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250 Years Later, A Composer Gets His Due

It’s not very often that one receives international recognition 250 years after being placed in the ground. But with help from UW-Madison musicology professor Charles Dill and a host of international scholars and musicians, that’s exactly what’s happening for Jean-Philippe Rameau.

Rameau, a French composer (1683-1764) who lived during the reign of Louis XV, has become famous for his contributions to music theory, his early harpsichord works, and especially his operas. His 1722 Treatise on Harmony is considered revolutionary for having incorporated philosophical ideas alongside practical musical issues. His operas were equally famous for their rich choral singing and elegant dancing.  In the last few decades, interest in Rameau has intensified, with French scholars leading the way and organizing major festivals in Europe. Because of Dill’s renown as a scholar of Rameau and the Baroque, the UW-Madison School of Music will present a series of performances and talks about Rameau during the 2014-2015 academic year.

Charles Dill

Charles Dill

On November 13, the first of these events will kick off with a discussion about the expressive qualities in Rameau’s music (with visiting opera director David Ronis and Professor Anne Vila of the Department of French and Italian), followed by a concert the next day featuring Marc Vallon, UW-Madison professor of bassoon, in a mostly-Rameau concert. You can read the full schedule of events here.

We asked Prof. Dill to tell us a bit about himself and what makes Rameau an important figure in music.

How did you first become interested in Rameau?

“Modern audiences often view all composers of the past as struggling visionaries. This may be true of composers after Beethoven, but it isn’t true—or isn’t true in the same way—for earlier composers, even composers like Mozart or Haydn. They considered themselves to be working at a job. They wrote pieces to suit their performers, and the compositions were ‘disposable.’  If something needed changing, the composer changed it, generally without much grumbling. They didn’t continue to garner attention for decades.

“What first interested me about Rameau, then, was that he revised his operas extensively and these revised versions continued to be performed. This suggests all sorts of remarkable things about him and his works. Notably, he was alert to how audiences responded to his works to an unusual degree, and he felt some kind of obligation toward ‘getting the work right,’ as it were. That’s a very modern way of thinking about music. Because of this attitude, he also took risks as a composer. He was a remarkably creative individual, and he was rewarded for it. His works dominated French opera for a period of fifty years, until well after his death. For his time and place, this truly was an unusual relationship between composer and audience.

“Add to that Rameau’s work as a theorist. Thinkers had been speculating about how music works for as long as music had existed, but Rameau was the first to envision a comprehensive system that accounted for all of its aspects: how keys or tonalities come into being, why some harmonic progressions are more effective than others, how musical knowledge influences performance. We still employ his basic terminology for describing fundamental principles of music—chord inversion, tonic, dominant. There were flaws in his ideas, to be sure, and there have been countless other systems proposed since that make similar claims, but if you imagine music as an organized, coherent system—something we do every day—then you are, to a degree, following in his footsteps.

“And finally, around the year 2000, everyone became much more interested in Rameau, in response to a series of extraordinarily good performances and recordings, many of them under the direction of William Christie. It is no exaggeration to say the world thinks of Rameau differently as a result of William Christie’s work with the group Les Arts Florissants.

How did you become a Rameau specialist?

“I was fortunate to be in the right place at the right time. When I began working in Parisian libraries in the late 1980s, as a graduate student completing my degree, there were only a handful of people studying Rameau. Students from that generation have done influential work. Thomas Christensen explained the development of Rameau’s music theory, Sylvie Bouissou became the general editor of the Rameau edition, and William Christie specialized in interpreting Rameau’s music in performance.

“I was interested in Rameau’s relationship with audiences. Music criticism was still a fledgling enterprise in the eighteenth century, and yet his compositions elicited strong opinions, both for and against. He was one of the first composers to be treated not simply as a commodity, but as a public figure, one of the first to take that role seriously. To an unusual degree, he felt the need to experiment in his compositions, and yet he was also forced by circumstances to consider listeners and their perceptions in everything he wrote. After all this time, I still find this story remarkable.

“Times have changed. Nowadays, France recognizes Rameau as one its most representative composers and devotes time, money, and effort to developing our knowledge of him. A small army of dedicated French researchers is poring over every available source and producing first-rate scholarship. They’re doing wonderful work.”

What contributions have you made to scholarship?

“When I began writing about Rameau, there was a longstanding trend to approach composers solely from the vantage point of what they wrote. We could describe this as the ‘great composers’ or ‘great works’ approach. Discussing composers in this way cuts out some of the most interesting material: what audiences believed, how they liked what they heard, how they received the composers, and how composers responded to criticism. My book, Monstrous Opera: Rameau and the Tragic Tradition (1998), which Princeton University Press has recently reprinted as part of its Legacy series, addressed some of these questions. As an eminently public figure, Rameau was subject to intense scrutiny. Some critics distrusted opera as an overly sensual medium, and some regarded Rameau’s colorful music as an especially egregious example. Rameau encouraged these kinds of responses. Where earlier composers generally wrote simple, unobtrusive music, Rameau wrote music that demanded attention. In a way, then, he challenged critics and audience members to define their expectations regarding music openly and publicly. It is telling that, during the period in which he became popular, audiences changed, coming to resemble modern audiences more and more: they began to learn difficult and complex music by heart, they grew more quiet and became more attentive during performances.

“My other contributions have had to do with aspects of his career. My early publications often dealt with the relationship between Rameau’s ideas as a music theorist and his actual compositions. Having an eighteenth-century composer who was so active on both fronts is truly unusual, and it allows us to think more carefully about the relationship between theory and practice. More recently, I’ve been interested in reconstructing Rameau’s intellectual life. He was a bit of a magpie, really, taking ideas from the writers and philosophers who most suited his needs, but given the time and place in which he lived, he could take from the best: Descartes and Malebranche were early sources of inspiration, but eventually, like so many of his contemporaries, he turned his attention to Locke. Among those who collaborated with him on projects were Voltaire, Diderot, and d’Alembert. So I’ve been developing a clearer sense of what he himself actually believed, based on what he drew on from these various sources.”

How does Rameau fit in with other well-known composers of the day?

“Rameau was two years older than Handel and Bach, almost an exact contemporary. Interestingly, although there’s no evidence to suggest he knew their music well, he helped popularize in France the kinds of music they were writing. From the Handel side of things, he took the kind of virtuosic playing and singing we associate with Italian composition, and from the Bach side, he took an interest in complex counterpuntal and harmonic language. To these he added an extraordinary sense of color—few at this time were combining orchestras and voices in such surprising ways—and an endless gift for invention comparable to Bach’s and Handel’s. During the late 1740s, a faction arose at the French court that wanted to set limits on how many operas Rameau could compose, because they felt he was dominating the music scene so completely.

