By Jacob Stockinger
This Friday night at 7:30 p.m. in the Capitol Theater of the Overture Center, the Wisconsin Chamber Orchestra (below) opens the second half of its season with a promising concert that has both sunny lyricism and dark drama.
Tickets run $10 to $80. Here is a link to the Wisconsin Chamber Orchestra’s website with information about the concert, the soloist and how to get tickets:
As usual, WCO music director Andrew Sewell (below) has created a program that mixes music of different moods from different eras.
The guest artist is classical guitarist Ana Vidovic (below top), who performed with the WCO two years ago to critical and audience acclaim.
This time Vidovic will perform the popular “Concierto de Aranjuez” by the 20th-century Spanish composer Joaquin Rodrigo (below bottom), who took inspiration from Baroque music for this work. (You can hear the gorgeously tuneful slow movement in the YouTube video at the bottom.)
Jazz great trumpeter Miles Davis also used to play the slow movement from the Rodrigo concerto.
The concert will open with the Symphony No. 30 in D Major by Wolfgang Amadeus Mozart and will close with the Symphony No. 3 in D minor by the Austrian late Romantic composer Anton Bruckner (below), who is often coupled with Gustav Mahler.
For many listeners, the big draw is the Bruckner symphony since Bruckner does not get heard often here.
So The Ear thought it might be useful to read comments about Bruckner by the world-famous maestro Daniel Barenboim, who was the music director of the Chicago Symphony Orchestra for many years.
This week, Barenboim (below top conducting and below bottom in an informal portrait photo by Andrea Gjestvang for The New York Times) is leading the Staatskapelle Berlin in a complete cycle of Bruckner symphonies — coupled with Mozart piano concertos played and conducted by Barenboim himself from the keyboard — in Carnegie Hall in New York City. He also recently recorded all the Bruckner symphonies with the same orchestra. And just yesterday he got rave review from The New York Times for the first two Bruckner-Mozart concerts.
Here is a link to the interview and story in The New York Times:
By Jacob Stockinger
The Ear has received the following information to post about a local opera production that is both exciting and an inspired choice to mark February as Black History Month:
For more information about the cast and the production as well as about purchasing tickets ($25-$114), go to:
With music by Swiss composer Daniel Schnyder (below top) and a libretto by writer and poet Bridgette A. Wimberly (below bottom), the acclaimed opera “Charlie Parker’s Yardbird” tells of the legendary jazz musician and the people closest to him.
The opera, which melds jazz and opera, is set on the day that saxophone great Charlie Parker died in 1955. As his body lies unclaimed in a New York City morgue, Parker returns in spirit to the jazz club Birdland, determined to compose a final masterpiece. Family and friends blend in and out of his memories, including his three wives, his mother, his friend Dizzy Gillespie and even his drug dealer.
Charlie Parker’s Yardbird premiered in June 2015 at Opera Philadelphia (below is tenor Lawrence Brownlee, in a photo by Dominic Mercier, in the title role of Charlie Parker in the Philadelphia production) and was subsequently presented by the company at the Apollo Theater in New York City in April 2016. (You can hear an excerpt in the YouTube video at the bottom.)
The New York Times praised it for its “pulsing, jazz-infused score,” while the Wall Street Journal said, “its rhythms snap and swing, its melodies – including real arias – seize the ear, its ensembles crackle with energy.”
Madison Opera will be only the second company to present this work, which is sung in English with projected text and runs 90 minutes without an intermission.
“I saw Charlie Parker’s Yardbird when it premiered in Philadelphia and instantly knew it would be a perfect opera for Madison,” says Kathryn Smith (below, in a photo by James Gill), Madison Opera’s general director. “The very American story and the exciting jazz-inflected music fit perfectly into our ever-expanding range of repertoire.”
She adds, “It’s not a straightforward narrative of Parker’s life, but rather elements of his life as refracted through his memories and imagination, and particularly his relationships with the women in his life.”
Madison Opera’s cast includes both debuts and returning favorites, as well as a number of singers who created their roles in the world premiere.
