The Well-Tempered Ear
Classical music: This weekend guest violinist Rachel Barton Pine solos with the Madison Symphony Orchestra in an all-Russian program
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By Jacob Stockinger
This weekend the acclaimed Chicago violinist Rachel Barton Pine (below) makes her debut with the Madison Symphony Orchestra playing Khachaturian’s Violin Concerto in D minor.
The concert by the orchestra (below, in a photo by Peter Rodgers) opens with Prokofiev’s Suite from Lieutenant Kijé and concludes with Shostakovich’s Symphony No. 9.
Performances will be held in Overture Hall, 201 State St., on Friday night, Oct. 18, at 7:30 p.m.; Saturday night, Oct. 19, at 8 p.m.; and Sunday afternoon, Oct. 20, at 2:30 p.m. in Overture Hall. Tickets are $19-$95. See below for details.
“There will be great discoveries in our all-Russian concert, starting with the MSO debut of virtuoso violinist Rachel Barton Pine playing the Khachaturian Violin Concerto, a big, bold and beautiful work in its MSO premiere,” said MSO music director and conductor John DeMain (below, in a photo by Greg Anderson). Lieutenant Kijé is sure to delight you with its wonderful melodies and infectious rhythms. Shostakovich has become a favorite with our audiences, and his ninth symphony is delightfully upbeat.”
Lieutenant Kijé is the fictional protagonist of an anecdote about the reign of Emperor Paul I of Russia. The story was used as the basis of a novella by Yury Tynyanov published in 1928 and filmed in 1934, with music by Sergei Prokofiev (below). The plot is a satire on bureaucracy and is often parodied in fictional works making fun of bureaucracies, most famously in the form of the M*A*S*H television episode “Tuttle,” featuring a fictional captain of similar provenance. (You can hear the popular “Troika” episode in the YouTube video at the bottom.)
Many of the themes in Violin Concerto in D minor are evocative of the native Armenia of Aram Khachaturian (below). Although the folk melodies aren’t played explicitly, one can hear the Armenian roots through the oriental essence of the scales and the rhythmic range of the featured dances. The piece won the Stalin Prize in 1941, becoming one of Khachaturian’s favorites.
Shostakovich’s Symphony No. 9 is entirely unlike his other symphonies. In fact, it completely disregards the expectations for its programmatic elements. Shostakovich’s prior two symphonies are thematically tied to the ongoing war, therefore the public presumed that the ninth symphony would be a grand culmination to Stalin and mark the end of World War II. Instead, the composer (below) produced a short, neo-classical work that generated an abundance of controversy.
ABOUT RACHEL BARTON PINE
In both art and life, violinist Rachel Barton Pine (below) – who has performed in Madison before with the Wisconsin Chamber Orchestra — has an extraordinary ability to connect with people.
Celebrated as a leading interpreter of great classic and contemporary works, her performances combine her innate gift for emotional communication and her scholarly fascination with historical research. She plays with passion and conviction, thrilling audiences worldwide with her dazzling technique, lustrous tone, and infectious joy in music-making.
A prolific recording artist, she has also championed the works of female composers and African-American composers.
Pine was also recently named the recipient of the Cedille Records Musical Partnership Award for her Rachel Barton Pine Foundation. The Foundation was recognized as an organization that has demonstrated an extraordinary commitment to the classical music community in Chicago. Cedille noted the Foundation’s “support of the Chicago musical community’s most valuable asset — its musicians and composers.”
Pine was presented with the award by U.S Supreme Court Justice Ruth Bader Ginsburg whose son, Jim Ginsburg, founded Cedille Records. Pine began her Foundation in 2001 to provide instruments and instruction to children who might not otherwise be able to afford them.
You can read the Artist Story online about how Rachel Barton Pine overcame severe injuries and her own personal adversity to achieve her goals: https://madisonsymphony.org/19-20-artist-story-rachel-barton-pine-overcomes-adversity/
CONCERT, TICKET AND EVENT DETAILS
The lobby opens 90 minutes prior to each concert.
One hour before each performance, retired MSO trombonist and UW-Whitewater professor Michael Allsen (below, in a photo by Katrin Talbot) will lead a 30-minute Prelude Discussion in Overture Hall to enhance concertgoers’ understanding and listening experience. It is free to ticket holders.
The MSO 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 Prelude Discussion.
Program notes for the concerts are available online: http://bit.ly/msooct19programnotes.
- Single Tickets are $19-$95 each and are on sale now at: https://madisonsymphony.org/event/rachel-barton-pine-plays-khachaturian/through the Overture Center Box Office at 201 State Street, or by calling the Box Office at (608) 258-4141. Fees apply to online/phone sales.
- Groups of 10 or more can save 25% by calling the MSO office at (608) 257-3734. For more information, visit, https://www.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 $15 or $20 tickets. More information is at: https://www.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.
- Flex-ticket booklets of 8-10 vouchers for 19-20 symphony subscription concerts are available. Learn more at: https://madisonsymphony.org/flex
- Subscriptions for the 2019–2020 season are available now. Learn more at: https://madisonsymphony.org/19-20
Discounted seats are subject to availability, and discounts may not be combined.
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Classical music: Two noteworthy baroque concerts by Just Bach and the Wisconsin Baroque Ensemble are on tap this Wednesday afternoon and Saturday night
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By Jacob Stockinger
Fans of Baroque music have two noteworthy events this week to look forward to.
Both concerts feature period instruments and historically informed performance practices.
WEDNESDAY AT NOON
This coming Wednesday, Oct. 16, from noon to 12:30 p.m. at Luther Memorial Church, 1021 University Avenue, the second FREE Just Bach concert of the semester will take place.
The concerts by Just Bach (below, in a photo by John W. Barker) are now a regular feature of the Music at Midday at Luther Memorial Church.
Organist Mark Brampton Smith opens the program with a brief Fantasia on the melody of “Christ lag in Todesbanden” (Christ Lay in Death’s Bonds). That tune will reappear at the very end of the program, in the final chorale of Cantata 158.
The next piece on the program was also written for solo organ, but will be heard in an arrangement for violin, viola, cello and organ. Johann Sebastian Bach wrote six organ trio sonatas, apparently for his eldest son, Wilhelm Friedemann.
The C Minor Sonata, the second in the set, is full of fiery drama in the outer movements, framing a dreamy, peaceful Largo.
UW-Madison baritone Paul Rowe will lead the chorale sing-along, a beloved audience-participation feature of these programs.