“Rameau was well known internationally. Initially, this was the result of his theoretical ideas, which he began publishing in the 1720s; reviews appeared almost immediately in Germany. By the 1750s, when his theoretical ideas were being popularized, his work was receiving attention in Italy as well. He also became an international figure musically in this period. His works were performed in Italy and Germany, and they were influential among the reform composers of that generation—Traetta, Jomelli, and Gluck. (For example, the famous opening scene of Gluck’s Orfeo et Euridice, which begins in the midst of a funeral procession, was directly modeled on the beginning of Rameau’s Castor et Pollux.)”

What activities have taken place around the world this year, and where?

“Well, as is always the case with composers, there have been performances around the world—in France and, more generally, Europe, obviously, but in the states as well, notably in New York and Washington D.C. In fact, a phone app has circulated in France so that one can follow where Rameau is being performed every day this year.

“Raphaëlle Legrand, who teaches at the Sorbonne, has put together a fascinating year-long series of presentations, open to the public, that combine historians, music theorists, professional musicians specializing in period instruments, and professional dancers specializing in historical dance techniques. This project is called the ‘Atelier Rameau’ and it has an excellent website. It has been especially interesting to have singers, instrumentalists, and dancers working together, because dance is so basic to Rameau’s musical style. Performers quickly developed a new sense of what was and wasn’t possible when they began talking to each other!

“The biggest events, however, were two international conferences that united all of the scholars currently working on Rameau. The first was held last March in Paris. Sponsored by the French national library and CNRS (Centre National de la Recherche Scientifique), the French government’s principal sponsor of scholarly research, ‘Rameau between Art and Science’ was held over three days at the Bibliothèque National, the Cistercian abbey at Royaumont (where an important research library is housed), and the Opéra-Comique (which premiered a new production of Rameau’s comedy, Platée). The second, ‘Jean-Philippe Rameau: International Anniversary Conference,’ was held at St. Hilda’s College, University of Oxford, this past September. It was part of a vast research effort, The Rameau Project, which is being overseen at Oxford by Graham Sadler and Jonathan Williams. Both conferences were remarkable.

“Among the surprises, those in attendance learned that we are still discovering eighteenth-century production scores for Rameau’s earliest and most important works, and that Rameau was the composer of the famous round, ‘Frère Jacques,’ which he included in a recently discovered composition manual. I can honestly say that this past year has advanced our knowledge of Rameau and his music in unprecedented ways.”

 

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School of Music Unveils Plans for a New Music Hall

New facility to provide a window into the world of working musicians

New building

An artist’s rendering of the proposed new music performance building, as viewed from University Avenue. This sketch shows the proposed rehearsal space with translucent walls at the corner.

The University of Wisconsin-Madison’s School of Music is moving ahead with plans to construct the first phase of a new performance center at the corner of Lake Street and University Avenue.

Architects will appear before the City of Madison’s Urban Design Commission Oct. 1 to present drawings for a 325-seat recital hall, large rehearsal room and spacious lobby. The $22 million project is entirely funded by anonymous donors.

The new performance building will anchor a highly visible corner of campus and is a critical component of the university’s East Campus Gateway renovation, which includes the now-completed Chazen Museum of Art expansion, Memorial Union renovation, Library Mall reconstruction and the planned Alumni Park on Lake Mendota.

More than 160 events were staged last year in the current recital hall, known as Morphy Hall, including concerts by faculty, guest artists, small chamber groups and student recitals. The school currently enrolls approximately 300 music majors, both undergraduates and graduates.

The new building is designed by Holzman Moss Bottino Architects of New York City, in partnership with Strang Architects of Madison. Acoustic design is by Richard Talaske/Sound Thinking of Oak Park, Ill., with theatrical design by Fisher Dachs Associates of New York City.

Noteworthy design elements include a glass-walled lobby and rehearsal room, allowing passersby to view rehearsals. Such extended transparency will help create educational and social connections between working musicians and the public, a key priority for the School of Music.

“Both the recital hall and large rehearsal room are central to our educational and curricular missions and will provide our students — majors and non-majors alike — with the spaces they need to experience music as practitioners and audience members,” says Susan C. Cook, director of the School of Music.

Architects have also proposed a translucent, multicolored glass brick clerestory to provide natural light, a recording suite to capture performances in both the rehearsal room and recital hall, and multi-channel audio and high-definition video recording and streaming capabilities. A “green room” lounge and dressing rooms are also planned.

Exceptional acoustics have been a priority since the project’s inception, and the site — a particularly noisy stretch of campus — presented a challenge for designers. Plans call for double-concrete walls and a double-concrete roof to block exterior noise. Inside, the cooling and heating system will be placed beneath the lobby to prevent those sounds from reaching the concert hall.

“Within the recital hall, patrons could experience the quietest space on campus,” says acoustics consultant Richard Talaske.

New building

An artist’s rendering of the proposed new music performance building, as viewed from the corner of Lake Street at University Avenue.

The School of Music Performance Center is part of a larger plan to replace outdated and inadequate performance facilities in the Mosse Humanities Building. In addition to providing a professional space for budding musicians to practice and learn, modern audio-video technologies in the new building will allow for live-stream concerts and high-quality recordings.

The second phase of the project will include a full concert hall to seat 800 patrons (fundraising for this phase is not yet complete). The first building will be designed in a modular U-shape into which the larger concert hall will eventually be placed.

UW-Madison unveils ambitious School of Music plans: Wisconsin State Journal, Sept. 25, 2014

 

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David Ronis brings theatrical flair to University Opera

David Ronis, the visiting director of University Opera at the UW-Madison School of Music, doesn’t want his opera singers to just “park and bark” their arias. He wants them to truly express the various hidden narrative levels of the opera’s libretto and musical score.

In short, he wants them to act as actors do.

It’s not a new idea, Ronis says. In fact, he says, the overall trend in opera over the last 30 years has been for opera singers to develop acting skills as keen as their vocal ones–and he considers himself to be part of that movement.

David Ronis. Photo by Luke DeLalio.

David Ronis. Photo by Luke DeLalio.

