Riveting theater, achingly beautiful music abound in upcoming University Opera production of La Bohème
University Opera takes over the Wisconsin Union Theater for a three-day run of Puccini’s masterpiece
On February 23, 24 and 25, University Opera, in collaboration with the Wisconsin Union Theater, will present a special production of Giacomo Puccini’s timeless masterpiece, La Bohème, at the Wisconsin Union Theater’s Shannon Hall. This marks the first time in over 15 years that University Opera has staged a production at the Union Theater and the first bona fide opera production in the space since the theater’s renovation in 2014. Conducted by interim UW-Madison Director of Orchestras, Chad Hutchinson, and directed by Karen K. Bishop Director of Opera, David Ronis, the production will be performed in Italian with English supertitles. It will take full advantage of the many upgrades to Shannon Hall, in particular, the expanded orchestra pit which will accommodate the UW-Madison Symphony Orchestra.
Friday, Feb. 23 @ 7:30 PM
Saturday, Feb. 24 @ 7:30 PM
Sunday, Feb. 25 @3:00 PM
Arguably Puccini’s most beautiful work, La Bohème blends riveting theater with sumptuous music. The incomparable score accompanies the story of Rodolfo and Mimi, a penniless poet and a seamstress, who fall in love and suffer through heartbreak and tragedy. Along for the ride are Rodolfo’s fellow starving artist buddies, Marcello, Schaunard, and Colline, as well as Marcello’s sassy yet bighearted girlfriend, Musetta, all surviving on laughter and the promise of love.
Says longtime University Opera supporter Kathleen Harker: “I am excited to see opera return to Shannon Hall at the Union with the University Opera’s lavish production of Puccini’s La Boheme. I have fond memories of seeing my first opera, a touring Metropolitan Opera production of ‘Madama Butterfly,’ at the Memorial Union in 1965.”
La Bohème is chock full of memorable arias including Rodolfo’s “Che gelida manina” and Mimi’s “Mi chiamano Mimi” both from the end of the first act, when Mimi and Rodolfo fall in love; as well as Musetta’s Waltz, “Quando m’en vò,” which Musetta sings in the lively second act to arouse Marcello’s jealousy. It was also the inspiration for Rent, Jonathan Larson’s musical theater adaptation of the material, recently seen at the Overture Center in a national touring production.
Above: Luciano Pavarotti sings “Che Gelida Manina,” 1961
University Opera’s production sets La Bohème in Paris of 1925, the period called les années folles, “the crazy years” – France’s version of the Roaring Twenties – during which time so many famous artists and intellectuals found themselves in the City of Light. Among the crowd at the Café Momus in the second act, audience members might be able to pick out characters inspired by some of these famous expats – F. Scott and Zelda Fitzgerald, Salvador Dalí, Simone de Beauvoir, Man Ray, and Ernest Hemingway, to name a few. “We’re so excited to be presenting this timeless, heart-wrenching story against the backdrop of the vibrant cultural and artistic milieu of Paris in the 1920s,” says director David Ronis. “The environment is a natural fit for generating the emotionally charged performances that really make La Bohème so fulfilling to see.”
This marks the first time in over 15 years that University Opera has staged a production at the Union Theater and the first bona fide opera production in the space since the theater’s renovation in 2014.
The transposition of the story to the 1920s also provides fertile ground for the imagination of set designer Joseph Varga, emeritus professor of scenic design in the UW-Madison Department of Theatre and Drama. For this production, Varga has designed a non-literal unit set that functions beautifully for both indoor and outdoor scenes, the background of which features a stunning roofscape view of Paris. Varga is joined by M.F.A. student lighting designer, Sruthi Suresan, costume designers Sydney Krieger and Hyewon Park and props designer Jennifer Childers. Completing the production team will be production manager Martie Barthel-Steer, technical director Greg Silver, scenic painters Teresa Sarkela and Yoshinori Asai, prop manager Jo Chalhoub, rehearsal pianist Sarah Williams, assistant director Sarah Kendall, and assistant stage managers Meghan Stecker and Delaney Egan.
This large production will involve over 80 UW-Madison students – singers, instrumentalists, and stage crew – as well as ten young performers who are members of Madison Youth Choirs. Most of the principal roles will be double cast. Shaddai Solidum and Yanzelmalee Rivera will split performances as Mimi. UW-Madison doctoral candidate and Madison Opera studio artist Benjamin Liupaogo will divide performances of Rodolfo with José Muñiz. Katie Anderson and Claire Powling will both perform the role of Musetta, Matt Chastain and alumnus James Held will be Marcello, Nicholas Damiano and John McHugh will perform Schaunard. Guest artist and alumnus Benjamin Schultz-Burkel will be seen as Colline, Jeremiah Gile as Benoit, and Jake Elner as Alcindoro. UW-Madison vocal coach, Dr. Daniel Fung, will be responsible for the musical preparation.
Tickets are $38 for premium seating, $30 general admission, $25 senior tickets, $15 non-UW-Madison students and $10 UW-Madison students and are available in advance through the Campus Arts Ticketing office at (608) 265-ARTS and online at https://union.wisc.edu/events-and-activities/event-calendar/event/la-boheme/. 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.
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.
University Opera is a cultural service of the Mead Witter 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 email@example.com. Or visit the School of Music’s web site at https://www.music.wisc.edu/
Below, enjoy two more gorgeous arias from La Bohème. We will see you at the Union in late February!
Anna Netrebko sings “Si, mi chiamo mimi”
Maria Callas sings “Quando me’n vo,'” 1958
During his graduate studies at the University of Wisconsin-Madison, alumnus J. Griffith Rollefson embarked on several international research trips while writing his dissertation, “European Hip Hop and the Politics of Postcoloniality.” Throughout Europe, he frequented hip hop shows, clubs, record shops, and open mic nights to observe and interview the people who consider this artform among the most politically conscious of all. Hip hop studies was then an emerging field in the United States, with institutions such as McNally Smith College in St. Paul, the University of Arizona, and Wellesley College in Massachusetts, offering coursework on the subject.
After graduating in 2009 with his PhD in historical musicology, Rollefson began writing Flip the Script, a book based on his dissertation, examining how the children of immigrants from the former colonies of Europe imagine hip hop as a way to both understand and voice their relationship to society. Flip the Script (which Rollefson defines as “to upend a situation and/or rap a text”) was recently published by the University of Chicago Press and is now available for purchase.
Rollefson is currently an associate professor of popular music studies at the University College Cork, National University of Ireland. The Mead Witter School of Music is pleased to feature the following Q&A with Rollefson about his increasingly relevant work in hip hop culture, a wide-ranging field that encompasses the studies of race, class, gender, nationality, and politics.
Interview conducted by Kyle D. Johnson, a dissertator in piano performance.
You write that hip hop studies should “engage more directly and systematically with the tools of postcolonial theory.” What is postcolonial theory and why is it important to hip hop studies?
Postcolonial studies involves understanding how the past resonates in the present. How the past is never past. In short, if the “colonial period” started when Columbus “sailed the ocean blue” over 500 years ago and ended a little over 50 years ago, we need to imagine how that period might have had some lasting impact. And of course, we then need to think about what we should do if that impact is a negative one, as is overwhelmingly the case. The resonances are profound and very real. In the US, for instance, colonial processes have resulted in the world-changing beauty of the spirituals, jazz, rock and roll, and hip hop, but they have also resulted in the seemingly endless systemic marginalization of the very people who created those most American of musics – marginalization “from the plantation to the penitentiary,” as Wynton Marsalis put it.
Hip hop is unique both in its directness and in the depth of its contradictions. We simultaneously laud hip hop as the ultimate politically conscious music and decry it as the most vapid commercial expression of materialism, sexism, homophobia, and violence. Something’s gotta give with this contradiction – and I think I offer some good, and potentially illuminating answers in the book.
Postcolonial theory helps us assess and address historical impact by focusing on the continuities between slavery and commercial exploitation, from Georgia cotton, Jamaican sugar, and Honduran bananas to South African diamonds, Indian textiles, and Iraqi oil. Of course, these theories also help us account for cultural fields like music. The idea of “the forest and the school” is a good starting place to describe how processes of colonization remove “the forest” – that is, the natural resources (including, let’s remember, people) – and leaves “the school” – be it a missionary school or a grammar school, both of which are training grounds for assimilation into Euro-American ideologies. There’s a famous quip attributed to Jomo Kenyatta, the first president of independent Kenya, that goes: “When the missionaries arrived, the Africans had the land and the missionaries had the Bible. They taught how to pray with our eyes closed. When we opened them, they had the land and we had the Bible.”
How have current events in Europe, such as the refugee crisis, affected the state of modern-day hip hop in Europe?
Rappers will be the first to tell you that the “refugee crisis” is manufactured; they believe that Western Europe is slowly dying and needs immigration, but refuses to adapt for purely bigoted reasons. Sound familiar? I’ve talked to artists who’ve made this exact point – the Turkish German, Chefket and the Black Brit, Juice Aleem, for instance, who recognize foreign labor as a historical constant that gets conveniently forgotten in times of cultural navel gazing. Syria had been in crisis for years before it got widespread European attention as families began fleeing for their lives en masse. And notably, a quick look into the instability in Syria reveals deep and unresolved histories of colonization by France and the UK. This is why I say we need to listen to these voices. They really are on the front lines of history.
How is American hip hop related to European hip hop?
Through studying European hip hop we can see that “double consciousness”—the African-American feeling of “unreconciled” two-ness—is a particular American form of what is really a global postcolonial experience. This argument suggests that postcoloniality explains why hip hop was born in the South Bronx in the collaboration of African American, Puerto Rican, and other Caribbean communities. In my class, Planet Rap: Global Hip Hop and Postcolonial Perspectives, I look not only at African-American artists, but at Puerto Ricans, Filipino Americans, Chicanos, and Native Americans to understand how the United States is a postcolonial nation – the first postcolonial nation, really. And to underscore another point I make to my students – the “post” in postcolonial doesn’t mean that the colonial resonances are over. In most cases, they’re just coming to the fore. Germany, for instance, is just now beginning to own up to its colonial history. And France and the UK are doing their darnedest to explain away, forget, or Brexit their way out of their colonial complicities.
You’ve asserted that hip hop artists have a better perspective on the conditions of their society, over governments or geopolitical authorities. What makes hip hop unique in its ability to offer that “frontline” perspective?
In the consensus view of the artists I interviewed, it’s political “consciousness” that attracted them to hip hop in the first place. Something resonated with them – the music “spoke to them.” Again and again, I heard rappers describe the artform as a “vehicle,” “channel,” or “opportunity” to grab the microphone and finally be able to say something to their own societies – societies that usually don’t want to listen. Hip hop is unique both in its directness and in the depth of its contradictions. We simultaneously laud hip hop as the ultimate politically conscious music and decry it as the most vapid commercial expression of materialism, sexism, homophobia, and violence. Something’s gotta give with this contradiction – and I think I offer some good, and potentially illuminating answers in the book. These artists are indeed humans and have all the complexities we all have. They might play to stereotypes, but in doing so they force us to interrogate our own misconceptions.
If someone wanted to explore the current world of European hip hop, which artists would you recommend?
I’d recommend starting with some of the classics, like MC Solaar (France), Roots Manuva (UK), Advanced Chemistry (Germany), and Scary Éire (Ireland). My current playlist includes more recent artists like Stromae, Les Nubians, Sidi-O, and Oxmo Puccino (France/Belgium); Juice Aleem, Lowkey, and Lady Leshurr (UK), Amewu, Chefket, and Samy Deluxe (Germany), and Lethal Dialect and Rusangano Family (Ireland). FauxSounds.com has actually just invited me to annotate a “Flip the Script European Hip Hop” playlist for their website. Check that out for a nice sampling and some brief background details: http://www.fauxsounds.com/faux-sounds/2017/10/18/professor-j-griffith-rollefson-flip-the-script-european-hip-hop
Now, for some background on you. How did you go from dissertation to Flip the Script? Why did the University of Chicago take an interest in your work?
Well, if you consider that I wrote my first seminar papers on European hip hop for UW-Madison Professors Susan Cook and Pamela Potter in 2003-2004, then we could say it took well over a decade. Back then word was that Turkey would become an EU member any day. Needless to say, a bit has changed since I started the research. At that time, the EU was providing an inspiring model of what an international community of the future might look like, and now we’re on the slippery slope to ethno-nationalism on both sides of the Atlantic.
In 2006, after my coursework, I started a yearlong fieldwork project funded by the Berlin Program for German and European Studies. That trip was centered in Berlin, but included multi-month trips to Paris and London where I worked with hip hop communities: going to shows, clubs, record shops, open mic nights, community centers, observing and doing interviews in any place where hip hop community happened. In 2008, I returned there with funding from the German Academic Exchange Service, known as DAAD, and then embarked on shorter trips until I moved to the UK and Ireland with my family in 2013. In fact, although Flip the Script centers on Berlin, Paris, and London, the book concludes with a look at what I call the “postcolonial whiteness” of Ireland’s brilliant hip hop critiques about their colonial past and neocolonial present. What’s interesting in this case is that it gets us thinking about race and colonialism together. As you may know, racial difference was a centerpiece in the logic of British domination of Ireland.
Elizabeth Branch Dyson at the University of Chicago Press showed interest in the manuscript early on and then held my hand throughout, encouraging me to get the book exactly right over the last five years or so. I suppose the lesson there is patience. I’ve had the privilege of being able to be patient, and it has paid off.
Outside of your work on Flip the Script, give us an update on what you’ve been up to since earning your PhD.
I’ve become a dad, served as a church choir director and an adjunct professor in Southern California, won an ACLS New Faculty Fellowship (which was, essentially, the “Great Recession Stimulus Plan for Young Scholars”) which took me to UC Berkeley, held a lectureship at the University of Cambridge and, finally, landed a tenure-track job at University College Cork, National University of Ireland. I should also say that spending the last four years as a European resident really helped me finish the research and added a level of personal understanding of the fragile realities of displacement and immigration.
Where can people go to get more information on you, Flip the Script, and possibly future projects you’re involved with?
The book’s companion website – EuropeanHipHop.org – is quickly becoming a clearinghouse for all sorts of links, syllabi, podcasts, and news.
September 27, 2017
Katherine Esposito 263-5615
University Opera turns to music and theater of the mid-20th century with A KURT WEILL CABARET
This fall, University Opera takes a short break from strictly operatic offerings as it turns to the music of Kurt Weill (1900-1950). A KURT WEILL CABARET, a pastiche of 21 solos and ensembles from Weill’s many diverse works, will be presented at Music Hall on the UW-Madison campus on October 27 at 7:30pm, October 29 at 3:00pm and October 31 at 7:30pm. University Opera Director David Ronis will direct the show. Chad Hutchinson, adjunct professor of orchestras, will conduct. Musical preparation will be by UW-Madison vocal coach, Daniel Fung.
Born in Germany, Weill achieved early fame through works created in partnership with the playwright Berthold Brecht, most notably, Die Dreigroschen Oper (The Threepenny Opera) and Aufstieg und Fall der Stadt Mahagonny (Rise and Fall of the City of Mahagonny). Forced into exile by the rise of Hitler in 1933, Weill spent a few years in Paris before eventually moving to New York. In the United States, he found success on Broadway through collaborations with such lyricists as Ira Gershwin, Langston Hughes, and Ogden Nash on such shows as Lady in the Dark, One Touch of Venus, and the opera Street Scene. Several roles in these productions were premiered by his wife, Lotte Lenya, the singing actress who championed his works even after their divorce and his death.
A KURT WEILL CABARET is a unique production, assembled by Ronis, that contains no one dramatic through-line. Instead, the pieces that comprise the evening, taken out of their usual context, are juxtaposed so as to create multiple mini-narratives. There are no set characters; relationships develop and dissolve as the evening progresses. The show is organized into three sections, each highlighting themes of Weill’s oeuvre. The first of these works its way through a series of dysfunctional yet comic relationships between men and women. The metaphor of travel underscores the second section, which explores themes of longing, disappointment, and finally hope. The characters involved are tough and world weary – their hopes and aspirations often dashed by swift doses of reality. Nevertheless, there is a sense that all is not lost and redemption is possible. The third and final portion of the show returns to lighter fare that affirms that true love and happiness is possible, especially when there’s ice cream involved!
The musical numbers of A KURT WEILL CABARET, sung in English, German, and French, include “The Saga of Jenny,” “Surabaya Johnny,” I’m a Stranger Here Myself,” “Whiskey Bar/Alabama Song,” “J’attends un navire,” “Foolish Heart,” “Youkali,” “Denn wie man sich bettet,” “A Rhyme for Angela,” “It Never Was You,” and “My Ship.”
The cast features one guest artist, Alec Brown, and twelve UW-Madison students: Matthew Chastain, Jake Elfner, Tim Emery, Talia Engstrom, Eliav Goldman, Courtney Kayser, Sarah Kendall, Miranda Kettlewell, Jeffrey Larson, Lauren Shafer, Emily Vandenberg, and Emily Weaver.
The production will be designed by Greg Silver with lighting by Aimee Hanyzewski. Sydney Krieger and Hyewon Park will be the costume designers, Laura Meinders the props designer, and the production stage manager will be Shelly Sarauer. Others on the production staff include Thomas Kasdorf, rehearsal pianist; Courtney Kayser, operations manager for University Opera; and Ethan White, lighting board operator.
Following each performance of A KURT WEILL CABARET, audience members will be given the opportunity to ask questions and discuss the performance during talk-back sessions with the cast and members of the artistic staff.
Tickets are $25.00 for the general public, $20.00 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 the UW 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 the 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 firstname.lastname@example.org. Or visit the School of Music’s web site at music.wisc.edu.
New opera sheds light on Artemisia Gentileschi, one of the Baroque’s most respected female painters
By Michael Muckian
Artemisia, the recently completed opera by the University of Wisconsin’s Laura Elise Schwendinger, has been scheduled for its world premiere performance January 7 in New York City as part of Trinity Church Wall Street’s 2016-2017 performance season.
A concert performance from the opera about 17th Century Italian Baroque painter Artemisia Gentileschi by Schwendinger, professor of music composition at the UW’s Mead Witter School of Music, will be part of the ensemble’s Time’s Arrow Festival. Schwendinger’s composition will be one of four world premieres to be performed during the free concert series. Schwendinger has written large vocal works before, but this is her first opera.
“This is a magnificent group of musicians, and maestro Julian Wachner is a gifted composer and conductor who is always challenging himself,” Schwendinger said. “It is an honor to have my work presented by them.”
The annual festival, which features music spanning three centuries, will take place at St. Paul’s Chapel, located at 209 Broadway. The concert series will help celebrate the 250th anniversary of St. Paul’s, Manhattan’s oldest church whose doors first opened October 30, 1766.
The January performance of Artemisia, co-commissioned by New York’s Trinity Wall Street Novus and San Francisco’s Left Coast Chamber Ensemble, will feature mezzo-soprano Patricia Green as Artemisia, Marnie Breckenridge as Susanna, baritone Andrew Garland as Tassi and tenor Andrew Fuchs as Tomasso. The performance is free.
“The story of Artemisia hit me when I was an artist-in-residence in Rome (in 2009),” said Schwendinger, who herself paints. “I visited a lot of galleries and was struck by her works, including “Judith Slaying Holofernes.” There weren’t very many acclaimed women painters at the time.”
Schwendinger and librettist Ginger Strand, essayist and author of The Brothers Vonnegut: Science and Fiction in the House of Magic (Farrar, Straus & Giroux 2015), hope that Artemisia will change the historical perception of Gentileschi, who lived from 1593 to 1656.
Schwendinger, the first composer to win the American Academy in Berlin Prize, read a biography of the artist, who like many of her contemporaries worked in the style of Caravaggio. It was during discussions with Strand, a former college art history major who was aware of Artemisia and her work, that the idea of an opera based on her life began to gel.
“This is the kind of project that mixes my love of art with the story of an important women artist,” Schwendinger says. “It’s a nice connection.”
While Gentileschi holds the high honor of being the first female member of Florence’s prestigious Accademia di Arte del Disegno and was a respected artist in her time, history books remembered her more as a teenage victim of rape by her tutor, fellow artist Agostino Tassi.
Following the assault and the older Tassi’s ultimate failure to marry the 16-year-old girl as promised, Gentileschi’s father, the Tuscan painter Orazio Gentileschi, pressed charges against Tassi for taking his daughter’s virginity. The lawsuit, highly unusual for the time, resulted in long, protracted proceedings, during which Gentileschi was subject to gynecological exams and torture to verify her testimony.
The proceedings also revealed a plot by Tassi to murder his wife, adding to the sensationalism of the lawsuit. Tassi eventually was sentenced to one year in prison, but never served any time.
Gentileschi would go on to have a long and successful career, rare for a female painter in her time. But later generations would obscure her contributions to the Baroque period, and some of her work was even attributed to other artists.
In recent years, that perception has begun to shift back, with Gentileschi again credited as one of the period’s greatest painters. Schwendinger hopes her opera can spread Gentileschi’s story, further righting the wrong done to her by historians.
Born in Mexico City to a pair of U.S. foreign exchange students and raised in Berkeley, California, Schwendinger began making up melodies at age 4 and playing the flute at age 8.
When she applied to the San Francisco Conservatory of Music to study flute, her application included several compositions as well, which caught the eye of composer John Adams, best known for his operas Doctor Atomic and Nixon in China. He invited her to study composition with him, and she afterward went on to receive both her master’s degree and Ph.D. in music from the University of California-Berkeley, where she studied with her mentor and thesis advisor Andew Imbrie.
Her career has since seen her music played extensively both here and abroad, including at Carnegie Hall, Lincoln Center, Wigmore Hall in London and the Théâtre du Châtelet in Paris, and has been toured as well as recorded by some of the leading musicians of our time, including the singer Dawn Upshaw. She has been a professor at UW-Madison for more than a decade.
The University recently awarded her a $60,000 Kellett Mid-Career Award, a grant sponsored by the Wisconsin Alumni Research Foundation and awarded to nine other faculty members for the 2016–17 academic year.
Schwendinger also received $16,500 as part of OPERA America’s $200,000 Discovery Grants for Female Composers, awarded to seven women and seven opera companies, which she will use in addition to the Kellett Award to mount upcoming productions of Artemisia. The entire opera will be fully produced by the award-winning Left Coast Chamber Ensemble in San Francisco in 2018.
“I hope that Artemisia resonates with those there and beyond, but that is not something a composer can predict,” Schwendinger said. “The composer creates the best art she can and hopes that it will mean something to the public and move the people who experience it.”
As part of the worldwide commemoration of the 400th anniversary of Shakespeare’s death, University Opera will present Verdi’s final masterpiece, Falstaff. Based on material from The Merry Wives of Windsor, Henry IV, and Henry V, Falstaff is a wild, comic romp. In the UW-Madison production, updated to Hollywood in 1930, Falstaff is a has-been silent movie actor, out of work with the advent of the “talkies,” holding onto his former glory and living beyond his means at the Chateau Marmont. Now a petty criminal, Falstaff puts the make on Alice Ford and Meg Page in an effort to bilk their husbands of money. The ladies, incensed at his audacity, hatch a plot to give Falstaff his comeuppance. But not before Mr. Ford, (a movie studio executive in the UW production) acting on his own ill-founded suspicions, gets involved and complicates matters. At the end, all are reconciled as both men are taught their respective lessons.
Falstaff will be presented in Italian with English supertitles for three performances, November 11 at 7:30 pm, November 13 at 3:00 pm, and November 15 at 7:30 pm in Music Hall on the UW-Madison campus. Directed by David Ronis with James Smith conducting the UW Symphony Orchestra, the production will involve over 90 UW singers, instrumentalists, and stage crew. This production opens just one week after the national traveling exhibit of Shakespeare’s First Folio arrives at the Chazen Museum of Art.
Following the success of the panel discussion before University Opera’s production of Transformations last spring, Ronis will again be assembling a panel of colleagues to discuss Falstaff on Friday, November 11 at 6:00pm in the Music Hall, admission free. Featured panelists include:
Joshua Calhoun, Assistant Professor of English, UW-Madison
Cabell Gathman, Lecturer, Dept. of Gender and Women’s Studies, UW-Madison
Steffen Silvis, Dramaturg and Doctoral Candidate in Interdisciplinary Theatre Studies, UW-Madison
David Ronis, Karen K. Bishop Director of University Opera, UW-Madison
Susan Cook, Pamela O. Hamel/Music Board of Advisors Director of the Mead Witter School of Music, Moderator
Paul Rowe, Professor of Voice at UW-Madison, will sing the title role amidst a cast featuring current students and a couple of guest alums. The principal ladies’ roles will be filled by Yanzelmalee Rivera and Sarah Kendall (Alice Ford), Courtney Kayser and Talia Engstrom (Meg Page), Emily Weaver and Claire Powling (Nannetta), Rebecca Buechel and Jessica Kasinski (Quickly). The men in the cast will be alum Brian Schnieder and guest artist Richard Schonberg (Ford), José Muñiz (Fenton), Wesley Dunnagan (Dr. Caius), Jiabao Zhang (Bardolfo) and alum Benjamin Schultz (Pistola). Assisting Maestro Smith will be Kyle Knox, assistant conductor, with musical preparation by new professor of opera and vocal coaching, Dr. Daniel Fung, Chan Mi Jean, and chorus master, Christopher Boveroux.
The physical production will be designed by Greg Silver. Costume design is by Sydney Krieger, and Hyewon Park, lighting design by Kenneth Ferencek, props design by David Heuer, and the production stage manager will be Alec Brown. The production staff include Erin Bryan, operations manager for University Opera; Jimmy Dewhurst and Daniel Lewis, master electricians; and Ethan White, lighting board operator.
Tickets are $25.00 for the general public, $20.00 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 email@example.com. Or visit the School of Music’s web site at music.wisc.edu.
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.
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.”
In early November, 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 on Nov. 5 & 6 will feature concerts of chamber music and Wind Ensemble music, symposia on marketing, publicity, and career development, and ample opportunities for conversation.
