Make a Joyful Noise!
Musicians exchange glances, awaiting the nod. The audience is on the edge of their seats as the first notes sound in perfect synchronization. Newcomers soon realize they are in the presence of something wonderful. Devoted supporters take in waves of sounds as familiar as old friends. The last note is played and the audience is on their feet, applauding and cheering. It doesn't get any better than this.
This is an experience.
This is an event.
This is Midsummer's Music Festival.
This program was supported in part by a grant from the Wisconsin Arts Board with funds from the State of Wisconsin and the National Endowment for the Arts.
A rustle is heard in the distance. There are sounds of chairs being moved. Footsteps echo as they approach the stage. Music stands are adjusted. Faint notes are heard from the violin, soon to be joined by the viola. The bassoon blends in and the lilt of the flute rings out as the piano begins its accompaniment. The clarinet is distinct and clear, and the cello adds a tone like no other.
Soon more footsteps are heard, this time in greater number. Excited voices crescendo. Sounds of pages being turned are heard throughout the venue. Greetings are exchanged and anticipation is high. Suddenly the sounds stop and a hush falls over the audience. A man stands before the crowd and begins to speak. As he talks about the composer and program all eyes and ears are on him. Then he is done and takes his place on the stage.
Festival Reservations Now Open!
THURSDAY, JULY 2, 2009
Romance, Passion, Color!
Beginning on Tuesday, June 30, we present one of the staples of the chamber music repertoire, the Quintet in C Major by Franz Schubert.
This deeply romantic work was the first to utilize two cellos in the traditional string quartet form and was written two months prior to Schubert's premature death.
The Grove's Dictionary of Music perhaps best sums up Schubert's valedictory effort:
"Schubert’s last great work was the String Quintet in C. It is filled with magnificent moments: the duet for cellos in the first movement; the richness and intriguing instrumentation of the Adagio; the elegiac trio of the third movement (a true pointer to the future); the wonderful rhythmic variants of the finale theme. His subtler blending of the major and minor modes can be seen in the themes of the first and last movements; who, looking at them in isolation, would dream that movements in major keys are being announced? The whole work, as a study of Neopolitan relationships, is without equal."
This program is featured on July 2, 3, and 6. For more details, click on the Calendar of Events link.