Joshua Stewart (below), a young American tenor who has sung at La Scala, Bayerische Staatsoper, and Opera de Lausanne, debuts in the tour de force role of Charlie Parker.
Angela Brown (below) returns following her performance at Opera in the Park 2016 as Addie Parker, Charlie’s mother, a role she created in Philadelphia.
Will Liverman, who sang Figaro in Rossini’s The Barber of Seville here in 2015, sings jazz legend Dizzy Gillespie, a role he created in Philadelphia.
Krysty Swann debuts as Rebecca Parker, Charlie’s first wife. Angela Mortellaro, who sang Galatea in Handel’s Acis and Galatea in 2013, returns as Doris Parker, Charlie’s third wife, a role she created in Philadelphia.
Rachel Sterrenberg debuts as Chan Parker, his final wife, a role she created in Philadelphia. Baroness Pannonica de Koenigswarter, in whose hotel suite Parker died, is sung by Julie Miller in her Madison Opera debut.
Directing this production is Ron Daniels (below), who staged the world premiere and was the opera’s dramaturge, involved in the creation and workshop process.
John DeMain (below, in a photo by Prasad) conducts, with members of the Madison Symphony Orchestra in the pit.
DeMain says: “I am so happy to be a part of Madison Opera’s Midwest premiere of Charlie Parker’s Yardbird. Parker was consumed with music, breathing it day and night. All of us who are passionate about performing and listening to music can identify with this phenomenal musician and will not want to miss this jazz-infused opera, the perfect expression of Parker’s range and depth as a musician.”
Composer Daniel Schnyder will attend the opening night performance and join Smith for the Pre-Opera Talk that evening at 7 p.m. in the Wisconsin Studio.
In addition to the performances, Madison Opera and its community partners are hosting a series of related events, collectively known as “Extending the Stage,” which culminate in a concert of Charlie Parker’s music with composer Daniel Schnyder and the UW-Madison’s Blue Note Ensemble.
These events include Opera Novice; community previews; Opera Up Close; discussions of the life and music of Charlie Parker (below); and presentations of rare jazz films.
All events are open to the public and the majority are free of charge.
RELATED EVENTS: EXTENDING THE STAGE
Opera Novice: Jazz Opera? Friday, Jan. 20 | 6-7 p.m. The Margaret C. Winston Madison Opera Center, 335 W. Mifflin Street. FREE and open to the public
New to opera? Passionate about Puccini, but not sure about a jazz opera? Join General Director Kathryn Smith for a short, fun, and informative evening exploring the history of jazz and opera, including a live performance of an aria from Charlie Parker’s Yardbird. With plenty of time to ask questions, it’s the perfect jump-start for the opera-curious.
Community Preview of Charlie Parker’s Yardbird, Tuesday, Jan. 24 | 7-8 p.m. Capitol Lakes Retirement Community, 333 W. Main St. FREE and open to the public
Join a Madison Opera staff member for a multimedia look at Charlie Parker’s life, the history of the opera Charlie Parker’s Yardbird, and some insights into Madison Opera’s production.
Opera Up Close, Sunday, Feb. 5 | 1-3 p.m. The Margaret C. Winston Madison Opera Center, 335 West Mifflin Street. Admission: $20; free for full-season subscribers and full-time students with ID; $10 for two-show subscribers. Tickets available at the door.
Come even closer with a behind-the-scenes preview of Charlie Parker’s Yardbird. A multimedia presentation on Charlie Parker and the history of this opera will be followed by a roundtable discussion with the leading artists of Madison Opera’s production. There is no better way to get “up close” to this acclaimed new opera.
A Charlie Parker Concert and Discussion with Daniel Schnyder and the Blue Note Ensemble Thursday, Feb. 9 | 7:30 p.m. Morphy Recital Hall, UW-Madison. FREE and open to the public
Composer Daniel Schnyder joins UW-Madison’s Blue Note Ensemble for an evening featuring music by Charlie Parker, with solos performed by both Schnyder and UW-Madison saxophone students. The evening includes an aria from Charlie Parker’s Yardbird and a discussion about Parker and the opera with Schnyder, UW-Madison Professor of Saxophone Les Thimmig, and General Director Kathryn Smith.
