performance given in partnership with the Madison Museum of Contemporary Art on the evening of Friday, July 22, 2016.
That’s when the Willy Street Chamber Players will present the monumental work, “Black Angels,” composed by George Crumb (below) for electric string quartet, in what promises to be an unforgettable performance.
Written in response to the Vietnam War, this avant-garde work requires players to amplify their instruments, speak with their mouths, perform with extended techniques, play on crystal glasses and more. (You can hear Part 1 in the YouTube video at the bottom.)
In the meantime, you can hear the group live on Wisconsin Public Radio‘s Midday Show with Norman Gilliland (below) on this Thursday, April 21, at noon. This special broadcast will be performed in front of a live studio audience in celebration of the Midday Show’s 25th anniversary.
Visit www.willystreetchamberplayers.org for 2016 season details, tickets and more.
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.
By John W. Barker
It was a short program — lasting under an hour — but an outstanding one, that the Middleton Community Orchestra (below) gave on Wednesday evening.
There were only two works, but profoundly challenging ones, and associate conductor Kyle Knox (below) really put his amateur players’ feet to the fire.
That creates a uniquely etherial sound, but one that takes great effort to bring off. The MSO has been developing a surprisingly fine string band. Its violinists met the demands of tone and balance beautifully, producing a performance of transcendent beauty.
The other, longer, work was a symphony heard far too rarely. This was the Symphony No. 3 of Finnish composer Jean Sibelius (below).
I say quite frankly that it is my favorite among the symphonies of Sibelius. After the post-Tchaikovsky bombast of the First and Second, it was in this Third that the composer first found his own orchestral voice, establishing how to make his instruments and their ensembles work in ways that were totally his.
In its use of variations, and especially of thematic evolution, the Third also drafted the blueprint for the Fifth Symphony, which conductors and audiences adore, but to the cruel eclipse of the Third.
This Third– which you can hear in the YouTube video at the bottom– is not an easy work to bring off. Its orchestral textures are full of tricky intricacies. No surprise that, here and there, one might hear quick moments in which the tension slackened. But Knox drew the players through a performance of beauty and power, finely honed and sonorously rendered.
The players clearly relish working under Knox. (The orchestra’s founding father, Steve Kurr, was sitting modestly in the viola section for this concert.) Knox’s own growth as a conductor is paired with his guiding of the orchestra to higher and higher achievements. Just for programming the Sibelius Third, I award him strong praise, but for bringing it off so well I must multiply my accolades.
I take this as a landmark event for the MCO—a genuine achievement. It is sad that the audience was not larger. Madison music-lovers, where are you when music and artistry like this is available to you?
I anticipate ranking this as my “concert of the year” when the final returns are in!
ALERT: Blog contributor and all-round musician — violist, conductor and singer as well as critic — Mikko Rankin Utevsky sends the following word:
Dear friends: I’m giving my senior viola recital this Sunday evening, April 10, the culmination of my four years of study here at the UW-Madison. On the program are a pair of powerful and evocative works from 1919: the Viola Sonata of Rebecca Clarke, and the Suite for Viola and Piano by Ernest Bloch. Pianist Thomas Kasdorf joins me for the program, which is at 7 p.m. at Capitol Lakes, off the Capitol Square, at 333 West Main Street. I hope to see you there!
P.S.: Thomas and I are giving another recital – with me singing this time – on Tuesday, May 10, at 7 p.m., also at Capitol Lakes. On the program are assorted songs by Samuel Barber, Kurt Weill, Charles Ives, Robert Schumann, and Claude Debussy, and the “Songs of Travel” by Ralph Vaughan Williams. If you can’t make this one, see you in a month!
By Jacob Stockinger
Multi-media concerts seem to be catching on, perhaps in an attempt to attract new and younger audiences.
Next season the Madison Symphony Orchestra will do two of them: Gustav Holst’s “The Planets” with a hi-definition film made by NASA for the Houston Symphony Orchestra; and a Beyond the Score with “Scheherazade” by Nikolai Rimsky-Korsakov, accompanied by photographs plus actors Jim DeVita and Brenda DeVita from American Players Theatre in Spring Green.
Doing mutli-media is nothing new for the Bach Dancing and Dynamite Society, which is always experimenting and looking for novel approaches to classical music. But the group is expanding how it is done in an impressively populist way.
Here is an announcement from The Ear’s friends at the Madison-based Bach Dancing and Dynamite Society, which turns 25 this summer:
Have you taken photos of your favorite time of year?
Visual artist Lisa A. Frank will be creating photographic scenery for this year’s “Bach Dancing and Dynamite Society” concerts at the Overture Center for the Arts.
The program on June 25 will include the “Four Seasons” by Antonio Vivaldi. For this concert, a photo collage of the four seasons – like Frank’s spring image of bird eggs and feathers in a nest and the fall image of gourds – will be projected on a large screen behind the musicians.
(You can get a sense of it from the popular YouTube video at the bottom, which features the “Spring” section of the four string concertos that make up “The Four Seasons.)
Lisa Frank (below) invites amateur photographers of all ages to participate in this concert by sending up to 5 of your best shots depicting any aspect of any season.
The images can be in jpeg, tiff or Photoshop format. If your photograph is included, you may be asked to resend a higher resolution image. (Below is a summer photo of a flower and butterfly.)
All featured photographers will receive a video of the final result.
Up to 100 photos will be selected.
Send your photographs by Sunday, April 18 to:
And here is a link – with information about programs, performers, venues and tickets — to the new summer season of the Bach Dancing and Dynamite Society, which celebrates the group’s 25th anniversary or Silver Jubilee: