By Jacob Stockinger
The Madison Bach Musicians (below), which specializes in authentic period performances of early music, will perform Johann Sebastian Bach’s “St. John Passion” this coming Friday and Saturday nights, both at 7:30 p.m., in the Atrium Auditorium of the First Unitarian Society of Madison, 900 University Bay Drive.
On both nights at 6:45 p.m., MBM founder and music director Trevor Stephenson (below) will give a free pre-concert lecture on the “Structure and Performance History of the St. John Passion.” In his remarks, Stephenson said he will discuss the question of anti-Semitism in the famous work.
(NOTE: Stephenson and some of the players will also be on Wisconsin Public Radio’s “The Midday” with Norman Gilliland TODAY at noon.)
At the end of Part I, the Rev. Michael Schuler of the Unitarian Society will give a talk focusing on “Theological Reflections on Bach and the St. John Passion.”
This is only the second time the work has been performed in historical style in the state of Wisconsin. For more information and explanation, see the story in the Wisconsin State Journal:
Tickets are $28-$33 and are available online, at Orange Tree Imports and at the door. Ticket information is at www.madisonbachmusicians.org
Trevor Stephenson writes the following about the work and the performance:
Bach was 38 years old when he composed the monumental St. John Passion during his initial year of employment in Leipzig, 1723-24. The work was first performed at the Nikolai Church during the Good Friday service on April 7, 1724.
As was the custom, no concerted music had been played in church during the previous six weeks of Lent, and the airing of the St. John Passion ― music of unprecedented complexity, lasting for over two hours — must have had an overwhelming effect on the fresh ears and devoted souls of the parishioners.
From its outset—with the whirling gear-like figures in the strings beneath the moiling of the oboes—the St. John Passion has an otherworldly aura of a story that has been foretold. Bach’s genius is in how he balances this inevitability with a sense of forward dramatic thrust: the passion story must happen, has already happened, but it also must be played out in real-time by living people, step by painful step. Time is at once both linear and circular. (Below is the manuscript for the “St. John Passion.”)
I believe that the objective of Bach (below) in setting the St. John Passion was to tell as vividly as possible the story of Jesus’ cruel earthly demise while at the same time tempering this vividness with frequent textual reminders, as well as an overarching tone, that convey the firm belief that Jesus’ Passion had not only been prophesied long before his birth but that Jesus’ suffering and death on earth was the only solution for the forgiveness of humanity’s sins.
The Evangelist John is our guide for the story of Jesus’ arrest, trial, crucifixion and burial. John sings his narration in the dry and angular recitative style, addressing the audience directly. He summarizes some scenes and introduces others, which are then played out in present-tense tableau format by various characters: Jesus, Peter, Pilate, Court officers, the angry mob.
Bach uses two techniques to pause and comment upon the narrative: first, with arias for solo voices and instrumental obbligato, that employ freely-composed poetry to reflect upon the story in a personal way — like the thoughts of someone observing the action; and second, by chorales which use tunes and texts that would have been familiar to Bach’s parishioners to elicit a broader communal response to the passion story. Many of the chorales are like a spiritual balm, providing moments of much needed rest throughout the work.
For the upcoming April 14 and 15 concerts of the St. John Passion ― on Good Friday and Holy Saturday ― the Madison Bach Musicians has endeavored as much as possible to recreate the early 18th-century sound world of that first Leipzig performance in 1724. MBM will use a 17-member baroque orchestra, conducted by UW-Madison bassoonist and performance-practice specialist Marc Vallon (below, in a photo by James Gill).
The orchestra will play entirely on 18th-century style instruments:
These instruments will join with 10 outstanding vocalists—specialists in singing both solo and choral baroque repertoire.
Internationally recognized, and Grammy Award winning tenor, Dann Coakwell (below, in a photo by Mary Gordon) will sing the part of John the Evangelist.
The Passion will be sung in its original German; but an English translation of the text will be projected in supertitles scene-by-scene throughout the performance.
MBM is thrilled to be presenting this masterwork in the Atrium Auditorium (below, in a photo by Zane Williams) at First Unitarian Society, a space beautifully suited to early music. The sightlines are superb, and the acoustics offer a great balance of clarity, crispness, and spaciousness.
Seating is limited, so advance ticket purchase is suggested.