Pre-Opera Talks: Friday, Feb. 10 |7 p.m. and Sunday, Feb. 12 | 1:30 p.m. Wisconsin Studio at Overture Center. FREE to ticket holders
Attend an entertaining introduction to Charlie Parker’s Yardbird one hour prior to curtain. On Friday night, composer Daniel Schnyder will join General Director Kathryn Smith to talk about the piece. Be sure to arrive early, as space is limited.
An Evening of Rare Jazz Films: Alicia Ashman Library. Friday, Feb. 3 | 7 p.m.; Goodman South Madison Library. Tuesday, April 11 | 6 p.m. FREE and open to the public (Below is footage of Charlie Parker playing and of people discussing the man and his artistic achievement.)
Jazz archivist Gary Alderman will present and explain films of the historically significant innovators of modern jazz, including the only two known existing videos with sound of Charlie Parker.
Among the other musicians shown will be those relevant to Parker’s music and career, including Lester Young, Coleman Hawkins, John Coltrane, Dizzy Gillespie and Miles Davis.
The Life and Music of Charlie Parker: DeForest Area Public Library: Monday, Feb. 13, 6:30 p.m.; Alicia Ashman Library: Friday, Feb. 24, 7 p.m.; Fitchburg Public Library: Sunday, Feb. 26, 2 p.m.; Oregon Public Library: Friday, March 10, 6:30 p.m. FREE and open to the public
UW-Madison Professor of Saxophone Les Thimmig (below) will talk about Charlie Parker’s life and music, as well as the history of bebop.
More information is available at www.madisonopera.org/education.
By Jacob Stockinger
You might think of it as a form of musical archaeology: Recovering, reclaiming and exhibiting the time-honored tradition of improvisation that for centuries was essential to composers and performers alike.
“Improvisations on a Theme” is a watchword that shapes the programs of the 2013 Token Creek Chamber Music Festival. Nowhere is that more apparent than in the concert presented by guest ensemble from New York, Open End (below), three of whose members will be in residence for a week at this summer’s festival.
Essential to the Open End mission is the reclaiming of improvisation as the central skill of all musicians. Audiences at Open End concerts come to think of spontaneous creation as being part of a natural, ongoing dialogue between performers creating in the moment and a written body of work that continues to expand, to transform.
At home in venues from galleries and living rooms to concert halls, Open End seeks nothing less than to engage audiences in an experience that is wonderful, intimate, challenging and beautiful.
On this coming Sunday, August 25, at 4 p.m. Open End members Andrew Waggoner (violin), Caroline Stinson, (cello), and Molly Morkoski (piano) will present a program of recent works and improvisations in a program including music of Charles Ives, Henry Cowell (below), Anna Weesner, Andrew Waggoner, and Bach, concluding with the premiere of a new work by Waggoner.
Waggoner has been characterized by The New Yorker magazine as “the gifted practitioner of a complex but dramatic and vividly colored style” His new piano quintet, inspired by the acclaimed Canadian short story writer Alice Munro, was written this summer for the 2013 Token Creek Festival and is dedicated to Co-Artistic Directors John and Rose Mary Harbison.
Then at 8 p.m. on Tuesday, August 27, and Wednesday, August 28, the Open End members will also participate in one of the Festival’s program of Shakespeare in scenes and songs. The program opens with the premiere of John Harbison’s “Invention on a Theme of Shakespeare” for solo cello and small ensemble, followed by scenes from Shakespeare plays accompanied by new incidental music, and songs and arias on texts from the same plays set by to music by composers from the Renaissance to the present day.
Songs will be offered by composers including Morley, Arne, and Henry Purcell; Franz Schubert, Robert Schumann, Johannes Brahms and Hugo Wolf; and Francis Poulenc, Frank Bridge, Michael Tippett and John Harbison.