The program closes with Cantata 158, “Der Friede sei mit dir” (Peace Be with You), with solo bass-baritone Jake Elfner. Elisheva Pront provides the luminous “cantus firmus” (an existing melody used in a polyphonic composition) in the second movement, which also features a beautiful violin solo played by Kangwon Kim. The Cantata ends with a chorale on the tune of “Christ lag in Todesbanden.”
You may bring your lunch and beverage.
The concert is FREE and open to the public, with a goodwill offering collected.
Other Just Bach concerts this fall, all Wednesdays at Noon, are: Nov. 20 and Dec. 18.
Performers this week are: Jake Elfner, bass-baritone; Elisheva Pront, soprano; Kangwon Kim, violin; Leanne League, violin; Marika Fischer Hoyt, viola; James Waldo, cello; and Mark Brampton Smith, organ.
For more information, go to: https://justbach.org or https://www.facebook.com/JustBachSeries/
SATURDAY NIGHT
This Saturday night, Oct. 19, at 7:30 p.m. in Saint Andrew’s Episcopal Church, 1833 Regent Street in Madison, the Wisconsin Baroque Ensemble (below) will perform a concert of varied chamber music.
Performers include: Mimmi Fulmer, UW-Madison soprano; Nathan Giblierano, baroque violin; Eric Miller, viola da gamba and baroque cello; Chelsie Propst, soprano; Charlie Rasmussen, viola da gamba and baroque cello; Consuelo Sañudo, mezzo-soprano; Anton TenWolde, baroque cello; and Max Yount, harpsichord.
Tickets are at the door only: $20 for the public, $10 students. After the concert, a reception will be held at 2422 Kendall Ave, second floor.
The program is:
Henry Purcell: Three Fantasias
Giacomo Carissimi: “Scrivete, occhi dolente” (Write, Sore Eyes)
George Frideric Handel: Violin Sonata, HWV 372 (heard in an animated graphic depiction the YouTube video at the bottom)
Claudio Monteverdi: “Baci soave e cari” (Soft and Dear Kisses)
INTERMISSION
Luzzasco Luzzaschi: “O dolcezze amarissime” (O Bitter Sweetness)
Martin Berteau: Trio for violoncellos
Giulio Caccini: Excerpts from “La liberazione di Ruggiero” (The Liberation of Ruggiero)
For more information, go to: www.wisconsinbaroque.org
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Classical music: The Mosaic Chamber Players open their new four-concert season this Saturday night with an all-Mozart program
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By Jacob Stockinger
The critically acclaimed Mosaic Chamber Players (below, in a photo by John W. Barker) will open their new season this coming Saturday night, Oct. 12, at 7:30 p.m. in the older and historic Frank Lloyd Wright-designed Landmark Auditorium of the First Unitarian Society of Madison, 900 University Bay Drive.
The program is all works by Wolfgang Amadeus Mozart (below) and includes the following pieces:
The Sonata for Violin and Piano in C Major, K. 303, features violinist Laura Burns, of the Madison Symphony Orchestra and the Oakwood Chamber Players, and pianist Jess Salek, who is also the founder and artistic director of the chamber music ensemble.
The Sonata for Violin and Piano in B-Flat Major K. 454, will be performed by violinist Wes Luke, of the Ancora String Quartet and the Wisconsin Chamber Orchestra, and pianist Salek.
The energetic Piano Quartet in G minor, K. 478, features violinist Laura Burns, violist Wes Luke, pianist Salek and cellist Derek Handley (below), of the Madison Symphony Orchestra, the Milwaukee Symphony Orchestra and the Wisconsin Chamber Orchestra. (In the YouTube video at the bottom, you can see a graphic depiction of the first movement of the Piano Quartet.)
Tickets are $15 for general admission, $10 for seniors, and $5 for students. Only checks or cash will be accepted.
A reception will be held after the performance
Here are the concerts and programs – all take place at the First Unitarian Society — for the rest of four-concert season, including two-all Beethoven concerts to mark the Beethoven Year in which the 250th anniversary of the composer’s birth will be celebrated.
Friday, Feb. 21, at noon (Free admission)
All-Beethoven (below) String Sonata Program:
Sonata in F Major for Piano and Cello, Op. 5, No. 1
Sonata in E-Flat Major for Piano and Violin, Op. 12, No. 3
Sonata in C minor for Piano and Violin, Op. 30, No. 2
Saturday March 21, at 7:30 p.m. (Tickets required)
All-Prokofiev (below) Program:
Sonata in F minor for Violin and Piano, Op. 80
Sonata in D Major for Violin and Piano, Op. 94a
Sonata in C Major for Cello and Piano, Op. 119
Saturday June 13, 2020 7:30 p.m. (Tickets required)
All-Beethoven Piano Trio Program:
Piano Trio in E-Flat Major, Op. 1, No. 1
Piano Trio in E-Flat Major, Op. 70, No. 2
Piano Trio in G Major, Op. 121a: “Kakadu” Variations
For more information about the group and biographies of the players, go to: http://www.mosaicchamberplayers.com
You can also follow the group on Facebook: https://www.facebook.com/mosaicchamberplayers/
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Classical music: How did Baroque composer Telemann get overshadowed and why is he being rediscovered? Trevor Stephenson talks about his all-Telemann concerts this weekend
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By Jacob Stockinger
This weekend, the Madison Bach Musicians (MBM) will give two performances of a concert devoted exclusively to the music of Baroque composer Georg Philip Telemann (below).
The performances are: Saturday night, Oct. 5, at 8 p.m. in the Atrium Auditorium of the First Unitarian Society of Madison, 900 University Bay Drive, where MBM will be artists-in-residence this season; the second performance is on Sunday afternoon, Oct. 6, at 3:30 p.m. at the Holy Wisdom Monastery, 4200 County Road M, in Middleton.
Tickets are $35 in advance and are available at the Willy Street Coop East and West, and at Orange Tree Imports. Tickets at the door are $38 for the general public; $35 for seniors; and $10 for student rush tickets that go on sale 30 minutes before each lecture. The lectures take place 45 minutes before the performance, at 7:15 p.m. and 2:45 p.m, respectively.
Why focus on the music of Georg Philipp Telemann (1681-1767)?
Trevor Stephenson, the founder and director of the Madison Bach Musicians, talks about it in an email Q&A with The Ear:
Why does Telemann, who was so respected in his day, seem to get far less play, fewer performances and less mentioning today than his contemporaries Bach, Vivaldi and Handel?
Telemann was born in 1681 — three years after Vivaldi and four years before Bach and Handel. He was astonishingly prolific and it is estimated that he wrote more than Bach and Handel combined.
