Fischer & Lutes present a third “Schubertiade”

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In homage to a beloved composer, the UW-Madison School of Music will present its third annual Schubertiade, an evening of songs, piano duets and chamber music by Franz Schubert, one day before the composer’s 219th birthday.

The concert will take place on Saturday evening, January 30, 2016 at 8 p.m. in Mills Concert Hall. The concert is hosted by pianist Martha Fischer, who is professor of collaborative piano and piano at the School of Music, and her pianist husband Bill Lutes, emeritus artist-in-residence. Alumna soprano Jamie-Rose Guarrine, who has sung with many major opera companies including Wolftrap in Washington, D.C., the Santa Fe Opera, the Minnesota Opera, as well as Milwaukee’s Florentine Opera and Madison Opera, will be a guest soloist. Guarrine now teaches at the University of Massachusetts at Amherst.

Martha Fischer & Bill Lutes

Martha Fischer & Bill Lutes

Schubert was born on January 31, 1797, in Himmelpfortgrund, near Vienna in Austria, and died at age 31, yet in that short span managed to write some 600 works for the voice, seven symphonies, operas, chamber music, and much more. He influenced many composers, including Mendelssohn, Liszt, Brahms, and Schumann, and is now considered one of the most important composers of the late Classical and early Romantic eras.

Fischer’s and Lutes’s association with Schubert dates from their time as graduate students at the New England Conservatory of Music, where they discovered the composer and each other simultaneously. They married in 1984.

Schubertiades, which were popular during Schubert’s lifetime, were homey Viennese “house concerts” featuring the composer, fellow musicians and friends that offered music performances, dancing and carousing, often until dawn. At the School of Music, performers and patrons will be on stage together, seated in chairs and on sofas, to attempt to mimic the “house concert” style. For the first time, a public reception will be held afterwards.

The program will include a major work for piano duet, the Allegro in A minor, known as “Lebensstürme” or Life’s Storms, performed by Fischer and Lutes. Guarrine will sing one of Schubert’s final works, the delightful “Shepherd on the Rock,” along with Fischer and clarinet faculty Wesley Warnhoff.

Additional guests will include UW-Madison voice faculty Mimmi Fulmer and Paul Rowe; current University Opera director David Ronis; alumni singers Daniel O’Dea and Benjamin Schultz; current DMA candidate Sara Guttenberg; soprano Marie McManama; UW-Madison horn faculty Daniel Grabois; UW-Madison faculty violinist Soh-hyun Park Altino; UW-Madison faculty violist Sally Chisholm; adjunct professor of clarinet Wesley Warnhoff; alumnus cellist Ben Ferris; and Parry Karp, faculty cellist.

“The overarching idea for this year’s Schubertiade is music inspired by the motions and movements of the natural world, especially water, wind, and woodlands, forests and trees,” says Lutes. “The poems that Schubert chose for his lieder often feature vivid and evocative imagery from nature, while exploring our human emotional and spiritual responses to the natural world. As Schubert is moved by the natural world, we listeners are moved in turn by the sublime ‘nature music’ of his songs and instrumental works.”

Accordingly, the concert will offer one of Schubert’s best loved “water” songs, “Die Forelle” (The Trout) as well as the Theme and Variations movement derived from this song from the famous “Trout” Quintet for piano and strings.

This concert and future Schubertiades are being graciously underwritten by Ann Boyer.

Tickets are $15.00 for adults. Students of all ages are free.

Tickets are available through the Union Theater Box Office. Patrons may buy online ($4 fee) or save the fee and buy in person at Memorial Union or in Mills lobby day of show.

Please note: We recommend that patrons arrive early, both to secure a parking spot and to buy a ticket. Parking will be tight due to UW hockey, but parking passes may be ordered in advance to guarantee a space.

Options include H.C. White Garage (Lot 6); Fluno Center (Lot 83); University Avenue Ramp (Lot 20). VISA is accepted.

Complete this online request form or call the Special Events Office at (608) 262-8683. Please allow two weeks for processing. In the box for “special instructions,” please indicate “Schubertiade.”

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David Ronis brings theatrical flair to University Opera

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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!

 

 

 

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Pro Arte Quartet Channels Allen Ginsberg in “Howl” Composition

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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

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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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