A variety of world-class musical artists will be coming to the Lakeshore as part of Silver Lake College’s 2015-2016 Artist Music Series.
The five concerts will be held in Endries Hall at the Franciscan Center for Music Education and Performance, located on campus at 2406 S. Alverno Road.
Season tickets are $80. Individual concert ticket prices are $18 for adults, $12 for seniors (ages 65 and older), $5 for children ages 5 to 18, and free for children 4 and younger. Tickets will be available starting June 8 and may be purchased by visiting the Capitol Civic Centre box office, 913 S. Eighth St., Manitowoc, or by calling (920) 683-2184 or logging on to www.cccshows.org.
Here’s a closer look at Silver Lake College’s 2015-2016 Artist Music Series:
Johannes Wallmann Quintet
The concert is scheduled for 7:30 p.m. on Sept. 19, 2015.
The music of composer, pianist and band leader Johannes Wallmann has been shaped by the sounds of the many places he has called home. The rhythmic pulses of New York and Oakland meet the sounds of the rugged coast of the Pacific Northwest and the open expanses of the Midwest.
Since 2012, Wallmann has been Director of Jazz Studies at the University of Wisconsin-Madison’s School of Music, where he is the inaugural holder of the John and Carolyn Peterson Chair in Jazz Studies.
He teaches jazz composition, improvisation, jazz piano and jazz ensembles, including the UW Jazz Orchestra.
Steeped in the jazz tradition and informed by the music of John Coltrane and Duke Ellington, Wallmann’s distinctive compositions seek to explore new territory, joining harmonic complexity with infectious groove and melodic introspection with playful exuberance.
He performs nationally and internationally with his own group and as a sideman. He also has recorded with many other artists.
Wallmann has released four critically acclaimed CDs, including “The Johannes Wallmann Quartet” (1997), “Alphabeticity” (2003) and “Minor Prophets” (2007).
His most recent CD, “The Coasts” (2010), is a suite of tone poems inspired by the places that exist at the intersections of water and land, industry and civilization.
Prior to his appointment at UW-Madison, Wallmann served for five years as Director of Jazz Studies at California State University, East Bay.
He is also a 12-year veteran of the New York City jazz scene, where he established himself as a prolific performer on the jazz and new music scene, performing styles as diverse as acoustic chamber jazz and hard-hitting electric fusion, American spirituals, Cantonese pop music, and 20th century classical music.
The Rose Ensemble (the roots of Bluegrass program)
The concert is at 3 p.m. on Nov. 1, 2015.
Founded in 1996 by Artistic Director Jordan Sramek, The Rose Ensemble, based out of St. Paul, Minn., has achieved an international reputation as a premier American early music ensemble.
Each performance illuminates centuries of rarely heard repertoire, bringing to modern audiences research from the world’s manuscript libraries and fresh perspectives on history, culture, politics and spirituality from around the globe.
The ensemble is named for a flower that bears substantial significance in the worlds of the sacred and secular, from ages past and in the contemporary world.
With 10 critically acclaimed recordings and a diverse selection of concert programs, the group has performed for audiences across the United States and Europe with a repertoire spanning 1,000 years and more than 25 languages.
The Rose Ensemble received the 2005 Chorus America Margaret Hillis Award for Choral Excellence, and was a first-prize winner in both sacred and secular music categories at the 2012 Tolosa Choral Contest in Spain (part of the European Choral Grand Prix).
Sramek received the 2010 Louis Botto Award from Chorus America “for entrepreneurial zeal.”
The Rose Ensemble’s recent performance highlights include appearances at Early Music Now in Milwaukee; the University of Vermont Lane Series in Burlington, Vt.; California Lutheran University in Thousand Oaks, Calif.; Cornell University in Ithaca, N.Y.; St. Quirinus Cathedral in Neuss, Germany; and the Misiones de Chiquitos Choral Festival in Bolivia.
Victor Rosenbaum, pianist
The concert is at 7:30 p.m. on Nov. 13, 2015.
American pianist Victor Rosenbaum has performed widely as a soloist and chamber music performer in the United States, Europe, Asia, Israel and Russia. He has played in such prestigious halls as Tully Hall in New York and the Hermitage in St. Petersburg, Russia, and in such cities as New York, Chicago, Tokyo, St. Petersburg, Tel Aviv, Jerusalem and Vienna.
A faculty member at the New England Conservatory of Music in Boston, Mass., since 1967, he is past Chair of both the Piano and Chamber Music departments.