On top of this, he was very highly respected and was widely published and performed during his life. Remember, it was Telemann — not Bach — whom the Leipzig council wanted to hire for the music director position in 1723. But Telemann was enjoying his wonderful new post in Hamburg—a thriving port city — and was not about to go back to landlocked Leipzig where he had spent his student days.
At any rate, after the 18th century had passed and its music became somewhat marginalized, in the early 19th century it was Bach’s music, not Telemann’s, that suddenly re-emerged.
Bach’s tremendous emotional depth, contrapuntal mastery and ability to control large-scale forms in an almost heroic way spoke with greater urgency to the Romantic sensibility than did Telemann’s elegant craftsmanship. Indeed, 19th-century Bach scholars often mean-spiritedly used Telemann as a foil for Bach.
Telemann’s music nevertheless received a modicum of performances in the early 20th century, but in the 1980s and 1990s, as the Early Music movement really got rolling—and the level of period-instrument performance increased—it became apparent that Telemann’s music really was hot stuff!
Now his music is enjoying a wonderful and well-deserved revival.
What are the appealing and admirable qualities you see in Telemann’s music? Are there any drawbacks to his compositions?
Telemann had a wonderful sense of melodic invention — probably music’s analog to an artist’s ability to draw — and his tunes seem to flow out effortlessly. And although his output was opulent, he had an uncanny sense of form and how much weight – duration — any given musical scene could bear.
He also was a masterful musical polyglot, able to jump back and forth easily between Italian, French and German musical idioms; and like Bach, he was also adept at integrating them into a unified style—this integration of national styles was a frequently acknowledged goal of 18th-century composers.
Telemann’s limitations are apparent when he is juxtaposed with Handel, who could dramatically really take the roof off and who could also find the inner essence of the human voice, and Bach who, like Shakespeare, through a near alchemy of sound and meaning could consistently define and further what it means to be human.
How and why did you put this program together? What unifies it and what would you like the public to know about it?
Madison Bach Musicians’ concertmaster and assistant artistic director Kangwon Kim (below left with Emily Dupere) did the heavy lifting in putting together this wonderful program of Telemann’s chamber music. MBM will present three of Telemann’s programmatic or story works, one church cantata and three purely instrumental selections.
With narration and graphics, we’ll walk you through how he cleverly depicts scenes from Swift’s Gulliver’s Travels (1726, below), which had been in print only two years when Telemann wrote his topical Gulliver Suite in 1728. Telemann loved ludicrous irony, like the tiny Lilliputians dancing a heavy chaconne—which Telemann notates in a hilarious, confounding mass of 64th and 128th notes. And then there’s the Brobdingnagian giants doing their rendition of a light-footed gigue, rendered in loopy, cumbersome whole notes!
We’ll also present the marvelous Suite Burlesque based upon Cervantes’ Don Quixote (below): Quixote’s love for Dulcinea, his jousting with windmills, and how a crowd mocks Quixote’s faithful, world-weary servant Sancho Panza.
To top it off, guest artist mezzo-soprano Clara Osowski (below) will sing the droll and sweetly amusing cantata about the demise — brought about by the cat! — of a favorite and very artistic canary. Osowski will also sing the church cantata Weicht, ihr Sünden, bleibt dahinten (Yield, You Sins, and Stay Behind Me). Telemann wrote more than 1,000 church cantatas.
The concert includes non-programmatic works for string band: the dramatic and Corelli-esque Sonata à 6 in F minor for two violins, two violas, cello and continuo; and the sparkling Sinfonia Spirituosa (heard in the YouTube video at the bottom). I will also perform some fascinating Fantasy miniatures for solo harpsichord, and will give a pre-concert lecture at both events.
For more information about the program, the performers and tickets, go to: www.madisonbachmusicians.org
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Classical music: The adventurous Oakwood Chamber Players open their new ”Panorama” season of unusual repertoire this coming Saturday night and Sunday afternoon
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By Jacob Stockinger
How many of the composers’ names below do you recognize?
Probably very few, if you are like The Ear.
But here is your chance to explore new musical territory.
Over many years, the adventurous Oakwood Chamber Players (OCP) have built a reputation for first-rate performances of rarely heard repertoire, both old and new.
This year is no different.
The group will begin its new season — entitled Panorama— with performances on this coming Saturday night, Sept. 14, at 7 p.m. and Sunday afternoon, Sept. 15, at 2 p.m.
Both concerts will be held at the Oakwood Village Center for Arts and Education, 6209 Mineral Point Road, on Madison’s far west side near West Towne Mall.
Tickets can be purchased with cash or personal checks — no credit cards — at the door: $25 for general admission, $20 for seniors and $5 for students. Visit www.oakwoodchamberplayers.com for more information.
Members of the Oakwood Chamber Players (below) are: flutist Marilyn Chohaney; clarinetist Nancy Mackenzie; bassoonist Amanda Szczys; hornist Anne Aley; violinist Elspeth Stalter-Clouse; and cellist Maggie Darby Townsend.
Guest artists are: pianist Eric Tran; flutist Dawn Lawler; oboist Valree Casey; bassoonist Midori Samson; and trumpeter John Aley.
The ensemble is pleased to feature a new member at its opening concert. Violinist Elspeth Stalter-Clouse’s talents will be heard in two works: a fiery piano trio by Spanish composer Gaspar Cassado (below top); and as a soloist on the sweetly expressive Canzonetta for violin and piano by Italian-American composer Rosa Alba Vietor (below bottom). You can hear the Recitative movement, which takes about 10 seconds to start, from the Piano Trio by Gaspar Casado in the YouTube video at the bottom.
The program will include two larger wind works by French composers: Pastoral Variations in the Old Style by Gabriel Pierne (below top); and Octet for Winds by Claude Pascal (below bottom).
The ensemble will round out the program with two short contrasting works for winds and piano: the flute trio La Bergere des Brise de Vallee (The Shepherdess of the Valley Breezes) by American composer Margaret Griebling-Haigh (b. 1960, below top); and Suite for flute, oboe, clarinet and piano by Danish composer Johan Amberg (below bottom).
The Oakwood Chamber Players is a group of Madison-area professional musicians who rehearse and perform at Oakwood Village University Woods. Members also play in other area ensembles, including the Madison Symphony Orchestra and the Wisconsin Chamber Orchestra, and have ties to the University of Wisconsin-Madison Mead Witter School of Music.
The Oakwood Chamber Players are a professional music ensemble proudly supported by Oakwood Lutheran Senior Ministries and the Oakwood Foundation.