The composers include Jeffrey Stadelman (BM, 1983; MM, 1985), now associate professor of music composition at the University at Buffalo; Paula Matthusen (BM, 2001), assistant professor of music at Wesleyan University; William Rhoads (BM, 1996), vice president of marketing & communications for Orchestra of St. Luke’s in New York City; Andrew Rindfleisch (BM, 1987), professor of composition at Cleveland State University; and Kevin Ernste (BM, 1997), professor of composition at Cornell University.
Music will be performed by the Wisconsin Brass Quintet, the Wingra Woodwind Quintet, the UW Wind Ensemble, and other faculty and students. The works being performed by both faculty and students range from standard instrumentations (woodwind and brass quintets) to unusual combinations (piano, percussion, clarinet, and oboe) to solo works performed by some of our most accomplished students.
Thursday, Nov. 5, 7:30 PM, Mills Hall, free concert. Click for program.
Friday, Nov. 6, 7:30 PM, Mills Hall, free concert. Click for program.
Additional sessions, to be held on Friday, Nov. 6 at the Student Activities Center, University Square:
11:30 – 12:10 Marketing for Musicians
Today, savvy understanding of marketing and pr is a necessity for performers and composers. Learn the basics of building an effective communications strategy to promote and publicize your event, your career, or your new work.
12:15 – 12:55 Publishing for Composers
With power shifting from large publishing houses to individual composers, it’s an exciting time to be a creative artist. Get an overview of the recent history and changes in music publishing and important guidelines on the myriad channels that exist which allow you benefit from the use of your music.
1 PM: Meet Bill Rhoads at CoffeeBytes.
All five composers grew up in Wisconsin or Minnesota, and they provide a variety of career models, in both industry and academia, in both live and electronic music, for our student composers and performers. This may be the first time that a university music school has brought together the alumni of an academic composition program, from a period of several decades, for concerts of their music, workshops with current students, and public informational events.
Here are composer biographies along with comments about their works.
Composer Andrew Rindfleisch has enjoyed a career in music that has also included professional activity as a conductor, pianist, vocalist, improviser, record producer, radio show host, educator, and concert organizer. As a composer, he has produced dozens of works for the concert hall, including solo, chamber, vocal, orchestral, brass, and wind music, as well as an unusually large catalog of choral music. His committed interest in other forms of music-making have also led him to the composition and performance of jazz and related forms of improvisation. “Their brass quintet, ‘In the Zone,’ is a pun on the Italian word ‘canzone,’ a style of piece often written for brass ensembles (the works of Gabrieli are great examples),” says Daniel Grabois, professor of horn. “If an old canzone were fractured and reassembled using a 21st century sensibility, the result would sound like this piece. At times it throbs with the wild abandon of a medieval band, and at other times grooves with the rhythmic snap and clarity of a group of Renaissance troubadours.” (Note: The Wisconsin Brass Quintet will perform “In the Zone” on the Thursday concert.) Listen to Rindfleisch’s music on SoundCloud.
Mr. Rindfleisch is the recipient of the Rome Prize, a John Simon Guggenheim Fellowship, the Aaron Copland Award, and the Koussevitzky Foundation Fellowship from the Library of Congress. Over forty other prizes and awards have followed honoring his music. He has participated in dozens of renowned music festivals and has received residency fellowships from the Bogliasco Foundation (Italy), the Czech-American Institute in Prague, the Charles Ives Center for American Music, the June in Buffalo Contemporary Music Festival, the MacDowell Colony, and the Pierre Boulez Conductor’s Workshop at Carnegie Hall. He holds degrees from the University of Wisconsin at Madison (Bachelor of Music), the New England Conservatory of Music (Master of Music), and Harvard University (PhD).
As a conductor and producer, Mr. Rindfleisch’s commitment to contemporary music culture has brought into performance and recording over 500 works by living composers over the past 20 years. He has founded several contemporary music ensembles and currently heads the Cleveland Contemporary Players Artist in Residency Series at Cleveland State University, and the Vertigo Ensemble at the Utah Arts Festival in Salt Lake City. He has made guest conducting appearances throughout the United States and abroad with many diverse musical organizations; from opera and musical theatre, to orchestral, jazz, improvisational, and contemporary avant-garde ensembles.
Paula Matthusen writes both electroacoustic and acoustic music and realizes sound installations. In addition to writing for a variety of different ensembles, she also collaborates with choreographers and theater companies. She has written for diverse instrumentations, such as “run-on sentence of the pavement” for piano, ping-pong balls, and electronics, which Alex Ross of The New Yorker noted as being “entrancing”. Her work often considers discrepancies in musical space—real, imagined, and remembered. “A pleasant surprise in the Sunday morning program [for the Tanglewood Festival of Contemporary Music] was Paula Matthusen’s piece “of memory and minutiae” (2006), a plaintive, haunting setting of a Norwegian prayer that fragments further with each repetition. Olenka Slywynska gave the soprano line a chantlike quality while cello counterpoint and electronic timbres wove a graceful atmospheric cocoon around it.” Allan Kozinn, New York Times, 2009. Listen to Matthusen’s music on SoundCloud.
Her music has been performed by Dither, Mantra Percussion, the Bang On A Can All-Stars, the Scharoun Ensemble, Mantra Percussion, Dither Electric Guitar Quartet, Alarm Will Sound, International Contemporary Ensemble (ICE), orchest de ereprijs, The Glass Farm Ensemble, the Estonian National Ballet, James Moore, Kathryn Woodard, Todd Reynolds, Kathleen Supové, Margaret Lancaster and Jody Redhage. Her work has been performed at numerous venues and festivals in America and Europe, including the Tanglewood Festival of Contemporary Music, the MusicNOW Series of the Chicago Symphony Orchestra, the Ecstatic Music Festival, Other Minds, the MATA Festival, Merkin Concert Hall, the Aspen Music Festival, Bang on a Can Summer Institute of Music at MassMoCA, the Gaudeamus New Music Week, SEAMUS, International Computer Music Conference and Dither’s Invisible Dog Extravaganza. She performs live-electronics frequently, often with Object Collection, and through the theater company Kinderdeutsch Projekts.
Awards include the Walter Hinrichsen Award from the American Academy of Arts and Letters, a Fulbright Grant, two ASCAP Morton Gould Young Composers’ Awards, First Prize in the Young Composers’ Meeting Composition Competition, the MacCracken and Langley Ryan Fellowship, the “New Genre Prize” from the IAWM Search for New Music, and recently the 2014 Elliott Carter Rome Prize.
Matthusen has also held residencies at The MacDowell Colony, Yaddo, create@iEar at Rensselaer Polytechnic Institute, STEIM, and the Atlantic Center for the Arts. Matthusen completed her Ph.D. at New York University – GSAS. She was Director of Music Technology at Florida International University for four years, where she founded the FLEA Laptop Ensemble. Matthusen is currently Assistant Professor of Music at Wesleyan University, where she teaches experimental music, composition, and music technology.
Currently Vice President of Marketing & Communications for the Orchestra of St. Luke’s, Bill Rhoads was previously President and Managing Director of Bill Rhoads & Associates, which was promotion agent for several publishing houses, including CF Peters, EC Schirmer, Subito Music and MMB Publishing; and represented the interests of Frank Zappa, John Zorn, Ornette Coleman, Ethel, counter)induction, Fred Ho, and two Pulitzer Prize-winning composers, along with a host of other prominent artists and firms in the music industry. Prior to opening his own firm, Mr. Rhoads was Director of the Concert Music Division for Carl Fischer, LLC in New York.
He has been active as board member of the Phoenix Concerts, the Lotte Lehmann Foundation, Wisconsin Alliance for Composers, and co-director of Composers Concordance and E.A.R. (Elastic Arts Room) in New York City. In addition, Mr. Rhoads served the music industry as Communications Advisor for ICE (International Contemporary Ensemble), Board Member for CRI (Composers Recordings, Inc.), and the MPA (Music Publishers Association), as Honorary Advisory Board Member for The Women’s Philharmonic, and as panel member, speaker and judge on numerous committees for organizations serving the needs of composers, educators, and performers, including ASCAP, MENC, and the League of American Orchestras.
His work was influenced by his early experiences as guitarist in several rock bands, his training as an audio engineer and producer, background in philosophy and aesthetics, immersion into the experimental music scene of NYC, and composition studies with Stephen Dembski, Joel Naumann, Joseph Koykkar, John Corigliano, George Rochberg and John Harbison. It has been performed and recorded by ensembles throughout the U.S., including Sequitur and Composers Concordance in New York City, May in Miami Festival, Present Music in Milwaukee; and Bach, Dancing, and Dynamite and Oakwood Chamber Players in Madison. “Written idiomatically, even brilliantly, for the instruments at hand, Scherzophrenia springs from the “and now for something completely different” school of composition. Like John Zorn, its best-known practitioner, Rhoads quick-cuts snippets of familiar styles: cartoon illustrative music, lofty trumpet calls, Brahmsian piano trios, cheesy waltzes, clarinet horselaughs, rim shots. Rhoads wrinkle if to bring back his materials in different contexts – to remix them, as it were.” Tom Strini, music critic, The Milwaukee Journal, 1994. Listen to “Slam,” recorded in 2004.
With deep roots in American modernism, composer Jeff Stadelman has developed over the past 30 years a complex, lyrical musical language that suggests no obvious counterpart. Five CDs containing his compositions have appeared since 2007, including the solo monographic CD, “Pity Paid” (Centaur Records). Los Angeles Times critic Josef Woodard called the music “painterly . . . , deftly dispersed in time and glazed with a dry wit” while Jay Batzner, of Sequenza 21, describes it as a “powerful, caged beast … barely contained by its enclosure.” Listen to Stadelman’s music on SoundCloud.
Stadelman sees his music as “obsessed with <i>reference<i>, drawing deep sustenance from the classical works of past and present that most richly exploit possibilities for building associative structures of great beauty.”
Stadelman has received commissions and invitations for compositions from, among others, the Fromm Foundation and Boston Musica Viva, Nuove Sincronie, Concert Artists Guild, Trio Italiano Contemporaneo, Phantom Arts, Bernhard Wambach, Elizabeth McNutt, Jon Nelson and UW-Madison. Grants and awards include those from Meet the Composer, Harvard University, Friends and Enemies of New Music, and the Darmstadt Summer Courses.
Originally from Wisconsin, Stadelman serves as associate professor of music composition at the University at Buffalo, State University of New York, as well as Department Chair. He studied composition as an undergraduate with Stephen Dembski at the University of Wisconsin-Madison, and then with Donald Martino and others for his Ph.D. at Harvard University. His most recently recorded project is a large orchestral work entitled “Messenger,” which appeared in January 2013 on the Navona label. Stadelman writes, “My music tends to be up-tempo and syncopated, with emphasis on independent instrumental lines interacting energetically. People have pointed out that there often seems to be an ironic glaze over the proceedings, and in any case I favor what classical music calls “scherzoso” attitude — playful, even joking. However when my music gets serious, it’s _very_serious indeed. I am always interested in conjuring referential clouds of various sorts, where any particular musical
utterance is heard to ring of, or rhyme with, several others from other sections of the same piece. This music is generally in dialogue with one or more models from the past, and melody always comes first. Very recent works have focused on creating linked canons (rounds) between the instruments, with the actual chords looking backwards historically, but chordal progressions looking in some other direction.”
Kevin Ernste is a composer, performer, and teacher of composition and electronic music at Cornell University where he is Director of the Cornell Electroacoustic Music Center. He was the Acting Director and lecturer at the Eastman Computer Music Center and Co-director of the ImageMovementSound festival.
His recent music includes Palimpsest for the JACK Quartet–the result of a 2011 Fromm Foundation Commission, presented recently at the Sweet Thunder Festival in San Francisco and the International Computer Music Conference in Athens Greece, Nisi [nee-see] (“Island” in Greek) for hornist Adam Unsworth released on Equilibrium Records “Snapshots” (CD111), Adwords/Edward, dedicated to NSA whistleblower Edward Snowden and composed for Google Glass, Numina for Brooklyn-based Janus Trio (flute, viola, harp) presented recently at the Spark Festival in MN, Seiend for brass quintet premiered by Ensemble Paris Lodron (Salzburg, Austria, Roses Don’t Need Perfume for guitarist Kenneth Meyer (gtr. and electronic sounds, 2009) recently presented by Dr. Meyer on his 2010 Hungary/Romania tour, a piece for saxophone and electronics called To Be Neither Proud Nor Ashamed (recently released on Innova Records), and Birches for viola with electronic sounds for John Graham performed on Mr. Graham’s recent China tour (Beijing, Wuhan, Xiamen, Hong Kong) as well as at the Aspen Summer Music Festival. Mr, Graham presented Birches again in August 2011 at the International Computer Music Conference (ICMC) in Huddersfield, UK and again in 2012 at CCRMA for the Linux Audio Conference. Listen to Ernst’s music on SoundCloud.
This two-day event is sponsored by the UW-Madison Anonymous Fund and the Mandel Foundation.
FOR IMMEDIATE RELEASE
MAYRENT INSTITUTE NOW HOME TO OLDEST SURVIVING RECORDINGS OF YIDDISH MUSIC
MADISON – The Mayrent Institute for Yiddish Culture has acquired the twelve earliest known cylinder recordings of Yiddish music, released c.1901 by the one-time Chicago-based Thomas Lambert Company. The recordings enhance the Institute’s offerings in combination with the Mayrent Collection of Yiddish Recordings, a repository of over 9,000 78rpm recordings of Yiddish and Jewish music, at the University of Wisconsin-Madison’s Mills Music Library.