At one point, working in this way was a departure for Ronis himself. He’d been singing professionally in opera for years before he landed a job in the Los Angeles company of Disney’s Beauty and the Beast, where he suddenly was surrounded by actors with real technique. After three years there he returned to New York and began to study acting seriously and added acting jobs – spoken theater, commercials, and independent films – to his resume.

It was life-changing. He began to look at operatic acting with new eyes, and discovered he was a bit embarrassed by the quality of much of the work that he saw.

“So I joined some friends – other teachers and directors – whose mission in life was to train opera singers to become better actors,” Ronis says. “And my background, being a singer myself as well as a trained actor, has facilitated that. So that’s what I work on now: how to use yourself, your imagination, your emotions, and your body, to act the story more effectively.”

For Albert Herring, this season’s University Opera production and Ronis’s first at UW-Madison, that means detailed stage work. “Comedy is harder than drama,” he says. “When you’re singing an aria about how lonely you are and how you want to commit suicide, it usually has a slower, more sustained inner tempo. Although the emotions are intense, it doesn’t require the same kind of technical skill as comedy.”

“In comedy, things happen quickly. Characters exchange thoughts, react to each other, and things are constantly bouncing back and forth,” he continues.  “So we’re spending a lot of time working on those interchanges, and how they manifest in action. The trick is to do it cleanly and with proper timing.”

What does Ronis find funny? “I love comedy that arises out of situation,” he says. “The first time I saw the play Noises Off, I thought I had died and gone to heaven. I also have a few favorite standup comedians – Chris Rock, Kathy Griffin, Louis CK – as well as few sitcoms like ’30 Rock’ that I think are deeply funny. The classic TV comedies from the 50s and 60s are fantastic! Yesterday, in rehearsal, I found myself saying to one of the students, ‘Okay, you’re Lucy! This is a Lucy moment!’ ”

Did they have any idea what you were talking about? “They did! Yes!”

Learn more about University Opera’s Albert Herring, including how to buy tickets.


We asked David to tell us a bit more about this background and his plans for the UW-Madison School of Music. Here’s his response.

Q: Welcome to Madison, David! You’re such a New Yorker – how does it feel to be in the Midwest?

A: I’ve actually spent quite a bit of time in the Midwest. When I was actively performing, I sang all over the country, frequently spending a good month or more in a given city. So I got pretty comfortable living outside of New York. I’ve been to Wisconsin a number of times – I sang at both the Skylight and Florentine Opera companies as well as on tour with the New York City Opera National Company in Madison (at the Oscar Mayer Theater) And also in Platteville!

Q: Did you have any connections with the School of Music before you came here?

A: Yes, my good friends Paul and Cheryl Rowe have been here for 16 years. Paul is on the voice faculty and Cheryl is a terrific singer and voice teacher in her own right. It was Paul and Cheryl who encouraged me to apply for the interim position. And I’m glad they did!

Q: What are your plans this year for University Opera?

A: Well, we’ve selected two shows that I think are perfect for the UW students and for the community. In October, we’re doing Benjamin Britten’s Albert Herring and in March, Mozart’s masterpiece, The Magic Flute. Albert Herring is a terrific comedy with a social message or two that’s truly an ensemble piece. Technically, it’s a chamber opera, because the orchestra consists of only 13 players.

Albert Herring is also a perfect piece for the intimate Music Hall at UW-Madison which seats 380. Grand opera it isn’t. What it is, is a terrific opportunity for young singers and instrumentalists to develop their skills and put on an entertaining, meaningful work. We’re very happy to bring this piece to the Madison community. The conductor for Albert Herring is Kyle Knox, a remarkably talented graduate student, studying with orchestra conductor James Smith. It’s been a delight collaborating with Kyle on this project and I look forward to working with Jim in the spring.

I actually have a special connection with this work. When I was a young singer, I had the opportunity to travel to the Britten-Pears School in Aldeburgh, England in order perform the title role of Albert Herring as well as to study it with Peter Pears, the original Albert. It was a minimal workshop production, directed by Eric Crozier, Britten’s librettist, and Nancy Evans, another original cast member, yet quite memorable for me. I’m very happy to share my one degree of separation from the creation of the work with UW students. It was fantastic to do Albert Herring in the part of England where it not only takes place, but where Britten, Pears, Crozier and the English Opera Group lived and worked.

The spring production, The Magic Flute, will be sung in German with English dialogue. Since we have a full orchestra for the spring production, I wanted to do a piece that had a fairly large cast and chorus, thus offering lots of opportunities for UW students to perform. The Magic Flute is the perfect piece – well-loved and family friendly. One of our missions is to develop new, young audiences, and this opera goes a long way to accomplish that task. We look forward to bringing this work to the Music Hall.

Q: As a Visiting Assistant Professor with a one-year appointment, how do you see your role, as far as continuing and developing University Opera?

A: It’s an interesting position to be in. This is truly a year of transition for University Opera. After 16 successful years under William Farlow, I want to make sure that the program continues to grow and develop. One year is long enough to begin a few new initiatives that will hopefully be continued in the years to come. At the top of my list are the program’s educational priorities – to provide ways to help students develop their skills and to provide performance opportunities for them. In order to involve as many students as possible in the program, we’ve double cast some roles in Albert Herring and I’m expecting to do the same in The Magic Flute. As part of the Opera Workshop class (which produces an Opera Scenes program twice a year in addition to the mainstage productions), I’ve started teaching an Acting for Singers class. Seeing that my personal mission has been to develop better acting standards among opera singers, I’m excited to have the opportunity to help the students with their stage skills. Also, pursuing the part of the mission of University Opera that values community service, I would like to reach out to various arts and civic groups, both on campus and off, to see what kinds of collaborations may be possible – connections that would be mutually beneficial.

Q: Do you have any other observations regarding University Opera or the School of Music in general?

A: Well, I continue to be impressed with the students. They seem hungry for knowledge and to develop their skills. As a group, they are very hard working, and I think that you’ll see the results in performance. Susan Cook, the Director of the School of Music, Ben Schultz, the Assistant Director, and the other administrative staff have been very welcoming and helpful as I adjust to new systems and procedures. Likewise the School of Music faculty members I’ve met. I’m very happy to be among this group and look forward to an exciting year!

 

 

 

David Ronis
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University Opera Presents Britten’s “Albert Herring”

University Opera presents Albert Herring, Benjamin Britten’s entertaining ensemble comedy with a social message

On October 24, 26, and 28, University Opera will present its first operatic production of the season, Albert Herring, composed in 1947 by Benjamin Britten. The libretto is based on Guy de Maupassant’s novella Le Rosier de Madame Husson, and was written by Eric Crozier. It was premiered in 1947 at Glyndebourne Festival Opera in East Sussex, England, and received its first United States premiere at Tanglewood in 1949. It has been called the greatest comic opera of the century.

It will mark the first opera staged under the direction of David Ronis, visiting director of opera at UW-Madison. Read about David Ronis’s new ideas for University Opera. 

The opera will be performed in Music Hall, 925 Bascom Mall, on Friday, October 24 at 7:30 p.m., Sunday, October 26 at 3 p.m., and Tuesday, October 28 at 7:30 p.m.

Herring-Poster-FnlWEB

The story begins when the town council in the small English village of
Loxford, motivated by the formidable Lady Billows, meets in order to select a “chaste and virtuous” Queen of the May. When no young ladies can be found that fit the bill (scandale!), they decide to choose a King of the May instead. The young man they select is the nerdy Albert Herring. Henpecked by his mother, Albert dreams of going out on his own. For the moment, however, he does not have the emotional wherewithal to break loose from her tether. That changes when his contemporaries, Sid and Nancy, spike his drink during the celebration. Under the influence of alcohol, he conquers his inhibitions and disappears overnight. The next morning, the whole town believes him to be dead. But Albert, of course, reappears and proceeds to tell them all off. Thus, Britten’s opera is both a coming of age story as well as one that gently examines the nature of hypocrisy in modern society.

Although originally set in 1900, the University Opera production transports Albert Herring to 1947, the year it was written. At that time, England was still reeling from the hardships of World War II. By setting the opera at the the time of its creation, University Opera hopes
to reflect some of the social and economic challenges faced by Britten and
his colleagues when they started the English Opera Group. Some of Britten’s most important work dates from this period in which he wrote for the same forces of 13 instrumentalists and a small group of singers, and consequently made a huge contribution to the genre of the chamber opera.

The 13-character cast of Albert Herring features William Ottow and Joshua Sanders in the title role, as well as Jessica Kasinski and Tyana O’Connor as Lady Billows. Additionally, the production will include Alaina Carlson and Jennifer DeMain as Nancy, Brian Schneider as Sid, Joel Rathmann as the Vicar, Tia Cleveland as Mrs. Herring, Sheila Wilhelmi as Florence, Dennis Gotkowski as the Mayor, Emi Chen as Emmie, Emily Weaver as Cis, and Nicole Heinen and Sarah Richardson as Miss Wordsworth. Three local performers join the cast – Rick Henslin as Superintendent of Police Budd, as well as Michael Chiaverini and Eli Kuzma, boys who sing in the Madison Youth Choir, splitting the role of Harry. The instrumental forces for Albert Herring will be the University Opera Orchestra, conducted by Kyle Knox, with musical preparation by Mr. Knox, Chan Mi Jean, and Thomas Kasdorf.

The production staff include scenic designer Stephen Hudson-Mairet, costume designers Sydney Krieger and Hyewon Park, lighting designer Jordan Kardasz, prop designer Dana Fralick, scene painting advisor Liz Rathke, technical director Greg Silver, and production stage manager Erin McDermott. Student staff include Emi Chen, costumes; Katie Oliver and Fabian Qamar, props; Melanie Treuhaft, scene painter; Briana Miller, master electrician; and Lukas Heins, assistant carpenter.

Tickets are $22.00 for the general public, $18.00 for senior citizens and $10.00 for UW-Madison students, available in advance through the Campus Arts Ticketing office at (608) 265-ARTS and online at http://www.arts.wisc.edu/ (click “box office”). Tickets may also be purchased in person at the Wisconsin Union Theater Box Office Monday-Friday, 11:30 a.m.-5:30 p.m. and Saturdays, 12:00-5:00 p.m. and the Vilas Hall Box Office, Monday-Friday, 11:30 a.m.-5:30 p.m., and after 5:30 p.m. on University Theatre performance evenings. Because shows often sell out, advance purchase is recommended. If unsold tickets remain, they may be purchased at the door beginning one hour before the performance. The Carol Rennebohm Auditorium is located in Music Hall, at the foot of Bascom Hill on Park Street.

University Opera is a cultural service of the School of Music at the University of Wisconsin-Madison whose mission is to provide comprehensive operatic training and performance opportunities for our students and operatic programming to the community. For more information, please contact opera@music.wisc.edu.

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Pro Arte Quartet Channels Allen Ginsberg in “Howl” Composition

World Premiere of New Chamber Work Scheduled for Sept. 26

Also: Open Rehearsal, Friday, Sept. 25, 9 to noon, Mills Hall.

Encore Performance Sunday, Sept. 27, Chazen Museum, 12:30 p.m.

When Beat Generation poet Allen Ginsberg published “Howl” in 1956, he may have anticipated the obscenity charges he faced because of the work’s highly charged content. Chances are he didn’t foresee his epic poem, now considered a significant work of American literature, as the source of inspiration for a 21st Century chamber music composition.

The Pro Arte Quartet

The Pro Arte Quartet during a rehearsal last spring with Belgian composer Benoit Mernier

Pierre Jalbert, an American composer of French-Canadian decent, thought otherwise. When commissioned by the University of Wisconsin Pro Arte Quartet to compose an original work to help the quartet celebrate its centennial season, Jalbert chose Ginsberg’s poem as his source of inspiration. Jalbert’s “Howl” for clarinet and string quartet will receive its world premiere by the Pro Arte on Friday, Sept. 26, at the Wisconsin Union Theater on the UW-Madison campus. The event, free and open to the public, will be the first classical music concert to take place in the historic theater’s newly refurbished Shannon Hall.

The 8 p.m. concert will be preceded by a 7 p.m. concert preview discussion with Jalbert in Shannon Hall. In addition to Jalbert’s composition, the evening’s program includes the String Quartet No. 2 in A Major (1824) by Juan Crisóstomo Arriga and the Clarinet Quintet in A Major (1791) by Wolfgang Amadeus Mozart.

The concert will be repeated Sunday, Sept. 28, at 12:30 p.m. in Gallery III at the Chazen Museum of Art, also on the UW-Madison campus. Joining the Pro Arte for both concerts will be clarinetist Charles Neidich, a regular member of the Orpheus Chamber Orchestra and noted guest performer with orchestras and string quartets worldwide.