Tags: #AmandaSzczys, #AmericanComposer, #AnneAley, #BlogPost, #BlogPosting, #CelloMusic, #CityofMadison, #ClarinetMusic, #ClassicalMusician, #ClaudePascal, #CreditCard, #DanishComposer, #DawnLawler, #ElspethStalter-Clouse, #EricTran, #FacebookPost, #FacebookPosting, #FluteMusic, #FluteTrio, #Frenchcomposer, #GabrielPierné, #GasparCassado, #GeneralAdmission, #GuestArtist, #HornMusic, #JohanAmberg, #JohannAmberg, #JohnAley, #MadisonSymphonyOrchestra, #MaggieDarbyTownsend, #MargaretGriebling-Haigh, #MarilynChohaney, #MeadWitterSchoolofMusic, #MidoriSamson, #NancyMackenzie, #NewMusic, #OakwoodChamberPlayers, #OakwoodFoundation, #OakwoodVillageWest, #OboeMusic, #ProfessionalMusician, #RosaAlbaVietor, #SaturdayNight, #SpanishComposer, #Sundayafternoon, #TheEar, #TrumpetMusic, #UnitedStates, #UniversityofWisconsin-Madison, #UniversityWoods, #ValreeCasey, #ViolinMusic, #WestSide, #WestTowneMall, #WindMusic, #WisconsinChamberOrchestra, #YouTubevideo, adventure, adventurous, afternoon, Amanda Szczys, America, American, American composer, Anne Aley, audience, Bassoon, bassoonist, blog, breezes, cash, cellist, Cello, check, clarinet, clarinetist, classical musici, classical musician, classicalmusic, Claude Pascal, composer, Concert, contrast, credit card, Dawn Lawler, Denmark, different, door, Elspeth Stalter-Clouse, ensemble, Eric Tran, explore, expressive, Facebook, fiery, fine, first-rate, flute, flutist, foundation, France, French, Gabriel Pierne, Gaspar Cassado, general admission, group, guest artist, heard, Horn, hornist, Italian, Italian-American, Italy, Johan Amberg, Johann Amberg, John Aley, Lutheran, Madion, Madison, Madison Symphony Orchestra, Maggie Darby Townsend, Margaret Griebling-Haigh, Marilyn Chohaney, Mead Witter School of Music, member, Midori Samson, ministry, Music, musical, Musician, name, Nancy Mackenzie, new, New Music, night, Oakwood Chamber Players, Oakwood Foundation, Oakwood Village West, Oboe, oboist, OCP, Octet, old, opening, panorama, pastoral, perform, performance, performer, Pianist, Piano, post, posting, professional, rarely, recognize, rehearse, repertoire, repertory, Rosa Alba Vietor, Saturday, Season, seniors, shepherdess, soloist, Spain, Spanish, students, style, Suite, Sunday, support, sweet, territory, The Ear, ticket, trio, Trumpet, trumpeter, U.S., University of Wisconsin–Madison, University Woods, UW-Madison, valley, Valree Casey, variations, video, Violin, violinist, west side, West Towne Mall, wind octet, winds, Wisconsin, Wisconsin Chamber Orchestra, Wiscosnin, year, years, YouTube
Classical music: The Wisconsin Union Theater will hold an on-stage “exercising” – or playing — session for the public with its Steinway piano on Sunday, Sept. 22. Details are pending
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By Jacob Stockinger
Attention area pianists – students and teachers, amateurs and professionals!
It may be time to start some serious practicing if you have ever wanted a chance to play on the stage at the venerable Wisconsin Union Theater.
A public session will take place in Shannon Hall (below) on Sunday, Sept. 22, although no specific hours or details of the sign-up process have been announced yet. That is when the Wisconsin Union Theater will allow selected members of the public to play on its Steinway.
If you didn’t already know, instruments – both new Steinway pianos and old Stradivarius violins – work better and sound better when they are warmed up and played regularly. That is, they are at peak performance when they are “exercised,” as it is called.
Kind of like human bodies!
The piano in question is the same piano used by world-famous guest artists on the Wisconsin Union Theater’s Concert Series, most of whom have also signed the gold-painted metal harp or frame inside the piano.
For example, in the photo below you can see Misha Dichter – renowned for his dazzling technique and his interpretations of Franz Liszt’s virtuoso works — becoming the first pianist to sign the third of the Union’s four Steinways, which span a century, in 1970. (You can hear Dichter play two Hungarian Rhapsodies, with incredible repeated notes and impressively fast octaves in both hands, by Liszt in the YouTube video at the bottom.)
Here is a link to the announcement, which has some fascinating background about the previous pianos at the Wisconsin Union Theater: https://union.wisc.edu/visit/wisconsin-union-theater/the-green-room/open-piano-day-puts-a-twist-on-tradition/
The Ear still hasn’t’ heard about specific hours; about the sign-up process; if music other than classical, such as jazz or pop or rock, will be allowed; or if the public can attend and listen.
But stay tuned.
As details become available, The Ear will share them.
Or you can go to website unionwisc.edu or the above web address and check for yourself.
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Classical music: The Karp family turns in a memorable and moving 40th annual Labor Day concert that also took listeners back in time
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By Jacob Stockinger
If you missed the free 40th annual Karp Family Labor Day Concert on Tuesday night in Mills Hall, you missed more than music. You missed the kind of event that makes for long and precious memories.
Sure, you can nitpick the program and the performers, who also included daughter-in-law violist Katrin Talbot (below right) and guest violinist Suzanne Beia (below left), who performs with the Pro Arte Quartet, the Madison Symphony Orchestra and the Wisconsin Chamber Orchestra.
You could ask, for example, which cello transcription worked better – the Violin Sonatina, Op. 100, by Dvorak or the Violin Sonata No. 10, Op. 96, by Beethoven. (The Ear votes for the Dvorak.)
And you could also ask which performer stood out the most. (The Ear thinks that is the great-grandmother and matriarch pianist Frances Karp playing in a Mozart piano quartet. At 90, Frances still possesses beautiful tone, the right volume and balance, and the necessary technical chops. They say there is nowhere to hide in Mozart, but Frances Karp did need any place to hide. Her Mozart was, simply, sublime.)
But, in the end, those kinds of questions and critiques really seem beside the bigger point.
What mattered most was the sheer enjoyment of hearing a family perform live some wonderful music by Mozart, Beethoven, Dvorak and Schumann (the passionate Adagio and Allegro in A-flat Major, Op. 70, played by Lynn Harrell in the YouTube video at the bottom).