These rarest of earliest American recordings trace Yiddish theater’s journey from its European provenance to its reinvention as a major American venue. “Rozhinkes mit Mandlen” (“Raisins and Almonds”), the evergreen lullaby composed in 1880s Romania by the father of the Yiddish theater, Abraham Goldfaden, and recorded six years before his death in the New World, echoes continuity, while others of the two-minute recordings clue us in to the diversity of the Yiddish stage’s pioneer participants.
The remarkable sound quality of the recordings is due to the transfer skills of the historian/sound engineer/collector David Giovannoni (UW-Madison, 1980), who made the collection available. It is also thanks to the pristine condition of their original celluloid surface, and to its inventor.
In 1900, Thomas Lambert began recording on celluloid, an early form of plastic that produced superior sound and resiliency. Unlike Thomas Edison’s 1877 invention — metal followed by wax cylinders that could be played only a handful of times before wearing out — Lambert’s cylinders were labeled “Indestructible.” He, unfortunately, was not; frivolous patent infringement lawsuits initiated by Edison drove Lambert out of business by 1906.
In the end the Thomas Lambert Company’s 1008-song catalog came to reflect mainstream popular music. Yet half its first releases — some forty in all — were Yiddish. The extant dozen has found its rightful home. The Institute is cooperating with Grammy Award-winning Archeophone Records, which will reissue the recordings later this year under the title Attractive Hebrews: The Thomas Lambert Yiddish Cylinders 1901-1904.
Archeophone Records principal Richard Martin says, “We are profoundly grateful to the Mayrent Institute for inviting us to publish these precious recordings. Their leadership in preserving Yiddish heritage pairs brilliantly with our skill in the reissue market of ancient audio. The result will be a top-flight production that looks and sounds great and puts the recordings in their proper context.”
Manuscript survives centuries of turmoil –
A crowning achievement for longtime UW-Madison music professor Lawrence Earp
February 3, 2015
By Michael Muckian
For the first time in history, a formerly inaccessible manuscript of the medieval composer Guillaume de Machaut will become widely available for study, thanks to a new hardbound facsimile version just released by the Digital Image Archive of Medieval Music (DIAMM) in Oxford, England.
The publication of The Ferrell-Vogüé Machaut Manuscript, one of six such illuminated manuscripts and long unavailable to scholars, renders complete the source material for the 14th Century French composer many consider to be the greatest musical and poetic influence of his day, according to Lawrence Earp, professor of musicology at the University of Wisconsin-Madison School of Music and the world’s foremost scholar of Machaut’s manuscripts.
The Machaut manuscripts, brilliantly illuminated with paintings and poetry, have long been sought after by art collectors as well as scholars for the insights they provided into the composer. The composer’s influence over the evolution of music as demonstrated in the manuscripts is undeniable, Earp said.
“Starting in the early 14th Century, there was a revolution in the rhythmic development in music that became known as Ars Nova, or ‘New Art,’” Earp says. Machaut’s music, composed with sophisticated syncopations, includes the first complete polyphonic setting of the Mass Ordinary, as well as love songs set to polyphony for the first time.
In Machaut’s manuscripts, for the first time in musical history, the canon of a single composer is clearly identified, says Earp, who wrote the introductory study to the new volume.
“These six manuscripts present a glorious anomaly, inasmuch as each consists solely of the works of a single author and documents the full extent of that author’s oeuvre at the time of the manuscript’s production,” Earp writes in his introduction. “They mark the culmination of a distinctly French tradition in which the single codex became the site of symbiotic interplay between poetry, illumination, and, in the most opulent examples, music.”
Earp, who has taught at the UW since 1984, wrote his Ph.D. thesis on Machaut and has studied the composer’s works and manuscripts extensively. The completion of the Machaut collection, of which The Ferrell-Vogüé Machaut Manuscript is the third of six extant illustrated manuscripts of Machaut’s works, allows for authoritative and comprehensive study of a composer whose works were highly influential to the evolution of both poetry and music, Earp says.
“For musicians and scholars interested in serious study, access to these manuscripts is quite critical,” Earp says. “We now have the possibility to study the chronological stylistic development of the music from early to late periods. Because of the nature of Machaut’s complete-works manuscripts, that possibility exists for no other composer from the period.”
The Ferrell-Vogüé Machaut Manuscript, also known as the Codex Vogüé, has long been considered one of the most elusive of all of the great illuminated Medieval manuscripts. Dating from 1370-72, the Codex Vogüé came into the possession of Jean, duc de Berry, brother of king Charles V and the most famous royal bibliophile of the Middle Ages. It was passed to Gaston Fébus, count of Foix, who lent it in 1389 to Yolande de Bar, queen of Aragon, who never returned it.
Instead, the manuscript became part of the royal library of Aragon in Valencia, Spain, where it was recorded in 1417 in the possession of Alfonso the Magnanimous. Forgotten on a dusty shelf in Spain for nearly 300 years, the manuscript returned to France in the mid-18th century.
In the 19th century, the manuscript was owned by the Vogüé family in France, who sold it to French collector Georges Wildenstein in 1924.
As co-author Carla Shapreau of the Law School at the University of California at Berkeley relates, Wildenstein stored the manuscript in a Paris bank vault that was looted by the Nazis in 1940. After the war, the manuscript was recovered from a monastery near Munich by the Americans and returned to Wildenstein in 1949, now residing in New York city. At no time during Wildenstein’s possession was the manuscript made available to scholars for study.
The Ferrell-Vogüé Machaut Manuscript was purchased in 1999 by collectors James E. and Elizabeth J. Ferrell, owners of Ferrellgas, based in Overland Park, Kans., the second largest retailer of propane gas in the U.S. The Ferrells placed the manuscript on deposit in the Parker Library at Corpus Christi College, Cambridge, in 2004. The manuscript was digitized in 2009 and has now been released in hardbound copies.
“Machaut’s work was groundbreaking in many ways,” says Earp. “The publication by DIAMM of The Ferrell-Vogüé Machaut Manuscript is a true gift to scholars of medieval literature, music, and art.”
For more information about DIAMM’s publication of The Ferrell-Vogüé Machaut Manuscript, write to DIAMM@music.ox.ac.uk. You may also write to DIAMM at Faculty of Music, University of Oxford, Oxford OX1 1DB, United Kingdom.
To purchase the manuscript, see this link.
When Teri Dobbs was twelve years old, growing up in the tiny farming town of Platte, South Dakota, her mother took her aside and broached a topic that would forever change the young girl’s life.