By Jacob Stockinger
The fourth annual Schubertiade – a concert to mark the birthday of the Austrian early Romantic composer Franz Schubert (below top, 1797-1828) – is now a firmly established tradition at the University of Wisconsin-Madison School of Music (below bottom, in Mills Hall, which is rearranged for more intimate and informal on-stage seating.)
Over the past there years, the Schubertiade has become a popular and well-attended event. And with good reason.
Every time The Ear has gone, he has enjoyed himself immensely and even been moved by the towering and prolific accomplishments, by the heart-breaking beauty of this empathetic and congenial man who pioneered “Lieder,” or the art song, and mastered so many instrumental genres before g his early death at 31.
But there are some important changes this year that you should note.
One is that the time has been shifted from the night to the afternoon – specifically, this Sunday afternoon at 3 p.m. in Mills Hall.
Admission is $15 for adults, $5 for students. (Below is this year’s poster, mistaking this year’s event of the third, with a painting by Gustav Klimt of Schubert playing piano at a salon musicale.)
After the concert, there is another innovation: a FREE reception, with a cash bar, at the nearby University Club. There you can meet the performers as well as other audience members.
The program, organized by pianist-singers wife-and-husband Martha Fischer and Bill Lutes (below), will last a little over two hours.
Usually there is a unifying theme. Last year, it was nature.
This year, it is friends Schubert knew and events that happened to him. It is called “Circle of Friends” and is in keeping with the original Schubertiades, which were informal gatherings (depicted below, with Schubert at the keyboard) at a home where Schubert and his friends premiered his music.
Performers include current students, UW-Madison alumni and faculty members. In addition, soprano Emily Birsan, who is a graduate of the UW-Madison and a rising opera star, will participate.
For more about the event, the performers and how to purchase tickets, go to:
Here is a complete list of performers and the program with the initials of the perfomer who will sing the pieces:
Emily Birsan (EB), Rebecca Buechel (RB), Mimmi Fulmer (MFulmer), Jessica Kasinski (JK), Anna Polum (AP), Wesley Dunnagan (WD,) Daniel O’Dea (DO), Paul Rowe (PF), Benjamin Schultz (BS), singers. Bill Lutes (BL) and Martha Fischer (MF), pianists.
Trost im Liede (Consolation in Song ), D. 546 (MF, BL)
Franz von Schober (1796-1882)
Der Tanz (The Dance), D. 826 (AP, RB, WD, PR, MF)
Kolumban Schnitzer von Meerau (?)
Der Jüngling und der Tod (The Youth and Death), D. 545 (PR, BL)
Josef von Spaun (1788-1865)
4 Canzonen, D. 688 (EB, BL)
No. 3, Da quel sembiante appresi (From that face I learnt to sigh)
No. 4, Mio ben ricordati (Remember, beloved)
Pietro Metastasio (1698-1782)
From the Theresa Grob Album (November, 1816)
Edone, D. 445 (WD, MF)
Friedrich Gottlieb Klopstock (1724-1803)
Pflügerlied (Ploughman’s Song), D. 392 (BS, MF)
Johann Gaudenz von Salis-Seewis (1762-1834)
Am Grabe Anselmos (At Anselmo’s Grave), D. 504A (JK, MF)
Matthias Claudius (1740-1815)
Mailied (May Song), D. 503 (DO, BL)
Ludwig Hölty (1748-1776)
Marche Militaire No. 1, D. 733 (MF, BL)
Viola (Violet), D. 786 (EB, BL)
Ständchen (Serenade), D. 920A (RB, DO, WD, PR, PR, MF)
Franz Grillparzer (1791-1872)
Epistel ‘An Herrn Josef von Spaun (Letter to Mr. Joseph von Spahn), Assessor in Linz, D. 749 (EB, MF) Matthäus von Collin (1779-1824)
Geheimnis (A Secret), D. 491 (EB, MF)
Johann Mayrhofer (1787-1836)
Des Sängers Habe (The Minstrel’s Treasure), D. 832 (PR, MF)
Franz Xavier von Schlechta (1796-1875)
An Sylvia, D. 891 (MF, BL)
Shakespeare, trans. Eduard von Bauernfeld (1802-1890)
Nachtstück (Nocturne), D. 672 (DO, BL)
Das Lied in Grünen (The Song in the Greenwood), D. 917 (MFulmer, BL)
Johann Anton Friedrich Reil (1773-1843)
8 Variations sur un Thème Original, D. 813 (MF, BL)
Cantate zum Geburtstag des Sängers Johann Michael Vogl, D. 666 (AP, DO, PR, BL) Albert Stadler (1794-1888)
Ellens Gesang No. 3, Ave Maria, D. 839 (EB, MF)
Sir Walter Scott (1771-1832), from The Lady of the Lake, trans. Adam Storck (1780-1822)
An die Musik, D. 547 (You can hear it performed by the legendary soprano Elisabeth Schwarzkopf and pianist Gerald Moore in the YouTube video at bottom)
Everyone is invited to sing along. You can find the words in your texts and translations.
Here is a link to a story in The Wisconsin State Journal with more background:
And if you want to get the flavor of the past Schubertiades, here are two reviews from past years:
ALERT: This afternoon at 2:30 p.m. in Overture Hall is your last chance to hear the Madison Symphony Orchestra with violinist-composer Henning Kraggerud (below). The popular “Pastorale” Symphony by Ludwig van Beethoven is also on the program. Here are some reviews, all positive:
Here is the review that John W. Barker wrote for Isthmus:
And here is the review written by Greg Hettmansberger for his blog “What Greg Says”:
By Jacob Stockinger
The Ear, who is an avid amateur pianist, ran across these 10 tips for productive practicing – something he can always use.
He knew some of them before. But it never hurts to review the basics. That’s why they are called the basics.
He thought that you too – no matter what instrument you play or if you sing – would find them helpful too.
And if you don’t play or sing, maybe these tips will still enhance your appreciation of the hard work that goes into playing and practicing.
So here they are:
If you have some practice tips of your own to add, just leave them in the COMMENT section.
The Ear wants to hear.
And to play better.
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:
ALERT: Today at 2:30 p.m. in Overture Hall is your last chance to hear pianist Emanuel Ax perform the Piano Concerto No. 4 by Ludwig van Beethoven and soprano Alisa Jordheim in the Symphony No. 4 by Gustav Mahler.
Here is a rave review for Madison Magazine by Greg Hettmansberger:
And here is another rave review for Isthmus by John W. Barker:
By Jacob Stockinger
The Ear has received the following information to pass along:
This workshop is co-directed by MBM founder and director, harpsichordist Trevor Stephenson (below top, in a photo by Kent Sweitzer), and MBM member, violinist Kangwon Kim (below bottom). There will also be guest instructors.
The workshop, which costs $400, is open to intermediate and advanced players who are high school age and older.
Instruments included are: violin, viola, cello, harpsichord, fortepiano, piano, flute, recorder and oboe.
Participants will be assigned to an ensemble group, and music will be sent in advance to allow musicians to learn their parts beforehand.
The workshop will include personalized coaching, master classes, a faculty concert, community lunches and a final closing concert for a supportive and appreciative audience.
All of this will take place in the beautiful and acoustically rich spaces of First Unitarian Society of Madison (below, in a photo by Kent Sweitzer), located at 900 University Bay Drive.
Applications are being be accepted on a first-come, first-served basis since Jan. 1, 2016. (There is an early application discount until March 15.)
For information, including the local and guest faculty members, and an online application, visit: http://madisonbachmusicians.org/education-and-outreach/summer-workshop/
A spokesperson for the Madison Bach Musician adds:
“Some people might ask how this workshop relates to the Madison Early Music Festival. The MBM workshop stands independent of the Madison Early Music Festival, and we do not intend to compete with the festival but to just add another great music option for Madison-area musicians. We intentionally set the dates for our workshop well after the Early Music Festival so as not to compete with it.
“The focus of the Madison Bach Musicians Summer Chamber Music Workshop is to create a supportive music community where participants can further develop their appreciation and playing ability of baroque and early classical chamber music through personalized coaching and performance experience.”
ALERT: On Tuesday night at 7:30 in Mills Hall, UW-Madison trombone professor Mark Hetzler with be joined by Anthony DiSanza, drums/percussion; Vincent Fuh, piano; Ben Ferris, bass; Tom Ross-percussion; Garrett Mendelow, percussion.
Mark Hetzler and friends present a FREE concert titled “Mile of Ledges” with the premiere of four new works. Two new compositions (Falling and Mile of Ledges) by Mark Hetzler will feature lyrical and technical trombone passages, soulful and spirited piano writing, complex percussion playing and a heavy dose of electronics. In addition, the group will showcase new music by UW-Madison alum Ben Davis (his $$$$$$$$$$$$$$$$$$ for quartet and electronics) and Seattle composer David P. Jones (a chamber work for trombone, piano, bass and two percussionists).