And what mattered more as The Ear thought about it was the kind of time travel the concert involved.
There were two kinds, really.
One had to do with having watched the various performing Karps – clearly Madison’s First Family of Music – over four decades. It was touching to realize that The Ear has seen cellist Parry Karp, to take one example, evolve from son to husband to father to grandfather. And through it all, the music remained.
In today’s culture of short attention spans, that kind of constancy and persistence — through the inevitable ups and downs of 40 years — is something to celebrate, admire and cherish.
Time travel happened in another way too.
The Ear first watched Frances Karp accompany her son Parry (below top), then watched son Christopher Karp accompany his older brother Parry (below bottom). And it called to mind the days when – before radio or recordings – families made music together in their homes.
Historically, that’s how many great composers and much great music got started. Wolfgang Amadeus Mozart and Felix Mendelssohn played piano duets with their gifted sisters, Nannerl and Fanny, respectively. Jean Sibelius played duets with his sister. And there were surely many more. Hausmusik, or “house music,” played a vital role.
And this is how it felt at the traditional Karp family concert. We felt invited into a loving, close and gifted musical family who were performing as much for each other as for the audience.
We could use more of that.
The musical and the familial mixed so beautifully, so convincingly, that all one can say after the event is “Thank you” with the ardent wish to hear them again next year.
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Classical music: The Ancora String Quartet performs an all-Italian program four times this month starting this weekend and returns as an ensemble-in-residence at the First Unitarian Society of Madison
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By Jacob Stockinger
The Ear has received the following information to post:
The Ancora String Quartet (below) opens its 19th season with a program of works by three Italian composers more usually associated with opera, or solo violin music, than with string quartets.
Members of the Ancora String Quartet (ASQ, below from left in a photo by Barry Lewis) are violins Wes Luke and Robin Ryan; violist Marika Fischer Hoyt; and cellist Benjamin Whitcomb.
Violin virtuoso and composer Antonio Bazzini (below) led a rockstar’s life, touring Europe and hobnobbing with Robert Schumann and Felix Mendelssohn. He later settled in Milan, winning first prize in the Milan quartet competition in 1864 with this piece. The Scherzo shows Mendelssohn’s influence, and the Andante sostenuto delivers breathtakingly beautiful passages of lyrical romance and tender passion.
Opera great Giaocomo Puccini wrote Chrysanthemums (Crisantemi) in one night, upon hearing the news of the death of his friend the Duke of Savoy in 1890. The six-minute piece expresses the composer’s sorrow, in themes that bring to mind the poignant melodies of “Madama Butterfly.” (You can hear “Chrysanthemums” in the YouTube video at the bottom.)
The String Quartet in E Minor (1873) by Giuseppe Verdi (below) opens with restrained moodiness, but the drama quickly leaps off the page. Written to pass the time while waiting for the delayed opening of his opera “Aida,” this quartet demonstrates Verdi’s mastery of purely instrumental writing — although the cello solo in the Trio of the Scherzo could pass for a tenor aria. The work ends, surprisingly, with an elaborate fugue.
The quartet is gearing up for four performances in September, listed below.
In related news, the Ancora String Quartet, like the Madison Bach Musicians, will become a Resident Ensemble at the First Unitarian Society of Madison (FUS) starting this fall. We are pleased to reconnect with our FUS audiences, and hope our Regent Street fans will make the trip as well.
Here is the September schedule of the Italian program:
- This Friday, Sept. 6, from noon to 1 p.m. in an interview on Wisconsin Public Radio’s The Midday with host Norman Gilliland. WPR is Madison station WERN 88.7 FM. The ASQ will perform the entire Bazzini quartet.
- This Saturday, Sept. 7, at 7:30 p.m. at the FUS, Landmark Auditorium, Madison. Tickets at the door are $15 for the general public, $12 for seniors and $6 for students.
- Sunday, Sept. 8, at 3 p.m. at FUS, Landmark Auditorium, Madison, 900 University Bay Drive, Madison. Tickets at the door are $15, $12 and $6.
- Next Tuesday, Sept. 10, at 6 p.m. at the Germantown Community Library, N112W16957 Mequon Rd., in Germantown. The concert is FREE and open to the public.
Tags: #AncoraStringQuartet, #AntonioBazzini, #Artists-in-Residence, #BenjaminWhitcomb, #BlogPost, #BlogPosting, #ChamberMusic, #Chrysanthemums, #CommunityLibrary, #CommunitySupport, #Ensemble-in-residence, #FacebookPost, #FacebookPosting, #FelixMendelssohn, #FirstUnitarianSocietyofMadison, #GermantownWisconsin, #GiacomoPuccini, #GiuseppeVerdi, #InstrumentalMusic, #italianComposer, #ItalianComposers, #JohannSebastianBach, #LandmarkAuditorium, #MadamaButterfly, #MadameButterfly, #MadisonBachMusicians, #MadisonSymphonyOrchestra, #MarikaFischerHoyt, #NormanGilliland, #OperaAria, #OperaMusic, #RobertSchumann, #RobinRyan, #SeniorCitizen, #StringQuartet, #TenorSinger, #TheMidday, #UniversityofWisconsin-Whitewater, #ViolinMusic, #VocalMusic, #WERN88.7FM, #WesLuke, #WisconsinChamberOrchestra, #WisconsinPublicRadio, #YouTubevideo, adult, Aida, Ancora String Quartet, Antonio Bazzini, aria, artists, Arts, audience, Bach, Baroque, beautiful, Benjamin Whitcomb, blog, cellist, Cello, Chamber music, Classical music, classicalmusic, community, Competition, composer, composers, Concert, counterpoint, death, door, drama, duke, end, ensemble, Europe, event, express, Facebook, Felix Mendelssohn, First Unitarian Society of Madison, FM, forward, friend, fugue, FUS, Germantown, Giacomo Puccini, Giuseppe Verdi, influence, instrumental, Italian, Italy, Jacob Stockinger, Johann Sebastian Bach, Landmark Auditorium, library, like, link, lyrical, Madama Butterfly, Madame Butterfly, Madison, Madison Bach Musicians, Madison Symphony Orchestra, Marika Fischer Hoyt, mastery, melody, member, members, Milan, moodiness, Music, night, Norman Gilliland, opening, opera, page, passage, Passion, performance, piece, poignant, post, posting, prize, public, Puccini, Radio, restrained, return, Robert Schumann, Robin Ryan, Romance, Savoy, schedule, Scherzo, senior, September, share, solo, sorrow, String quartet, Student, subscriber, tag, tender, tenor, The Midday, theme, tickets, time, tour, United States, University of Wisconsin-Whitewater, UW-Whitewater, Viola, Violin, violinist, violist, virtuoso, vocal music, WERN 88.7 FM, Wes Luke, Wisconsin, Wisconsin Chamber Orchestra, wisconsin public radio, word, work, young person, YouTube
Classical music: Here is a year-long list of concerts at the University of Wisconsin Mead Witter School of Music. They start Tuesday night with the 40th annual Karp Family Labor Day Concert
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By Jacob Stockinger
Get out your datebooks and calendars.