Clarinetist Charles Neidich

Clarinetist Charles Neidich

“The Jalbert quintet is a very exciting composition, often very rhythmic, but with very serenely quiet contrasting sections,” said Neidich. “It is also interesting in that the clarinetist has to switch to bass clarinet, creating a very different sound for the group.”

Ginsberg, who died in 1997, began work on “Howl” as early as 1954. The poem was first published in “Howl and Other Poems” in 1956 as part of the “Pocket Poets” series by fellow beat poet Lawrence Ferlinghetti, also known as founder of City Lights Books in San Francisco.

Upon the poem’s release, both Ferlinghetti and City Lights manager Shigeyoshi Murao were arrested and charged with distributing obscene material because of the poem’s profanity, drug references and frank sexual content. Four months later, Judge Clayton Horn ruled that the work was not obscene and charges against Ferlinghetti and his employee were dropped.

Judge Horn deemed “Howl” to have redeeming social content, and over the years it’s proved its worth, both in terms of social and literary value, according to Dr. Lynn Keller, the Martha Meier Renk Bascom Professor of Poetry in the UW-Madison Department of English.

” ‘Howl’ stands out stylistically in its compellingly and varied repetition of words beginning successive lines, its near surrealist imagery, and its combination of agonized depictions at once hellish and lofty with a very appealing sense of humor,” Dr. Keller said. “In terms of content, it also stands out in celebrating the down-and-out hipster as spiritual quester and visionary.”

As part of the Beat Generation – as much a social as a literary phenomenon – Ginsberg’s celebration of physical pleasures and suspicions about “the military industrial complex” created a new path that still appeals to younger audiences. “It is a powerful poem, a howl from the heart of an agonized generation in a repressive era,” Dr. Keller said. Jalbert was familiar with the poem prior to the Pro Arte commission, but it was only after he started composing the work that he began to realize the influence Ginsberg had on the music. Those similarities had less to do with the poem’s content and more to do with its structure and rhythm, the composer said.

Composer Pierre Jalbert

Composer Pierre Jalbert

“At the beginning of my piece, the clarinet is basically playing long tones, creating a long line much like the long lines in Ginsberg’s poem, while the strings present the rhythmically pulsating harmonic underpinning,” Jalbert said. “Ginsberg’s poem has been called a  ‘litany of praise,’ and the second movement of my work becomes a litany, much like a series of prayers in a liturgy, with the strings creating chant-like lines while the clarinet becomes the vox Dei, or “voice of God,” hovering mysteriously over everything. The third movement returns to the musical materials from the first movement, but now the bass clarinet takes on the virtuosic role.”

In keeping with emotional soundings in parts of “Howl,” Jalbert also has attempted to capture the “shrieks” that were characteristic to the poem alongside the aforementioned litany of praise.

“There are buildups to shrieking moments in my piece as well as a “howl” motive of a low chord slurred up to an immediate high cluster, all played very forcefully,” said Jalbert. “There’s also something very urban about parts of the poem and to me, there’s an urban quality in my first and third movements. There are also many religious allusions and the last words of Christ on the cross, so the second movement uses some of this.”

The Jalbert composition is the final of six commissions for the Pro Arte Centennial seasons, and it has all the earmarks of a contemporary works with staying power, according to Neidich.

“Having studied the score, I believe that it will be accessible to listeners and exciting to hear,” said Neidich. “It features the clarinet both in the role of soloist and as contributor to the sonority of the ensemble. It has all the necessary attributes to become a significant work.”

The Jalbert commission also brings to an end the Pro Arte’s seasons of centennial celebration in honor of the quartet’s long and storied history.  The Quatuor Pro Arte of Brussels, first formed in 1911-1912, was performing at the Wisconsin Union Theatre on the UW-Madison campus on May 10, 1940, when Belgium was overrun and occupied by Nazi forces, turning three of its original four musicians into war orphans. By October of that year, the group had officially become the UW Pro Arte Quartet, making it the first artist ensemble-in-residence at any university in the world. At more than 100 years old, Pro Arte also is thought to be the world’s oldest continuously performing string quartet.

In May, the Pro Arte returned to Belgium to perform the European premiere of its fifth centennial commissioned work, Belgian composer Benoît Mernier’s String Quartet No. 3. The work had received its world premiere on March 1 Mills Concert Hall in the Mosse Humanities Building on the UW-Madison campus with the composer in attendance. Read about their Belgium adventures in a local blog, The Well-Tempered Ear.
The Pro Arte Quartet includes violinists David Perry and Suzanne Beia, violist Sally Chisholm and cellist Parry Karp.

Contacts:
Sarah Schaffer 608/217-6786
Mike Muckian 608/287-6261

 

 

 

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UW-Madison showcases Brass, Jazz, and Composers in 2014-15 Music Festivals

Brass, jazz and three composers–American George Crumb, Cecilia McDowall of the United Kingdom, and France’s Jean-Philippe Rameau — will be showcased this year at the UW-Madison School of Music in the form of five multi-event guest artist festivals, starting in October and continuing through April. Funding is provided by the Vilas Trust and Anonymous Fund at UW-Madison. We thank them for their support.

Other notable events will include an eight-concert faculty/student “Showcase Series” series, presenting some of the most dynamic music that the School has to offer. Click here for Showcase info.

Some events are ticketed (click here for info). Tickets will go on sale one month ahead of time. All other events at the School of Music, including dozens of faculty recitals, student ensembles and individual guest artists, continue to be free.

Oystein Baadsvik

Oystein Baadsvik

Our 2014-15 festivals include:

“Celebrate Brass”
Wednesday, October 8 — Monday, October 13, 2014

Brass music is often known for its swagger, but it is also famous for delicate polyphonies and burnished tones. We invite the public to experience the beauty of brass first-hand at a festival featuring both a full array of music and musicians, many at the height of their careers.

Performers will include famed Norwegian tubist Øystein Baadsvik, the only musician to have created a career as a tuba soloist, rather than becoming a member of an orchestra or accepting a teaching post. His multi-faceted musical career as a soloist, chamber musician and recording artist has taken him all over the world. Øystein Baadsvik’s international career began in 1991 when he was awarded two prizes at the prestigious Concours International d’Exécution Musicale in Geneva.