By Jacob Stockinger
If The Ear recalls correctly, alumni who return to the University of Wisconsin-Madison School of Music are generally performers or scholars.
All the more reason, then, to celebrate this week’s major UW event, which was organized by UW-Madison composer and teacher Stephen Dembski (below). It features five composers who trained at the UW-Madison and who are now out in the world practicing their art and teaching it to others.
This week, the UW-Madison School of Music will welcome back five graduates of the composition studio who have developed creative, multi-dimensional careers in a range of fields: acoustic and electronic composition, musicology, theory, audio production, conducting, education, concert management and administration, performance, and other fields as well.
The two-day event is intended to show the breadth of talent at UW-Madison as well as demonstrating that music students focus on much more than performance as a way to shape successful careers.
Paula Matthusen (below, BM, 2001), who is assistant professor of music at Wesleyan University.
William Rhoads (below, BM, 1996), who is vice-president of marketing and communications for Orchestra of St. Luke’s in New York City.
Andrew Rindfleisch (below, BM, 1987), who is a full-time composer living in Ohio. (You can hear his introspective and microtonal work “For Clarinet Alone” in a YouTube video at the bottom.)
Kevin Ernste (below, BM, 1997), who is professor of composition at Cornell University.
The UW-Madison School of Music will present two FREE concerts of their music, performed by the Wisconsin Brass Quintet (below top), the Wingra Woodwind Quintet (below bottom, in a photo by Michael Anderson), the UW Wind Ensemble, and other faculty members and students.
The FREE concerts are on this Thursday, Nov. 5, at 7:30 p.m. in Mills Hall; and on this Friday, Nov. 6, 7:30 p.m. in Mills Hall. There will be workshops and colloquia yet to be announced.
For complete composer biographies, along with comments about their works, and more information about the two-day event, visit this site:
ALERT: Autumn is here. The Fall equinox arrives today at 3:31 a.m. CDT. If you are looking for some appropriate music to listen to, here is a good selection — complete with audio samples – from Minnesota Public Radio:
Plus: The long-term weather prediction is for a warm Fall , according to the Web site Accuweather. Here is a link:
By Jacob Stockinger
Attention all opera fans!
Here is a press release for you from the University of Wisconsin–Madison School of Music, written by concert manager and publicity director Kathy Esposito:
“Gazing at herself in a bewitched mirror, she is obsessed with her radiant beauty; she caresses her own face and simpers at an imagined lover.”
“That would be the Appleton, Wisconsin coloratura soprano Brenda Rae (below) in the Seattle Opera’s February production of George Frideric Handel’s “Semele,” in which she was described by Opera News as “sensual,” “dazzling” and “moving.” (You can see a clip in a YouTube video at the bottom.)
Brenda will be on the UW-Madison campus September 25-27 as part of a larger three-day fund drive to put University Opera -– which has existed at UW-Madison for 57 years, but which relies mostly on ticket sales and donations to finance productions -– on a secure financial footing.
For a more detailed biography of Benda Rae, go to:
Here is a link to a story about Brenda Rae and the University Opera written by Gayle Worland in The Wisconsin State Journal:
On Friday, there will be a FREE and PUBLIC master class in Music Hall from 5 to 7 p.m.
On Saturday, two special donor events are planned: the first, a VIP dress rehearsal followed by a private University Club reception for event sponsors.
For more about level of sponsorship and the fundraising drive visit:
And on Sunday at 7:30 p.m. in Mills Hall, a ticketed public concert ($25 for adults) will feature Brenda Rae singing Reinhold Gliere’s rarely heard Concerto for Coloratura Soprano, accompanied by the UW Symphony Orchestra, conducted by James Smith. Also on the program are scenes and an aria from Giuseppe Verdi’s opera “La Traviata” and “Symphonic Dances” by Sergei Rachmaninoff.
The two events are part of a fund-raising drive that honors opera alumna Karen K. Bishop, who passed away in January. We hope you will consider becoming a supporter of University Opera by sponsoring this event and attending one or more performances.
