By Jacob Stockinger
Add in the love of music as well as the love between a husband-father and wife, and then between a mother and daughter (below, on the left is mother Julia Monteros Wooster and on the right is daughter Mariah Wooster-Lehman).
Finish it off with some rebuilding and repairing, and the desire to make a generous gift to a university under siege from budget cuts dictated by an anti-intellectual governor, Scott Walker, and the Republican state legislature.
What you end up with is a love story, Steinway-style, that took place at the University of Wisconsin-Madison Mead Witter School of Music. (And this piano is already in use in a practice room, 1268, of the George L. Mosse Humanities Building.)
It doesn’t need much introduction. The photos and the words, simple but eloquent and moving, written by the daughter, do the work.
The only thing to add is that The Ear recalls reading a new story that owning pianos in the home has become less popular nationwide. A lot of pianos even get junked or thrown out in the garbage, let alone neglected until they fall into disrepair and can’t be used any more.
So maybe there are more such pianos, with or without the love story, out there to benefit students and staff at the UW-Madison.
If so, leave a message in the COMMENTS section or call (608) 263-5615.
Here is a link to the story:
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.
ALERT: The Ear has been informed of the winners of the annual UW-Madison Beethoven Sonata Competition. The FREE winners’ recital is this Sunday afternoon at 3:30 p.m. in Morphy Recital Hall. Three major late sonatas will be featured on the program: the Sonata in A Major Op. 101, played by Kangwoo Jin (below right in a photo by Katherine Esposito); the last Sonata in C minor, Op. 111, played by SeungWha Baek (middle); and the titanic “Hammerklavier” Sonata, Op. 106, played by Luis Alberto Peña (left).
For more information about the student performers and their teachers, go to:
By Jacob Stockinger
The two performances are:
This Saturday, April 18, at 7:30 p.m. in Luther Memorial Church (below), 1021 University Avenue, Madison. Tickets are $25 in advance ($30 at the door); students pay $10 ($15). Visit: www.WisconsinChamberChoir.org
This Sunday, April 19 at 3 p.m. in the Young Auditorium, 930 West Main Street, Whitewater. Tickets are $20.50, $18.50, $15.50; UW-Whitewater students pay $10.50. Visit http://www.uww.edu/youngauditorium
One of the most beloved and popular of all choral works, the German Requiem by Johannes Brahms (below), is a masterpiece of musical Romanticism. (You can hear the opening movement on a YouTube video at the bottom.)
Brahms began the work as a memorial to his mentor, Robert Schumann (below), but the death of Brahms’ own mother spurred him to complete it several years later.
The score embraces a wide variety of emotions, from the lush sounds of the choir and orchestra that envelope the audience in a message of consolation, to lively fugues, worthy of Bach or Handel, that promise the hope of salvation. This music will thrill audiences as well as comfort all who have ever lost a loved one.
Sharing billing with the Brahms are two world premieres, one commissioned by each choir.
The Wisconsin Chamber Choir will present Our Orphan Souls by British composer Giles Swayne (below top) on a transcendental text from Herman Melville’s novel Moby Dick.
The UW-Whitewater Chamber Singers will present Prairie Spring by UW-Whitewater professor of music, Christian Ellenwood (below bottom), a setting of the poem by American author Willa Cather.
Joining the WCC in this performance are soprano soloist Tanya Kruse Ruck, baritone Brian Leeper, and bass Gregory Berg; the UW-Whitewater Chamber Singers; and Sinfonia Sacra, the WCC’s own fully professional orchestra made up of members of the Madison Symphony Orchestra, the Wisconsin Chamber Orchestra, and the Wisconsin Baroque Ensemble.
Founded in 1998, the Madison-based Wisconsin Chamber Choir has established a reputation for excellence in the performance of oratorios by Bach, Mozart and Haydn; a cappella masterworks from various centuries; and world-premieres. Robert Gehrenbeck (below) who directs the Choral Program at the UW-Whitewater, is the Wisconsin Chamber Choir’s Artistic Director.
By Jacob Stockinger
Today is Mother’s Day, 2014.
That makes it the 100th anniversary of the national holiday that President Woodrow Wilson proclaimed in 1914, as World War I was beginning. The timing then seemed appropriate since the now festive and consumer-driven holiday was started in 1908 by Anna Jarvis as a way to honor fallen soldiers and to work for peace.
Here is a link to a story about the holiday’s history — with information about how Mother’s Day is celebrated in the Midwest and the Arab world — from National Geographic Society:
In past years I have asked: What is the best music you can think of to express Mother’s Day? ?Songs My Mother Taught Me” by Antonin Dvorak? The lovely and moving “mother” movement from the “German” Requiem by Johannes Brahms? The beautiful song cycle “Frauenliebe- und -leben” (A Woman’s Loves and Life) by Robert Schumann?
Here is a Top 10 list from Limelight Magazine:
Today I want to challenge to take a Mother’s Day quiz that appeared on the “Deceptive Cadence” blog on NPR.
Here is a link:
But this year my thoughts are more personal.
The Ear lost his Mom a year ago last March, but in the time since then I have had plenty of time to think about the loss and to see what music comes to mind when I think of her.
Now she was not a sophisticated listener of classical music.
But she loved a lot of fine music and had good taste.
But it also embodies my Mom for two reasons.
One reason: When I was young she took to see Arthur Rubinstein (below top) at Carnegie Hall (below bottom) – she even got STAGE sets — for his all-Chopin recital on Nov. 10, 1961. (I later found out that a young Emanuel Ax was also in the audience that evening, and was as impressed it as I was.) Rubinstein played that waltz, as I recall, perhaps as an encore.
More importantly, she also liked the particular Chopin waltz because I played it. In fact she probably liked the way I played more than the way Rubinstein did.
I was her son, after all, and Rubinstein wasn’t.
So this one is for you, Mom, on your day:
Now, if you care to, please leave me a REPLY, with a link to YouTube video if possible, of the one piece of music -– instrumental, song or opera aria, whatever -– that you would like to play and dedicate to you Mom whether she is living or not.
The Ear wants to hear.
And so would your Mom.
By Jacob Stockinger
Today is Mother’s Day, a holiday that is rightly celebrated in one way or another and at one time another around the world.
It seems a good time to ask: “What is appropriate music to play on Mother’s Day?”
Well, it depends of course on the music and the Mom.
They capture the sweetness and innocence of motherhood and childhood without being hackneyed.
Listen to the beauty:
For my Mom, something special and particular is required.
After all, she took me to see the great pianist Artur Rubinstein in Carnegie Hall – where she even managed to get stage seats so I, as a young and aspiring pianist, could be close to The Master — perform an all-Chopin recital on my 15th birthday.
So, here are clips of Rubinstein playing one of the pieces we heard that night way back in 1961.
The choice of a waltz is poignant because at 90 Mom is now confined to a wheelchair. But she fights back with energy and determination and love, always love, and dances in her heart.
Happy Mother’s Day, Mom.
I am proud of you.
And I love you.
What piece would you play and dedicate to your Mom on Mothers Day? Let us know,, and include a link is possible, in the Comments section.