Baadsvik will be joined by hornist Jessica Valeri (BM, UW-Madison, 1997) of the San Francisco Symphony Orchestra, Michigan’s Western Brass Quintet, UW-Madison’s Wisconsin Brass Quintet, renowned brass composer and blogger Anthony Plog, new UW-Madison faculty tubist Tom Curry, as well the best brass players and conductors at the University, including a Brass Choir led by conductor Scott Teeple.

Events will include concerts, solo recitals, masterclasses, brass coachings, a colloquium and a reception.
Click here for full schedule.

The 4th Annual UW-Madison/Madison Metropolitan School Jazz Festival
Wednesday, December 3 — Saturday, December 6, 2014

Ingrid Jensen in Brooklyn, NY. June 2005photo by Angela Jimenez

Ingrid Jensen

A festival featuring workshops and performances for college and high school jazz performers. This marks the first time that UW-Madison will host the event.

This festival will feature Ingrid Jensen, trumpeter, bandleader, artist-in-residence at the University of Michigan and part-time faculty member at the Peabody Conservatory. Ingrid Jensen has been a major figure on the international jazz scene for over 20 years. Her three CDs for the ENJA label and her latest CD, “At Sea,” won her nominations from the Canadian Juno Awards, including an award in 1995 for Vernal Fields. In addition to her work as a leader of the quartet Project O and the quintet Nordic Connect, Jensen is a featured soloist with the Maria Schneider Orchestra, with whom she recorded four albums, including the Grammy Award-winning “Concert in the Garden” and “Sky Blue,” the former of which was also named Jazz Album of the Year by the Jazz Journalists Association.

Jensen is a member of the Mosaic project with Terri-Lynn Carrington, Esperanza Spaulding and Geri Allen; the Darcy James Argue’s Grammy-nominated Secret Society; the Juno-award winning Christine Jensen Orchestra; has been featured on Gil Evans’ Porgy and Bess at the San Francisco Jazz Festival, under the direction of Maria Schneider; and has appeared as a guest in the festival’s “Tribute to Woody Shaw and Freddie Hubbard”, alongside Terence Blanchard, Eddie Henderson, Bobby Hutcherson and Kenny Garrett.

The festival will include master classes in jazz trumpet and improvisation, open rehearsals, a Saturday high school clinic, and performances with UW jazz ensembles and high school big bands from Madison and Middleton.

This festival is free and open to the public.
Click here for full schedule.

“Seventy Degrees Below Zero”: A concert series and residency showcasing the music of British composer Cecilia McDowall
Friday, February 19 through Sunday, February 23, 2015

In 2009, after premiering a McDowall work, “Framed,” UW-Madison trumpet professor John Aley discovered for himself what he describes as the “challenging, energizing, poetic, clever, tongue in cheek, and utterly beautiful” music of Cecilia McDowall.

Cecilia McDowall

Cecilia McDowall

Our festival, organized by Aley, will feature the first-ever United States residency of British composer Cecilia McDowall and the US premiere of her symphonic work “Seventy Degrees Below Zero,” commissioned by the City of London Sinfonia and the Scott Polar Research Institute, based in Cambridge, England.

Often inspired by extra-musical influences, McDowall’s writing combines a rhythmic vitality with expressive lyricism. She has won many awards and has been short-listed several times for the British Composer Awards. Her music has been commissioned and performed by leading choirs, including the BBC Singers, ensembles and at major festivals both in Britain and abroad and has been broadcast on BBC Radio and worldwide.

“Seventy Degrees Below Zero” is a cantata for solo voice (to be sung by faculty tenor Jim Doing) and orchestra, inspired by a phrase written by British captain Robert Falcon Scott to his wife, prior to his death while returning from an expedition to the South Pole: ‘Dear, it is not easy to write because of the cold – 70 degrees below zero.’ ”

Joining us on Saturday will be Michael DuVernois of the UW-Madison IceCube Particle Astrophysics Center, only recently returned from the Antarctic, who will present an entertaining and educational talk, complete with historic and modern photographs, on the progression of Antarctic exploration from the heroic age through modern science on the coldest, highest, driest continent.

Other works to be performed during the three-day festival include the first US performances of “Regina Caeli,” for four trumpets and four trombones, and “Cavatina at Midnight,” for clarinet, cello and piano. Her haunting choral works “Ave Regina” and “Ave Maris Stella” will be performed by the UW Chamber Choir, directed by Bruce Gladstone. In addition to Jim Doing, faculty performers will include pianists Christopher Taylor and Martha Fischer, clarinetist Linda Bartley, soprano Elizabeth Hagedorn, oboist Kostas Tiliakos, trombonist Mark Hetzler, trumpeter John Aley, cellist Parry Karp, percussionist Anthony Di Sanza, violist Sally Chisholm, and others.

In 2008, the Phoenix Chorale won a Grammy Award for “Best Small Ensemble Performance” for its Chandos CD, “Spotless Rose: Hymns to the Virgin Mary,” which included a work, “Three Latin Motets” by Cecilia McDowall.

Click here for full schedule.
Read a review in The Guardian newspaper of the UK premiere of “Seventy Degrees Below Zero.” 

“Honoring George Crumb at 85”
Sunday, March 22 and Monday, March 23, 2015

George Crumb has been a major force in American composition since the 1960s when his Ancient Voices of Children set to texts by Garcia Lorca provided an evocative and deeply personal response to late modernist serialism. The winner of both a Pulitzer Prize and Grammy, Crumb continues to compose new works, most recently his American Songbooks, that celebrate the magic and mystery of life. Crumb’s music often juxtaposes contrasting musical styles and quotes from pre-existing works, and his use of extended instrumental techniques shows his predilection for new sound colors. Many of Crumb’s works include programmatic, symbolic, mystical and theatrical elements, which are often reflected in his beautiful and meticulously notated scores.

Miranda Cuckson

Miranda Cuckson

Crumb’s 85th birthday provides an opportunity to celebrate this composer through concerts, workshops, and master classes featuring guest artists as well as our own faculty and students. The program will include a performance of the “Crumb Madrigals” by Chicago duo Due East and a concert by New York-based violinist Miranda Cuckson, as well as a performance of “The Violinists in My Life,” written by faculty composer Laura Schwendinger.

Cuckson is highly acclaimed for her performances of a wide range of repertoire, from early eras to the most current creations. In demand as a soloist and chamber musician, she appears in major concert halls, as well as at universities, galleries and informal spaces. She has performed at such venues as the Berlin Philharmonie, Carnegie Hall, the Library of Congress, Miller Theatre, the 92nd Street Y, Guggenheim Museum, and many more.