By Jacob Stockinger
After Sound Ensemble Wisconsin’s 2014-2015 hiatus, which allowed director Mary Theodore to care for her new baby, SEW is pleased to announce its return for the 2015-16 season. Please stay tuned for news on the rest of the season.
What does food sound like? What does music taste like? This coning Sunday night, participants can enjoy a lovely evening out as they explore their senses as the pathway to their souls through the performing arts of food and music, accompanied by poetry.
The 2015 realization of 2014’s highly successful “SEWing Taste and Sound, Bite by Byte” is a collaboration between Sound Ensemble Wisconsin’s Mary Theodore (below left in a photo by Katrin Talbot); Chef Dan Bonanno (below right) of Madison’s celebrated restaurant Pig in a Fur Coat; and poet-violist Katrin Talbot (center).
The event centers around the aesthetic similarities of food and music, both of which Mary Theodore, SEW’s director and violinist, considers performing arts.
This year, SEW has based the evening on a set of six Duos for Two Violins by Bela Bartok. (You can hear many of them performed by Itzhak Perlman and Pinchas Zukerman in the YouTube video at the bottom.)
Each duo, or byte of music, will inspire Chef Bonnano and be paired with one course, or bite, of food — and performed/served as such to create a six-course meal, including a beverage pairing for each course. Talbot will also read her original poems, composed for each variation.
At the end of the meal, SEW musicians will perform the music from beginning to end with the aim of offering participants a new experience of the music, a new journey of taste and sound.
Please see the Wisconsin State Journal interview and the Madison Magazine review based on the highly successful 2014 “SEWing Taste and Sound, Bite by Byte” at SEW’s website: http://soundensemblewisconsin.org/press/
This performance will take place on Sunday, Sept. 13, at 6 p.m. at Pig in a Fur Coat, 940 Williamson Street. Tickets are currently on sale at www.soundensemblewisconsin.org and are $105 per person or $100 per person by check (with guests’ names) to: Sound Ensemble Wisconsin, 716 Edgewood Avenue, Madison, WI 53711.
Performing musicians are Mary Theodore and Eleanor Bartsch (below), a prize-winning graduate of the UW-Madison School of Music.
“SEW will certainly bring a new dimension to Madison’s cultural scene,” veteran music critic John W. Barker has written.
ALERT: A friend writes: TONIGHT at 7 p.m. at Capitol Lakes Retirement Community, 333 West Main Street, downtown off the Capitol Square, UW-Madison graduate student Kyle Knox (below with the Middleton Community Orchestra) will be conducting the Serenade No. 1 by Johannes Brahms (at bottom, you can hear the Berlin Philharmonic under conductor Claudio Abbado, in a YouTube video) performed by many members of the Middleton Community Orchestra, and past and future soloists. On the second half of the program, violist Vicki Powell, who is just in Madison for the week, will perform solo works.
The Brahms sounds great. We are lucky to be joined by Madison Symphony Orchestra concertmaster Naha Greenholtz; violinist Paran Amirinazari who will be Middleton Community Orchestra’s concertmaster in the fall; and violist Vicki Powell plus many other fine players.
THE CONCERT IS FREE AND OPEN TO THE PUBLIC.
By Jacob Stockinger
It could sound like a professional wrestling match: “This Saturday the Über Steinway meets the Colossal Klais!”
The Madison Symphony Orchestra’s (MSO) German (Hamburg) Steinway piano will meet the colossal Klais Overture Concert Organ (below) in a free concert featuring guest pianist Stephen Nielson and organist Samuel Hutchison.
No tickets or reservations are needed for this 45-minute concert.
From familiar hymns to rousing patriotic medleys and stunning solos for piano and organ, this first and only Farmers’ Market organ concert of the summer promises to deliver thrills for all.
American pianist Stephen Nielson made his orchestral debut as a pianist at age 11. During a 30-year collaboration with his late colleague, Ovid Young, Nielson performed more than 3,500 concerts world-wide as part of the distinguished piano duo Nielson & Young.
His 2008 performance with Samuel Hutchison in Overture Hall garnered rave reviews from those in attendance. Nielson received his degree from Indiana University, where he also earned the Distinguished Performer and Phi Beta Kappa honors. Nielson was named a finalist in the Queen Elizabeth Competition in Brussels and has performed throughout Europe and Asia.
Samuel Hutchison has served as Curator and Principal Organist for Madison Symphony Orchestra’s Overture Concert Organ since 2001. An honors graduate of Westminster Choir College in Princeton, New Jersey, Hutchison has presented many recitals in the U.S and in Europe in locations that include the Riverside Church, New York City; St. Paul’s Cathedral, London; and Notre Dame, St. Sulpice and St. Étienne-du-Mont, Paris. He also performed the complete works of J.S. Bach in a series of 11 weekly recitals for the 300th anniversary of the composer’s birth.
Support for all Overture Concert Organ programs is provided by the Diane Endres Ballweg Fund. With a gift from Pleasant T. Rowland, the Madison Symphony Orchestra commissioned the Overture Concert Organ, which is the stunning backdrop of all MSO concerts.
To see the Overture Concert Organ series of concerts for 2015-16 or to subscribe at a 25% savings, visit: www.madisonsymphony.org/organseason15-16
ALERT: This Friday’s FREE Noon Musicale, from 12:15 to 1 p.m. in the Frank Lloyd Wright-designed Landmark Auditorium at the First Unitarian Society of Madison, 900 University Bay Drive, will feature flutist Peiyi Guan and pianist Zijin Yao playing music by Franz Schubert, Robert Schumann, Henri Dutilleux and Chen Yi.
By Jacob Stockinger
There are two really notable MUST-HEAR concerts at the University of Wisconsin-Madison School of Music this coming weekend.
And they come in a way that you can think of them as preludes to Sunday evening’s Super Bowl XLIX — that is 49 to us non-Latins — because they don’t interfere with the overhyped sports event.
On Friday night at 8 p.m. in Mills Hall is the second annual “Schubertiade” (below, a photo from 2014). It is a joyous evening of mixed musical genres that celebrates the birthday of Franz Schubert (below, 1797-1829), who used to unveil his new music at friendly social gatherings (below top). It all takes place on the informally set-up stage of Mills Hall (below bottom).
There will be many songs, of course, an art form pioneered by the most empathetic and human of composers. The songs will be performed by UW baritone Paul Rowe, soprano Cheryl Rowe and also many UW voice students. There will be chamber music (the famous “Arpeggione” Sonata) with guest cellist Norman Fischer (Martha’s brother, who will be performing with his sister in public for the first time and who teaches at Rice University in Texas) and with violinist Leslie Shank. Martha Fischer and Bill Lutes will also perform two pieces for piano-four hands.
Admission is $10 for the public; students get in for free. Tickets are available at the door and at the box office of the Wisconsin Union Theater.
Here is a link to the School of Music official announcement:
And here is a terrific story by arts reporter and features writer Gayle Worland for The Wisconsin State Journal. Particularly notable are the interviews with the event organizers and main performers — wife-and-husband team of UW professor and collaborative pianist Martha Fischer and local piano teacher and former Wisconsin Public Radio host and music director Bill Lutes.
And here is a review of last year’s Schubertiade that The Ear posted on this blog:
The special guest of honor is soprano Emily Birsan (below), a UW-Madison graduate who recently sang at the Lyric Opera of Chicago and whose first CD is about to be released on the Chandos label. (The recording is of the “Scenes from the Saga of King Olaf” by Sir Edward Elgar.)
The program includes the Quartet in E-flat Major, Op. 71, No. 3, by Franz Joseph Haydn; the String Quartet in C Major, Op. 60, by Antonin Dvorak; and String Quartet No. 2 by Arnold Schoenberg that will also feature Emily Birsan. (The fourth movement of the Schoenberg quartet can be heard in a YouTube video at the bottom.)
Here is a link to the UW School of Music announcement that has a lot of impressive background for the up-and-coming Emily Birsan and the Pro Arte Quartet, which has its own dramatic story of exile from Adolf Hitler’s Nazi Germany and its invasion of Belgium, the Pro Arte homeland:
And here is a link to a profile of Emily Birsan, who was born in Neenah and attended Lawrence University in Appleton for her undergraduate degree as well as the UW-Madison for graduate work. Birsan is the cover story on the latest issue of the magazine “Classical Singer”:
PLEASE NOTE: The Pro Arte Quartet program will be REPEATED on Sunday afternoon at 12:30 pm.. this SUNDAY at the Chazen Museum of Art, which has started its own concert program. But the concert will NO LONGER be broadcast by Wisconsin Public Radio. However, you can stream it live by going to the Chazen website (www.chazen.wisc.edu) at 12:30 p.m.