All performances take place at the Festival Barn (below), on Highway 19 near the hamlet of Token Creek, with ample parking available. The venue, indoors and air-conditioned, is invitingly small, and early reservations are recommended.
More information about the Token Creek Festival can be found at the website, www.tokencreekfestival.org
Violinist-composer Andrew Waggoner (below) recently granted an email interview to The Ear:
Could you briefly introduce yourself and your work to people who don’t know you or haven’t heard about you?
I think the best way for people to approach me and my music is to know going into it is that the two paramount values for me in any musical exchange are strangeness and beauty.
I say “strangeness” because the most arresting, durable encounters we have with creative work are marked by a level of confusion, or of the numinous, of something that immediately strikes us as “other,” but that, hopefully, the work itself gives us the tools to sort out over the course of the experience.
“Beauty” is perhaps a little more self-evident, but it can manifest in myriad ways, of course, including beauty of form, of shape or dramatic arc. Much of the music I love most (J.S. Bach, Beethoven, Stravinsky, Duke Ellington (below), Miles Davis, Harbison (really!), Elliott Carter, Pierre Boulez) moves me at the level of the big shape as much as at that of surface sensuality.
That said, sensuality is hugely important to me, and when I feel I’ve found a unity of shape and surface beauty that makes a listener want to stay with a piece long enough to figure out where its strangeness is coming from and what it means, I feel like I’ve hit the jackpot. This doesn’t happen all the time, of course.
What are the guiding principles – improvisation — and the performance goals behind the Open End Ensemble? How do they reflect your opinion of the state of contemporary classical music today?
The thing we most wanted with Open End was to have a group that played like a group — always the same players — and that could move easily between written-out music and free improvisation and not miss a beat.
We wanted the audience to hear the improvisations as pieces, and to hear the pieces as having the same level of listening and spontaneous response as the improvs. We make an issue of improv, in part, in order to get the audience to the point where they no longer hear it as unusual.
With regard to the state of things today, I’d just say that the only criterion we bring to programming a piece is whether or not we like it. If we believe in it, we play it. We have the luxury of not taking things on for any purpose other than what we want a program to sound like, how we want it to move, to flow.
If there are specific contemporary currents that seem not to flow through our programs, it’s most likely because we’re not interested in them.
What would you like the general public to know about your performances and specific programs (Ives, Cowell, Weesner, Waggoner’ world premiere and Bach; also Harbison’s Shakespeare music) and works at the Token Creek Chamber Music Festival?
We like programs that mix contemporary works with 20th-century classics, along with different instrumental combinations that provide relief and perspective on each other.
In this way we’re no different from anyone else, it must be said, except that, again, there are no “isms” guiding our programming, so we can be very free about the kinds of combinations we find.
So the works by Charles Ives and Henry Cowell make a natural pair (culturally and temperamentally, and in their dogged sense of exploration), and they provide a nice come-down from the energy of the work by Anna Weesner (below), which is volcanic.
The improvs will work in some way yet to be discovered to bridge these different expressive worlds, with John and Rosie’s Bach offering both a stylistic distance and expressive weight specific to it — though listeners will recognize Cowell’s affectionate nod to Bach in his little pieces, so to some degree we go in widening gyres here.
The premiere of my own work, “Floating Bridge,” is a very personal homage to John and Rosie, to John and my (and Carrie’s) shared love of the award-wining Canadian short story writer Alice Munro, to the festival’s rural setting, and to Ellen Singer, a dear friend at our own rural festival, Weekend of Chamber Music, whom we lost this past spring. All these threads were evoked for me and somehow float together in Munro’s story, also called “Floating Bridge.”
The Shakespeare program will mash-up an astonishingly diverse group of Shakespeare songs with dramatic monologues, acted by Madison native Allison Shaffer (below), with Carrie and me improvising, joined by John at the piano. We’ve done this kind of thing a lot, and we love it. We have no idea how the musical environment for the texts will take shape. We’ll find that in the moment.