Here is a complete listing for major concerts and events at the University of Wisconsin Mead Witter School of Music during the new 2019-20 season.
The calendar starts with the FREE season-opening 40th annual Karp Family Labor Day Concert this coming Tuesday night, Sept. 3, at 7:30 p.m. in Mills Hall. The program features chamber music by Mozart, Beethoven, Schumann and Dvorak. For more information about the program and performers, go to: https://www.music.wisc.edu/event/40th-karp-family-concert/
Using the search engine on this blog, you could also consult whenever individual or group you want. You could print it out and have it in hand instead of the usual brochure, which will not be printed this year. See a previous blog post: https://welltempered.wordpress.com/2019/08/19/classical-music-the-uw-madison-school-of-music-will-not-have-a-complete-brochure-for-the-new-season-go-to-the-website-and-sign-up-for-an-email-newsletter-the-30th-karp-family-labor-day-concert-is-s/
Most concerts this season will take place in the new Hamel Music Center (below), which has a three-day opening celebration Oct. 25-27.
Please note that just a few programs are listed. For other programs, and for information about any admission charge, you can go to the School of Music’s home website closer to the event and click on Concerts and Events: https://www.music.wisc.edu/events/
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Tuesday, Sep 3, 2019 |
Karp Family Concert |
7:30 PM |
Mills Hall |
|
Sunday, September 29, 2019, |
Jessica Martin & John O’Brien – Nordic song recital |
4:00 PM |
Morphy Hall |
|
Monday, Sept. 30, 2019 |
Beth Wiese, Tuba, Guest Artist Recital |
7:30 PM |
Morphy Hall |
|
Friday, October 4, 2019 |
Pro Arte Quartet |
8:00 PM |
Mills Hall |
|
Sunday, Oct. 6, 2019 |
Chanticleer |
7:30 PM |
Mead Witter Hall |
|
Tuesday, Oct. 8, 2019 |
Wind Ensemble |
7:30 PM |
Mead Witter Hall |
|
Friday, October 11, 2019 |
UW-Madison Symphony Orchestra |
8:00 PM |
Mead Witter Hall |
|
Sunday, October 13, 2019 |
University Bands |
2:00 PM |
Mead Witter Hall |
|
Tuesday, October 15, 2019 |
Contemporary Jazz & Blue Note Ensemble |
7:30 PM |
Collins Hall |
|
Wednesday, October 16, 2019 |
Wisconsin Brass Quintet – Faculty Concert Series |
7:30 PM |
Mead Witter Hall |
|
Thursday, October 17 |
Jazz Faculty Quintet with special guest Michael Dudley, trumpet |
7:30 PM |
Collins Hall |
|
Monday, October 21, 2019 |
Afro-Cuban Jazz Ensemble and UW Jazz Orchestra |
7:30 PM |
Play Circle |
|
Tuesday, October 22, 2019 |
Concert Band |
7:30 PM |
Mead Witter Hall |
|
Wed, October 23, 2019 |
Jazz Composers Group & Jazz Standards |
7:30 PM |
Collins Hall |
|
Thu, October 24, 2019 |
Parry Karp with Eli Kalman, piano |
7:30 PM |
Collins Hall |
|
Friday, October 25, 2019 |
Opening Celebration Weekend: Hamel Music Center. Please check our website for details. |
All Day |
740 University Avenue |
|
Saturday, October 26, 2019 |
Opening Celebration Weekend: Hamel Music Center. Please check our website for details. |
All Day |
740 University Avenue |
|
Sunday, October 27, 2019 |
Opening Celebration Weekend: Hamel Music Center. Featured Event: Collins Fellows Concert |
1:00 PM |
Collins Recital Hall, Hamel Music Center |
|
Wed, October 30, 2019 |
Master Class with Violist Nobuko Imai |
6:30 PM |
Collins Hall |
|
Thu, October 31, 2019 |
Violist Nobuko Imai with Pro Arte Quartet |
12:00 PM |
Collins Hall |
|
Fri, November 1, 2019
|
Madrigal Singers |
8:00 PM
|
Mead Witter Hall |
Sat, November 2, 2019 |
Alicia Lee, faculty clarinet |
8:00 PM |
Collins Hall |
|
Sun, November 3, 2019 |
Wind Ensemble |
2:00 PM |
Mead Witter Hall |
|
Fri, November 8, 2019 |
Wingra Wind Quintet |
8:00 PM |
Collins Hall |
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Sat, November 9, 2019 |
UW Chorale |
8:00 PM |
Mead Witter Hall |
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Thu, November 14, 2019 |
UW-Madison Symphony Orchestra |
7:30 PM |
Mead Witter Hall |
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Fri, November 15, 2019 |
University Opera: Benjamin Britten’s A Midsummer Night’s Dream |
7:30 PM |
Music Hall |
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Sun, November 17, 2019 |
University Opera: Benjamin Britten’s A Midsummer Night’s Dream |
2:00 PM |
Music Hall |
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Tue, November 19, 2019 |
University Opera: Benjamin Britten’s A Midsummer Night’s Dream |
7:30 PM |
Music Hall |
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Sat, November 16, 2019 |
Low Brass Ensemble |
4:00 PM |
Collins Hall |
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Sat, November 16, 2019 |
Combined Choirs |
8:00 PM |
Mead Witter Hall |
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Sat, November 16, 2019 |
Timothy Hagen, faculty flute |
8:00 PM |
Collins Hall |
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Fri, November 22, 2019 |
UW Concert Choir |
8:00 PM |
Mead Witter Hall |
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Fri, November 22, 2019 |
Pro Arte Quartet |
8:00 PM |
Collins Hall |
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Fri, November 22, 2019 |
UW Jazz Orchestra |
5:00-7:00 PM |
Rathskeller |
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Saturday, Nov 23, 2019 |
Undergrad Audition Day |
All day |
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Sat, November 23, 2019 |
World Percussion Ensemble |
12:00 PM |
Music Hall |
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Sat, November 23, 2019 |
Brass Ensembles |
1:00 PM |
?? |
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Sun, November 24, 2019 |
UW Concert Band with Winds of Wisconsin |
5:00 PM |
Mead Witter Hall |
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Mon, November 25, 2019 |
Chamber Percussion Ensemble |
7:30 PM |
Mills Hall |
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Tue, November 26, 2019 |
Opera Scenes |
7:30 PM |
Music Hall |
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Mon, December 2, 2019 |
Piano Studio Recital |
6:30 PM |
Collins Hall |
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Tue, December 3, 2019 |
Jazz Composers & Contemporary Jazz Ensembles |
7:30 PM |
Collins Hall |
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Wed, December 4, 2019
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Jazz Standards Ensemble & Afro-Cuban Jazz |
7:30 PM
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Collins Hall |
Thu, December 5, 2019 |
UW-Madison Symphony Orchestra & UW Wind Ensemble |
7:30 PM |
Mead Witter Hall |
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Fri, December 6, 2019 |
Saxophonist Greg Ward with the Blue Note Ensemble and UW jazz faculty |
8:00 PM |
Collins Hall |
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Sat, December 7, 2019 |
UW & Madison Metropolitan Jazz Festival |
Final Concert, 3:00 PM |
Mead Witter Hall |
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Sat, December 7, 2019 |
Choral Union: Ralph Vaughan Williams’s “A Sea Symphony” |
8:00 PM |
Mead Witter Hall |
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Sun, December 8, 2019 |
University Bands |
2:00 PM |
Mead Witter Hall |
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Sun, December 8, 2019 |
Choral Concerts at Luther Memorial Church |
2:00 PM |
Luther Memorial Church |
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Sun, December 8, 2019 |
Choral Concerts at Luther Memorial Church |
4:00 PM |
Luther Memorial Church |
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Sun, December 8, 2019 |
All-University Strings |
4:30 PM |
Mead Witter Hall |
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BEGIN 2020 |
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Sun, January 26, 2020 |
Annual Schubertiade |
3:00 PM |
Mead Witter Hall |
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Sat, February 1, 2020 |
Christopher Taylor and Friends — Beethoven Symphony Extravaganza |
8:00 PM |
Mead Witter Hall |
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Wed, February 5, 2020 |
Daniel Grabois, horn |
7:30 PM |
Collins Hall |
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Thu, February 6, 2020 |
UW Symphony Orchestra |
7:30 PM |
Mead Witter Hall |
|
Sat, February 8, 2020 |
The Knights |
8:00 PM |
Mead Witter Hall |
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Sun, February 16, 2020 |
UW Wind Ensemble |
2:00 PM |
Mead Witter Hall |
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Monday, February 17, 2020 |
Chamber Percussion Ensemble |
7:30 PM |
Mills Hall |
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Tue, February 18, 2020 |
Concert Band |
7:30 PM |
Mead Witter Hall |
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Thu, February 20, 2020 |
Parry Karp, faculty recital |
7:30 PM |
Collins Hall |
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Fri, February 21, 2020 |
Marc Vallon & Friends |
8:00 PM |
Collins Hall |
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Sunday, Feb 23, 2020 |
Les Thimmig, faculty recital |
2:00 PM |
Collins Hall |
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Sat, April 18, 2020 |
Low Brass Ensemble |
4:00 PM |
Mead Witter Hall |
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Fri, February 28, 2020
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Pro Arte Quartet |
8:00 PM
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Collins Hall |
Sat, February 29, 2020 |
Wingra Wind Quintet |
8:00 PM |
Collins Hall |
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Fri, February 28, 2020, |
University Opera – Mozart’s Così fan tutte |
7:30 PM |
Music Hall |
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Sun, March 1, 2020 |
University Opera – Mozart’s Così fan tutte |
2:00 PM |
Music Hall |
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Tue, March 3, 2020 |
University Opera – Mozart’s Così fan tutte |
7:30 PM |
Music Hall |
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Sun, March 1, 2020 |
Winds of Wisconsin |
5:30 PM |
Mead Witter Hall |
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Wed, March 4, 2020 |
Afro-Cuban Jazz Ensemble & Jazz Composers Group |
7:30 |
Collins Hall |
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Thu, March 5, 2020 |
Blue Note Ensemble & Jazz Standards Ensemble |
7:30 PM |
Collins Hall |
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Sat, March 7, 2020 |
UW-Madison Symphony Orchestra with guest pianist Wu Han |
8:00 PM |
Mead Witter Hall |
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Sun, March 8, 2020 |
University Bands |
2:00 PM |
Mead Witter Hall |
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Tue, March 10, 2020 |
Percussion Department Recital |
7:30 PM |
Collins Hall |
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Weds March 11, 2020 |
UW Jazz Orchestra |
7:30 PM |
Play Circle |
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Wednesday, March 11, 2020 |
Wisconsin Brass Quintet – Faculty Concert Series |
8:00 PM |
Mead Witter Hall |
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Thu, March 12, 2020 |
UW Wind Ensemble |
7:30 PM |
Mead Witter Hall |
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Fri, March 27, 2020 |
Le Domaine Musicale with Marc Vallon and Friends |
8:00 PM |
Collins Hall |
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Sun, March 29, 2020 |
Concert Band |
2:00 PM |
Mead Witter Hall |
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Sun, April 5, 2020 |
Beethoven Competition Winners’ Recital |
3:30 PM |
Collins Hall |
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Sun, April 5, 2020 |
“Symphony Showcase” Concerto Winners’ Solo Concert |
7:00 PM |
Mead Witter Hall |
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Sat, April 11, 2020 |
Chorale |
8:00 PM |
Mead Witter Hall |
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Fri, April 12, 2019 |
Perlman Trio Chamber Concert |
3:00 PM |
Collins Hall |
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Tue, April 14, 2020 |
Opera Scenes |
7:30 PM |
Music Hall |
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Wed, April 15, 2020 |
Contested Homes: Migrant Liberation Movement Suite |
7:30 PM |
Mead Witter Hall |
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Thu, April 16, 2020 |
Pro Arte Quartet |
7:30 PM |
Collins Hall |
|
Fri, April 17, 2020 |
Combined Choirs |
8:00 PM |
Mead Witter Hall |
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Sat, April 18, 2020 |
Low Brass Ensemble |
4:00 PM |
Mead Witter Hall |
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Sat, April 18, 2020
|
UW-Madison Choral Reunion concert featuring Concert Choir, Madrigals and alumni |
8:00 PM
|
Mead Witter Hall |
Mon, April 20, 2020 |
Afro-Cuban Jazz Ensemble & Blue Note Ensemble |
7:30 PM |
Collins Hall |
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Tue, April 21, 2020 |
Jazz Standards Ensemble & Jazz Composers Group |
7:30 PM |
Collins Hall |
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Wed, April 22, 2020 |
Chamber Percussion Ensemble |
7:30 PM |
Mills Hall |
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Thu, April 23, 2020 |
UW Jazz Orchestra with the UW Honors Jazz Band |
7:30 PM |
Music Hall |
|
Fri, April 24, 2020 |
Concert Band and Wind Ensemble |
7:30 PM |
Mead Witter Hall |
|
Sat, April 25, 2020 |
All-University Strings |
2:00 PM |
Mead Witter Hall |
|
Sat, April 25, 2020 |
Choral Union: Giuseppe Verdi’s “Requiem” |
8:00 PM |
Mead Witter Hall |
|
Sun, April 26, 2020 |
Choral Union: Giuseppe Verdi’s “Requiem” |
7:30 PM |
Mead Witter Hall |
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Sun, April 26, 2020
|
University Bands | 2 PM | Mead Witter Hall |
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Classical music: The Beethoven Year in Madison will include complete cycles of string quartets and piano trios as well as many other early, middle and late pieces. Here is a partial preview
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By Jacob Stockinger
As you may have already heard, 2020 is a Beethoven Year. It will mark the 250th anniversary of the composer’s birth. (He lived from mid-December of 1770 to March 26, 1827. Dec. 17 is sometimes given as his birthday but it is really the date of his baptism. No one knows for sure the actual date of his birth.)