“My mom started educating me about the Holocaust, and gave me a book,” says Dobbs, an associate professor of music and chair of the music education program at UW-Madison. “She said, ‘You need to read this book, because it could have been us.’ ’’ It was about the extermination camp at Treblinka, during World War II in Poland.
Dobbs asked her what she meant.
“Performing the Jewish Archives” is a $2.5 million grant to five universities to mount recently rediscovered Jewish musical, theatrical and literary works created from 1880 to 1950, and encourage the creation of new works based on archives.
Her mom replied, “Well, your grandfather’s Jewish.” Dobbs was bewildered, and her mother explained: He was one of the only Jewish people in town, his mother having been part of a wave of Jewish immigrants in the late 19th century who became merchants, peddlers and farmers on the Great Plains. His name was Gerrit Dyke.
Dobbs kept reading. She asked questions. She wanted to know: How did a Dutch Jewish woman, Maria Louisa Rosenthal, land in the middle of South Dakota in the 1880s? After marrying Govert VanderBoom, a non-Jewish Dutch man, Maria Louisa took his name, but the name Rosenthal was not forgotten. Dobbs’ mom kept a trove of family papers, including Maria Louisa’s obituary, who in her papers consistently referred to herself as “Maria Louisa Rosenthal VanderBoom.” And, when asked, extended family members replied, “Yes, Maria was Jewish.” But that was the end of the conversation.
It wasn’t the end of Dobbs’ interest in Jewish history, however.
In 2002, she became a Jew by choice and married a Jewish man. As it happened, her husband, Jesse Markow, had a similar background: his grandfather, Morris (Moishe) Markov had emigrated from the Ukraine, from a shtetl called Markova, located in what was known then as the Pale of Jewish Settlement. Markow arrived in New York City around 1904 as a single man, with only a wooden flute in his pocket that he’d formerly played in the Russian czar’s army, and found his first job working at a laundry at the dockyards.
Neither Rosenthal nor Markov maintained any links to their former homelands. And so it was for so many expatriate Jews at that time.
Meanwhile, Dobbs grew up. She went to college at the University of South Dakota and served four years with the United States Air Force Academy Band as a flutist and singer, then taught band, orchestra, vocal music, and general music in Colorado, South Dakota, and Illinois. Later, in graduate school at Northwestern University, where she earned a master’s degree in 1992 and a Ph.D in music education in 2005, she found herself drawn to that Jewish history, and started delving into music created and performed during the Holocaust, or Shoah.
At UW-Madison, where she arrived in 2006 as an assistant (now associate) professor of music education, she focused on children’s musical experiences in the ghetto at Theresienstadt, known now as Terezín. During World War II, Terezín, an 18th-century fortified city in Czechoslovakia, not far from Prague, was converted by the Nazis into a transit camp for thousands of largely upper class, educated Jews, including well-known artists, writers, and composers, most of whom who ultimately were killed in concentration camps. One of those, the composer Hans Krasa, had written a children’s operetta, Brundibár, which was performed over 50 times by children at Terezín.
Performing Brundibár provided a way for the Jews at Terezín to preserve some semblance of culture as society was disintegrating all around them. It also provided Dobbs the entrée into a field of study that had so long intrigued her.
In 2010, she began an intense study of the operetta, culminating in a paper published last fall in the Philosophy of Music Education Review, “Remembering the Singing of Silenced Voices: Brundibár and Problems of Pedagogy,” in which Dobbs explored the cognitive dissonance of music-making during wartime and questioned how the opera is taught today. On a recent sabbatical, she spent time researching the archives in the Jewish Museum of Prague and the Terezín Memorial, in addition to Yale University’s Fortunoff Video Archive for Holocaust Testimonies and the Shoah Foundation Video History Archive at the University of Southern California.
In Prague, she interviewed survivors of Terezín, some of whom had sung in the Brundibár chorus. All shed light on how valuable the experience of music making was to people trapped inside the ghetto, and provide insight into music education today.
“Studying Brundibár is, in a way, studying the ‘present absence’ of people who are no longer with us,” Dobbs says. “When we hear the operetta, we hear the voices of children who were silenced.”
It turned out that Dobbs’ work fit perfectly within a framework being developed by researchers elsewhere.
Due to her pedagogical pedigree, Dobbs was recently named an international co-investigator in a $2.5 million grant to mount recently rediscovered Jewish musical, theatrical and literary works created from 1880 to 1950, and to encourage the creation of new works based on archives. The grant, called “Performing the Jewish Archive,” was awarded by the British Arts & Humanities Research Council, and is led by Dr. Stephen Muir at the University of Leeds in England. Other co-investigators include Dr. Helen Finch, School of Languages, Cultures and Societies, University of Leeds; Dr. Lisa Peschel, Film, Theatre and Television, University of York; Dr. Nick Barraclough, Psychology, University of York; Dr. Joseph Toltz, Sydney Conservatorium, University of Sydney; and Dr. David Fligg, Leeds College of Music.
The three-year “Performing the Jewish Archive” project will involve a large number of partners, exploring archives, delivering community and educational projects, holding at least two international conferences and a series of symposia at the British Library, as well as mounting five international performance festivals – in the United States, the Czech Republic, South Africa, Australia and Yorkshire, England. Madison — where two of those festivals will take place in 2015 and 2016 — is the only United States site to be chosen. The goal of the performance festivals is to uncover lost and damaged theater scripts, musical scores and works of literature so that they may be experienced by modern audiences.
Not so long ago, lead investigator Stephen Muir himself, on a trip to South Africa, unearthed a musical score called “One Little Goat” by a previously unknown Russian Jewish composer, David Eisenstadt (Dovid Ajzensztadt). Eisenstadt had lost his life at the Treblinka concentration camp but had given the manuscript to a friend to review. Decades ago, the score had wended its way to South Africa via a friend and was finally premiered last spring in England.
Brundibár is only one example of the wealth of Jewish performance art that has been lost for so long. And so the race is on to find others, to preserve them, and to present them. And for at least one researcher, it will also help open a door to her own past.
“Having the opportunity to do this kind of research/scholarship in many ways brings me full circle, connecting and reconnecting me with a part of my heritage that was hidden for so long,” says Dobbs. “It’s a way for me to return to my roots by remembering actively those who went before me, maybe even to make things a bit better for those who come after me. In Judaism, this can be considered a type of ‘tikkun olam,’ or ‘healing the world.'”
Read about Dobbs’ research in a story published in the online newsletter of the Center for Jewish Studies.
“Remembering the Singing of Silenced Voices”: Philosophy of Music Education Review, Fall 2013, Teryl Dobbs, author.
More media links:
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.
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.”
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.
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.
Our 2014-15 festivals include:
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
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.
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.
“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.
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.
Multiple events; check back later for more details.
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.