Nunc (Latin for “now”) was founded in 2007 as “Transit Circle ” by artistic director and violinist/violist Miranda Cuckson, and was renamed and incorporated as a not-for-profit organization in 2012. Nunc is devoted to presenting high-caliber performances of music of current, recent and older eras, through distinctive programming that highlights their innovations and contributions.

Due East (Erin Lesser, flutes; Greg Beyer, percussion) actively promotes new music and seeks to expand the flute and percussion duo genre through frequent commissions and premieres. Their first recording, Simultaneous Worlds, is available on Albany Records. Their second recording, Drawn Only Once, is a multi-media CD/DVD now available on New Amsterdam Records. Noted critic Steve Smith gave it a rare 5.0-star rating in Time Out New York, calling it “spellbindingly beautiful.”
Click here for full schedule.
Read a review of Miranda Cuckson in the New York Times.

“Rediscovering Rameau”
Multiple events; check back later for more details.

Jean-Philippe Rameau

Jean-Philippe Rameau.

A year-long festival marking the 250th anniversary of the death of French Baroque composer Jean-Philippe Rameau.
The UW-Madison and community partners will offer a series of public events beginning this fall and culminating in April with two concert performances of Rameau’s one-act opera, Pygmalion, by the Madison Bach Musicians.
Learn more about Rameau here.

 

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Remembering and celebrating the life of Howard Karp

Howard Karp, professor emeritus of piano at the University of Wisconsin-Madison, died of complications of cardiac arrest on Monday, June 30 at the Medical Center of the Rockies in Loveland, Colorado, close to his beloved summer home in Estes Park, surrounded by his wife and sons. He was 84.

Howard_Karp

Howard Karp. Photo by Katrin Talbot.

“Howard Karp was an inspirational presence as both an educator and performer,” says Susan Cook, director of the UW School of Music. “He taught generations of students and helped make the Wisconsin Idea international by recruiting pianists worldwide. His influence continues to shape the School of Music and its mission.”

For many music lovers, the Madison concert season begins with the annual Karp Family Concert each Labor Day. In 38 years, three generations of the Karp family — piano, cello, violin, viola and spoken word — never repeated a piece, premiering new works and celebrated masterpieces in front of some of Mills Hall’s largest crowds. However, the 2014 concert — originally scheduled for September 1 — has now been cancelled. In its place is a tribute event on Sunday, August 31, at 3 PM in Mills Hall. The public is welcome. A reception will follow.

Download the program here. (PDF)

In lieu of flowers, donations and contributions in Prof. Karp’s name may be made to the “Howard and Frances Karp Piano Scholarship Fund” University of Wisconsin Foundation, US Bank Lockbox, Box 78807, Milwaukee, WI 53278.

Click here to read the story published by the University of Wisconsin-Madison News.

Click here to read Prof. Karp’s obituary.

Click here to read a story about Prof. Karp and fellow pianist Leonard Shure, published August 17, 2014 in the New York Times.

Howard Karp’s music is now available on SoundCloud and may be purchased through Albany Records and the UW-Madison School of Music Online CD Store.


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UW appoints School of Music appoints alumnus Tom Curry as visiting assistant professor of tuba

UW-Madison alumnus studied with UW’s John Stevens and Northwestern’s Rex Martin

The UW-Madison School of Music is pleased to announce the appointment of Appleton native Tom Curry as Visiting Assistant Professor of Tuba, replacing Professor of Tuba John Stevens who will retire this spring after 29 years in the position.

Tom Curry

Tom Curry

Curry, a former student of John Stevens’, graduated from UW-Madison in 2009 with a degree in music performance and communication arts and was on the Dean’s List for eight semesters with a 4.00 GPA. He subsequently earned a master’s degree in music performance and literature from Northwestern University, studying with Rex Martin, and is currently pursuing a doctorate in music performance there. He is principal tubist of the Green Bay Symphony Orchestra and the Evanston Symphony Orchestra, and has performed with the Joffrey Ballet, the Chicago Philharmonic, the Ars Viva Symphony, and many other orchestras.

Curry maintains a large studio of private low brass students at several Chicago-area high schools and also teaches supplemental tuba and euphonium lessons and master classes at Northwestern. He has served as a low brass instructor at the University of Wisconsin Summer Music Clinic and as a guest tuba and euphonium instructor at Lawrence University.

WBQ_2014_Megan_Aley_photog

The 2014-15 Wisconsin Brass Quintet. Front row: Tom Curry, tuba; Mark Hetzler, trombone. Back row: Daniel Grabois, horn; John Aley, trumpet; and Jessica Jensen, trumpet. Photo by Megan Aley.

In addition to teaching the Low Brass Studio, Curry will play in the Wisconsin Brass Quintet, a position he also held during his final semester at UW while John Stevens was on sabbatical.

In Chicago, Curry has regularly appeared with several local and national rock and popular acts, including performances with the Grammy-nominated group Foster the People and the local band, Mucca Pazza.

“We’re ecstatic,” says Mark Hetzler, professor of trombone. “There’s an energy about Tom which comes across in how he teaches and plays. And he understands the style of teaching here: the faculty connection with students is extremely important. He’s going to continue that tradition.”

“It’s quite an honor to come back to a place that had such a formative influence on me,” Curry says. “To be in that environment is an incredible opportunity.”

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St. Paul Chamber Orchestra violinist Leslie Shank to join School of Music

The School of Music welcomes violinist Leslie Shank as visiting assistant professor of violin next fall, replacing Felicia Moye who has taken a position at McGill University in Montreal. Shank is a longtime member of the 55-year-old Saint Paul Chamber Orchestra, one of the world’s most renowned chamber ensembles, known for its adventurous programming, commissions and world premieres. This week, the orchestra will premiere a new viola concerto composed by Pulitzer-Prize winning composer Aaron Jay Kernis.

Leslie Shank

Leslie Shank

Leslie is well-known to the musicians of Madison’s Pro Arte Quartet, who recommended her appointment. “I couldn’t be happier to welcome Leslie Shank to the UW School of Music this coming fall,” says David Perry, Pro Arte violinist. “Her performance and master classes in recent years have been inspirational, and it will be great for our students to benefit from her broad range of experience on a more regular basis.” Pro Arte violist Sally Chisholm praises Shank’s “wonderful and boundless energy.”