Beethoven, who this year overtook Mozart as the most popular composer in a British radio poll, clearly speaks to people — as you can see at the bottom in the YouTube video of a flash mob performance of the “Ode to Joy.” It has had more than 16 million views.
Locally, not all Beethoven events have been announced yet. But some that promise to be memorable are already taking shape. Many programs include early, middle and late works. And you can be sure that, although nothing formal has been announced yet, there will be special programs on Wisconsin Public Television and especially Wisconsin Public Radio.
Here is a partial round-up:
The UW’s famed Pro Arte String Quartet (below, in a photo by Rick Langer), for example, will perform a FREE and complete cycle of Beethoven’s 16 string quartets in six concerts. It will start later this fall.
This is not the first time that the Pro Arte has done a Beethoven cycle. But it is especially fitting since that is the same Beethoven cycle that the Pro Arte was performing in Madison at the Wisconsin Union Theater in May of 1940 when World War II broke out and the quartet was stranded on tour in the U.S. after its homeland of Belgium was invaded and occupied by the Nazis.
That is when the ensemble was invited to become musical artists-in-residence at the University of Wisconsin-Madison and accepted – thereby establishing the first such association in the world that became a model for many other string quartets.
The Bach Dancing and Dynamite Society with the San Francisco Trio (below) plans on performing a cycle of piano trios next summer. No specific dates or programs have been announced yet.
The 20th anniversary of the Ancora String Quartet (below, in a photo by Barry Lewis) will coincide with the Beethoven Year. That is when the Ancorans will complete the cycle of 16 string quartets that they have been gradually programming over the years. Three quartets remain to be performed: Op. 59, No. 2 “Rasumovsky”, Op. 130 and Op. 131.
Adds violist Marika Fischer Hoyt: “We’ll perform Op. 130 in February (with the original final movement, NOT the “Grosse Fuge”), and we plan to do the remaining two quartets in the summer and fall of 2020.”
Here are some other Beethoven dates to keep in mind:
On Nov. 2 in Shannon Hall at the Wisconsin Union Theater, and as part of the WUT’s centennial celebration of its Concert Series, pianist Emanuel Ax (below, in a photo by Lisa-Marie Mazzucco), who since 1974 has played many solo recitals, chamber music recitals and piano concertos in Madison, will play Beethoven’s first three solo piano sonatas, Op. 2.
On Dec. 6 at the Wisconsin Union Theater, the Kalichstein-Laredo-Robinson Piano Trio will perform the famous “Archduke” Trio, Op. 97. Also on the program are works by Felix Mendelssohn and Robert Schumann.
On Feb. 1, UW-Madison pianist Christopher Taylor, who has performed all 32 piano sonatas in Madison, will continue his cycle of Beethoven symphonies as transcribed for solo piano by Franz Liszt. He will perform Symphony No. 1 and the famed Symphony No. 9, the ground-breaking “Choral” Symphony with its “Ode to Joy.” No chorus will be involved, but there will be four solo singers. Taylor said he will then complete the cycle with Symphony No. 2 at some future time.
The Mosaic Chamber Players (below, in a photo by John W. Barker) will perform two all-Beethoven programs: on Feb. 21, a FREE program offers two sonatas for violin and piano (Op. 12, No. 3 and Op. 30, No. 2, and one sonata for cello and piano (Op. 5, No. 1); on June 13, a ticketed program features three piano trios (Op. 1, No. 1; Op. 70, No. 2; and Op. 121a “Kakadu” Variations).
On May 8, the Wisconsin Chamber Orchestra (below top, in a photo by Mike Gorski), under conductor Andrew Sewell (below bottom, in a photo by Alex Cruz), will perform the popular Symphony No. 6 “Pastoral” – a pioneering piece of program music — to commemorate the Beethoven Year.
There is one very conspicuous absence.
You will notice that there is nothing by Beethoven programmed for the new season of the Madison Symphony Orchestra (below, in a photo by Peter Rodgers).
But The Ear hears rumors that music director John DeMain (below, in a photo by Greg Anderson) is planning something special for the following season that might involve both symphonies and concertos, both original Beethoven works and perhaps “reimagined” ones.
(For example, pianist Jonathan Biss, who has just completed recording the piano sonata cycle and who performed with the MSO several years ago, has commissioned and will premiere five piano concertos related to or inspired by Beethoven’s five piano concertos.) Sorry, but as of now only rumors and not details are available for the MSO. Stay tuned!
The Ear would like to hear complete cycles of the violin sonatas and cello sonatas performed, and a couple of the piano concertos as well as the early symphonies and the famed Ninth Symphony with its “Ode to Joy” finale. He fondly remembers when DeMain and the MSO performed Symphonies Nos. 1 and 9 on the same program. Talk about bookending a career!
What Beethoven would you like to hear live?
What are your most favorite or least favorite Beethoven works?
Do you know of other Beethoven programs during the Beethoven Year? If so, please leave word in the Comment section.
And, of course, there is the inevitable question: Can you have too much Beethoven?
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