Rosenbaum has collaborated with such artists as Leonard Rose, Arnold Steinhardt, Robert Mann, Joseph Silverstein, Malcolm Lowe, and the Brentano and Cleveland String Quartets, among others.
Festival appearances have included Tanglewood, the Rockport Chamber Music Festival, Kfar Blum and Tel Hai (in Israel), Yellow Barn, Kneisel Hall (Blue Hill), Musicorda, Masters de Pontlevoy (France), the Heifetz Institute, the International Keyboard Institute and Festival in New York, the International Musik Seminar in Vienna, and the Bowdoin International Music Festival.
Rosenbaum also teaches at the Mannes College of Music in New York and has given master classes at London’s Royal Academy of Music, Royal College of Music and the Guildhall School, the conservatories of St. Petersburg and Moscow, and such other institutions as the Menuhin School, the Toho School in Tokyo, Beijing Central Conservatory and the Jerusalem Music Center.
He was Visiting Professor of Piano at the Eastman School and a guest teacher at Juilliard, and gives lectures, workshops and master classes for teachers’ groups and schools both in the United States and abroad.
Pro Arte Quartet
The concert is at 3 p.m. Jan. 31, 2016.
Pro Arte Quartet has a long history. It was founded in 1911-19¬12 by teenage prodigies who were students at the Brussels Conservatory in Belgium.
The quartet made its debut in Brussels in 1913 and soon became known as an exponent of modern music. In 1921, Pro Arte began giving concerts featuring performances of new works by, among others, Bartók (whose Fourth Quartet is dedicated to the Pro Arte), Casella, Honegger, Martin, Milhaud and Rieti.
Pro Arte Quartet played its American debut in 1926, performing at the inauguration of the Hall of Music in the Library of Congress in Washington, DC.
The group’s first visit to Madison was in 1938, where, two years later, the musicians were stranded by Adolf Hitler’s invasion of Belgium and the outbreak of World War II.
Following their Madison performance, the University of Wisconsin-Madison chancellor offered a permanent home to the quartet — it was the first such residency ever in a major American university — and became the model on which many other similar arrangements were developed at other institutions.
Pro Arte became the faculty string quartet at UW-¬Madison in the late 1950s, an appointment that continues to the present day.
Current members of the quartet include David Perry, violin; Suzanne Beia, violin; Sally Chisholm, viola; and Parry Karp, violin/cello.
In addition to widely acclaimed performances of standard classical repertoire, Pro Arte continues its tradition of championing new music.
To celebrate its 100th anniversary, Pro Arte commissioned works from four distinguished American composers (Walter Mays, Paul Schoenfield, William Bolcom and John Harbison), which were given their world premiere performances in 2011-2012 in Madison.
The quartet performs throughout the United States, Europe and Asia. It also has performed at the White House, and is the resident ensemble of the Chazen Museum of Art, for which it performs a series of five live radio broadcasts per season.
Wisconsin Baroque Ensemble
The concert is at 3 p.m. on April 17, 2016.
The Madison-based Wisconsin Baroque Ensemble was founded in 1990 and launched its annual concert series in November 1997.
Its musicians enjoy bringing chamber music of the 16th, 17th and 18th centuries to life and communicating their enthusiasm on period instruments in intimate settings.
The close proximity of the audience, as well as their sharing of bits of interesting musical information before a selection, helps bridge the gap between performer and listener.
A hallmark of the Wisconsin Baroque Ensemble is its commitment to exploration of literature of the highest quality by writers of the past who are relatively unknown and seldom performed, a tendency which has prompted one member to suggest renaming the group “Musica Obscura.”
Its interpretation of its historic repertoire is significantly informed by knowledge gleaned from documents left by practicing musicians of the past, knowledge which, over the years, has been shown to breathe vitality into many long-neglected works that are still relevant to 21st century audiences.
Whenever possible, musicians play from facsimiles of original manuscripts to avoid modern editing and to connect more directly to the touch of the composer.
The group’s aim is to communicate the charm, passion and intelligence contained within this music as vividly as possible.
The primary difference in sound between the stringed instruments they play and so¬-called “modern” stringed instruments is obtained in large part through the unique shape of baroque bows which result in subtle clarity of articulation on the supple and sweet sounding gut strings used.
Their wind instruments are simple in construction, made of complex natural materials and offering a multiple¬-layered palette of tone color.