For her part, Shank is thrilled to have the opportunity to work at UW-Madison. “Phenomenal musicians come out of UW,” says Shank, which is not true of all universities, she adds. “I’m honored to be invited to join such amazing faculty. People would give their eyeteeth to be able to work in that department.” Hear Leslie perform in this audio clip from Minnesota Public Radio.

Shank will commute to Madison while maintaining her role as a violinist in St. Paul. She hopes to bring UW’s violinists to the Twin Cities for concerts, she adds.

Ms.Shank has been a member of the Saint Paul Chamber Orchestra since 1984 and was assistant concertmaster for 24 years. She gave her New York recital debut at Carnegie’s Weill Hall as a winner of the Artists International Competition, and was twice re-engaged to perform on its Special Presentation Series. Shank has also performed as soloist with many orchestras, including the Seattle Symphony, the National Orchestral Association (also serving as concertmaster), and the Racine Symphony. Her recital at the celebrated Dame Myra Hess Series in Chicago was broadcast on WFMT radio. She has also appeared with the Baltimore Symphony as guest associate concertmaster, and with the Indianapolis Symphony as guest concertmaster.

Ms. Shank currently serves as concertmaster of the “Music in the Mountains” Festival in Colorado, and has performed at numerous other festivals including Aspen, Grand Teton, Mainly Mozart, Marlboro, Bach Dancing and Dynamite Society, Orcas Island Festival, and the Britt Festival, where she served as concertmaster of the festival orchestra. As a member of the prestigious Musicians from Marlboro, she performed several concerts throughout the East Coast. Additionally, she plays both violin and viola as a member of the Hot Dish Trio with pianist, Susan Billmeyer, and clarinetist, Karrin Meffert-Nelson.

On disc, Leslie can be heard on two Centaur releases, Recital for Violin & Guitar, with her husband, classical guitarist Joseph Hagedorn, and the Bartok Violin Sonatas with pianist Heather MacLaughlin. Ms. Shank’s interest in Bartok’s Violin Sonatas resulted in a trip to Hungary with pianist Heather MacLaughlin to study those works and was supported by a grant from the General Mills, Dayton Hudson and Jerome Foundations. The Shank-MacLaughlin Duo also received the prestigious McKnight Artist Fellowship for Performing Musicians.

Leslie received bachelor and master of music degrees from The Juilliard School. Her teachers were Shirley Givens, Felix Galimir, and Dorothy Delay.

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School of Music announces David Ronis as visiting director of opera

The UW-Madison School of Music is pleased to announce the appointment of opera director David Ronis to serve a one-year term as Visiting Assistant Professor, Director of University Opera, replacing William Farlow, who retires this year after 16 years in the position. His final production of Hector Berlioz’s Béatrice et Bénédict will be staged Tuesday, April 15, in Music Hall.

David Ronis. Photo by Luke DeLalio.

David Ronis. Photo by Luke DeLalio.


Ronis, a tenor with many singing and acting roles to his credit, is currently on the faculties of the Aaron Copland School of Music, Queens College/City University of New York, and Hofstra University on Long Island, where he teaches voice, directs opera, and coaches singers on acting and auditioning skills.

“The voice and opera programs are delighted to welcome David Ronis,” says Mimmi Fulmer, professor of voice and opera at the School of Music. “Mr. Ronis will direct two full productions for University Opera during the 2014-15 season, as well as join me in teaching Opera Workshop. He brings a background of a distinguished singing career in both opera and musical theater as well as extensive credits as a director. We are fortunate to have him contribute his artistry and experience to our singers and our audiences. I am looking forward to the opportunity to work together to present another wonderful season of University Opera.”

Ronis’s resumé is impressive. His 2009 and 2011 productions of Monteverdi’s L’Orfeo and Argento’s Postcard From Morocco won first and third place, respectively, in the National Opera Association Opera Production Competition. Other recent productions include L’incoronazione di Poppea, Suor Angelica, La Damoiselle Elue, The Magic Flute, Le Nozze di Figaro, and Dido and Aeneas at Queens College, Rigoletto for the Queens Symphony Orchestra, Cosî fan tutte for OSH Opera, From Berlin to Potsdam: A Kurt Weill Cabaret for the Crane School of Music at SUNY Potsdam, and a portion of Gregg Wramage’s Death in Summer at the Manhattan School of Music, part of their annual “From Page to Stage” series.

Mr. Ronis is also the co-director of the Baroque Opera Workshop at Queens College, a faculty member at the Westchester Summer Vocal Institute, and served as the local chair for the National Opera Association’s January 2014 convention in New York City.

Ronis visited UW-Madison in March and says he was “very impressed with the students.”

“Their skill level is very high, they were very engaged, interested and motivated. They asked really difficult questions. I just loved it,” he added.

David Ronis.

David Ronis as “Lumiere” in Disney’s “Beauty and the Beast.”

Mr. Ronis has sung over 50 operatic roles, including performances of the Witch in Hansel and Gretel, the Four Servants in Les Contes D’Hoffmann, Prince Orlovsky in Die Fledermaus, Basilio and Curzio in Le Nozze di Figaro, and Goro in Madama Butterfly. He has appeared on stages from Milan’s La Scala to Vienna, New York to Hong Kong. He also has performed as a soloist in the world’s most famous halls and at summer music festivals and has acted in many musical theater productions, independent films and commercials. He is a member of the National Opera Association, National Association of Teachers of Singing, the College Music Society, Actors Equity Association, the American Guild of Musical Artists and the Screen Actors Guild.

Mr. Ronis received his B.F.A. degree from Purchase College of the State University of New York and the M.A.L.S. (Master of Arts in Liberal Studies) in Opera Studies, an interdisciplinary research degree, from Empire State College/SUNY. He also studied at the Conservatoire Americain in Fontainebleau, France, then under the direction of the legendary teacher, Nadia Boulanger. Additionally, he received the Anthony Gishford Award to attend the Britten-Pears School in Aldeburgh, England, where he worked with the late Sir Peter Pears.

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Summer Music Clinic celebrates eight decades of hitting the high notes: UW Communications

uwmusic-062813-3284SMC2013-710x270

06/24/2014

For 80 years, UW-Madison’s Summer Music Clinic has provided its campers with the chance to learn new skills through a variety of different classes and performance opportunities.

According to program manager Anne Aley, Summer Music Clinic offers two instructional sessions—one for middle school students, which was held the week of June 16, and one for high school students, which concludes Friday, June 27.

Read the full story here:

http://www.news.wisc.edu/22944