How would you characterize the style and interest of your own compositions and particularly the work that you will premiere here in Madison?
My own work, as I mentioned earlier, hopefully offers the listener something strange and compelling that is made comprehensible through a surface that is beautiful, and often sensual.
One person’s beauty is another’s caterwauling, of course, so not everyone will hear this music in the same way I do. But I am working to make the music as powerful and communicative as possible, not by trying to anticipate everyone’s varied tastes and levels of musical experience, but simply by responding to my own work as a listener.
The old modernist dichotomy of composer vs. listener bores me, in part because it always was mostly, and has now become entirely, meaningless, and because it overlooks the obvious fact that composers are listeners too.
So that’s where I start with any piece: what do I want to hear, where do I want to go with this, how do I want this to make me feel? I can only really respond to those questions as a listener, as someone who will hear the piece in performance and judge it in those terms, not as the product of a wonderfully complex compositional process.
In terms of style, the composers referenced above have all had a profound effect on me. To that list, I’d add Copland and Messiaen; if one morphs all of those different characters (Bach, Beethoven, Stravinsky, Copland, Messiaen, Miles Davis, Carter, Boulez, Harbison (below)) one might actually come up with something like Waggoner!
What else would you like to say about yourself and the ensemble, about your programs and work, and about the festival?
We’re crazy excited to come out to Token Creek. For us it’s both an extension of our relationships to John and Rosie Harbison (below, in a photo by Katrin Talbot)and to John’s music, and an expression of how we most love to work as a group: in intimate, imaginative settings, close to the audience, able to work with the energy they give us, to shape an experience that is site-specific. For us it’s really the ideal, and we get to do only a few times a year under very special circumstances. So this is a rare privilege.
ALERT and UPDATE: Due to treacherous road conditions, the Wingra Woodwind Quintet concert that was scheduled for Friday night at 8 p.m. in Morphy Recital Hall was canceled. However, the Wisconsin Brass Quintet will perform its FREE concert as scheduled tonight at 8 p.m. in Mills Concert Hall.
By Jacob Stockinger
It is not very often that a musician gets a change to change and remake the public’s perception of his instrument and the repertoire for that instrument, even to advance that perception and spark a kind of renaissance that alters music history.
Certain performers come immediately to mind: Wanda Landowska and the harpsichord; Andres Segovia and the guitar; Jean-Pierre Rampal and the flute; Heinz Holliger and the oboe; Jordi Savall and the viola da gamba. There are others.
Ranking high among them is French trumpeter Maurice Andre (below), who died last week week at the age 78. He pioneered a renaissance of great trumpet playing (especially on his trademark piccolo trumpet), and arguably of brass playing in general, and especially helped revive the Baroque and Classical era repertoire for his instrument.
I first got to know Andre’s performances when his version of Fasch’s Trumpet Concerto was on the Musical Heritage Society’s original issue of the Paillard Chamber Orchestra’s version of the bestselling recording of Pachebel’s Canon in D.
From the first, his playing seemed to me filled with joie de vivre, the embodiment of the Biblical injunction to make a joyful noise. It was clear that Maurice Andre loved what he was doing.
Andre reminded me of a classical cross between jazz greats Louis Armstrong and Miles Davis, playing with both heat and cool. He possessed great chops or technique. His playing was sensual but also had clarity, that ice water-like bracing transparency of tone, that I identify with, say, pianist Andras Schiff. To my mind, the fusing of those two qualities made Andre’s playing quintessentially French.
Andre’s playing possessed the force of a great declarative sentence that relies on verbs, not nouns or adjectives. It seemed irresistible and essential, never flowery of puffy.
In its breath control and long phrases, his playing seemed easy and effortless — the mark of a true virtuoso.
He was a hard worker with boundless energy and stamina who often played 180 dates a year.
And he was prolific in the studio. When you look him up at Amazomn.com, you get almost 500 hits.
And he is remembered as an unassuming man who never thought of himself as a star and who never forgot his time as a young coal miner.
Here is a link to some colorful obituaries and appreciations: