Showing posts with label Michael Stern. Show all posts
Showing posts with label Michael Stern. Show all posts

Monday, October 12, 2015

“Go to sleep Mom, I will call you later”

In memory of Vera Stern 


I cannot remember how many times I heard Michael say these words to his mother, moments before we walked together onto the stage to perform another piano concerto. Whether it was in Memphis, or Kansas City, Newark or Colorado Springs, he was always on the phone with his Mom when the stage manager knocked on the dressing room door asking him to come. “Go to sleep Mom, I will call you later”. When I heard Michael say this for the last time at Ms. Stern’s memorial service last month I broke into tears, as I do now. Can I hear it just one more time? Please?

What can I say about a person who could show me reason in places that others saw chaos, and who gave me the feeling of a warm home at a place that others considered a jungle.  Ms. Stern, as I often addressed her, made New York City feel like the warmest place whenever I came to perform. She also made me focus, in the sometimes confusing life of music on what is important.

The first time I met Ms. Stern was in 1991, when I played with the Israel Philharmonic Orchestra after winning a competition. At the reception following the concert she stood on top of a sofa with bare feet addressing the people, the conductor and myself standing on either side. A few months ago I came across pictures from that event and enthusiastically told Ms. Stern about them. She remembered where it was, the sofa she stood on top of, what she said, and the purple dress she wore!

It took eight more years till we met again, and started what was to become an unforgettable friendship. I came to New York to play a recital and was offered to practice at her beautiful apartment overlooking Central Park. My manager told me some time after the concert that Ms. Stern noted that I could come again to practice on her piano because “I did not break any string”. Needless to say that was the end of me practicing any Prokofiev or something above "mezzo-forte" on that piano…

Slowly and with much caution she opened herself to me in ways that made me shiver each time all over again. 

Ms. Stern enjoyed getting to know people. She loved helping people. To help was a life’s mission, an ultimate pursuit worth any sacrifice. Helping, also meant being there. To miss a concert of someone she cared for was inconceivable - if there were 50 stairs to climb she would fly; if there was 3 feet of snow on the ground she would slide with elegance. Not showing up was not an option. One of my vivid memories was playing at the People Symphony Concerts when it was below zero degrees outside following a snow storm, which resulted in dangerous icy conditions. She was not only there, but also brought along others!  I think her presence at the concerts made people play better. It made the audience experience more than usual. She knew that, and therefore it was not an option that she will miss a concert.

But it was not just the concerts. Ms. Stern cared for everything, and wanted to help in all sorts of ways. I remember once she cut a newspaper article for me and kept it for months till we met. It was about the importance of spending time with family. I guess she did not feel I understood that enough. Sharing was her way of caring. I did change after reading the article, and it gave her great pleasure. Over the years I received many more articles...

What always brought tears to her eyes was her family - reading in the newspaper about Michael or David, seeing an old video of Mr. Stern, getting a picture from a grandson or granddaughter - this would immediately bring tears in a most humble and inspiring way. She was so preoccupied with giving to others, her family gave it back to her. It was extraordinary to witness some of that.

And so, I learned over the years that orange was her favorite color, and each time I visited I would bring orange roses, tulips or lilies. That color belongs to her. Even though she had a great sense of authority and will-power, greater than I have ever seen, it was always special to see her child-like reaction when seeing a good chocolate, or getting some blueberries. 

A couple of years ago when she was at the hospital for two weeks I came to visit and saw a piano in the dining hall. Within minutes we gathered around the piano and I played for her a private concert. Ms. Stern was a magnet, and so within seconds people came for this private little soiree. I remember playing a Schubert Impromptu among other things. Two days after she past away I had a recital in New York City and dedicated the encore to her memory - it was a Schubert Impromptu. 

The day before she died I came to practice at her apartment. It had been some time since I have been to New York. She was not conscience, but I was assured that she knew I was coming and had the piano especially tuned the week before. I want to believe that she waited for me to come just one more day to practice. 

Ms. Stern, I miss you!
with lots of love 
Alon



Friday, December 4, 2009

"Lost Souls" A (new) Piano Concerto

The world premiere of "Lost Souls" - A piano concerto, by Avner Dorman with Michael Stern conducting the Kansas City Symphony Orchestra and Alon Goldstein soloist, November 2009.

Two and a half years ago my manager Frank Salomon initiated the idea of commissioning a new piano concerto for me, and last week the premiere took place in Kansas City. Has it really been that long for the whole project, from its inception to the premiere? Well... Yes!

From the choice of Avner Dorman as the composer, to "seducing" the right conductor (Michael Stern) and his orchestra (KC Symphony), to raising the sufficient funds, etc etc - all went quite smoothly, and yet it took two and a half years! And what an experience it was - a week of discovery, and revelation, of witnessing the birth of a wonderful new piano concerto.

When I perform with an orchestra, whether Mozart or Beethoven, Schumann or Rachmaninov, the days of rehearsals are devoted to building the interpretation, the performance. We don't have to "worry" about the piece. It has already proven itself. It transcended time and place. It is settled. Our time is spent on making our understanding of the piece work.

When premiering a new piece, the center of our attention falls on helping the piece settle as a new entity. Similar to helping a new baby stand on his two feet, we help the piece stands on its 337,486... notes. Of course a good performance helps.

What was so revealing, so rewarding, intriguing, and interesting was to witness how through the course of the week a miracle - a new piece - is taking shape in front of our eyes (and ears). The "new" notes start to gravitate towards each other like magnets - one note equals one letter, together with another note... they become a syllable. Three notes - perhaps already a word. Four notes, then five, adding rhythm... we are on our way to making a sentence, a phrase. A few of these and we have a paragraph, then a page, a chapter, and before we know it, we have a whole story!

Lost Souls is very much "of our time" - Multiculturalism. It brings a spirit from the past into the present and examines what happens when it clashes with our age. As Michael Stern told the orchestra at one point: "think that you are sitting in the "Oak Room" in New York around a few Jazz players having a Martini with Rachmaninov..." Or as Michael McCurdy from Schirmer publications wrote that in this "globalized culture Art Tatum and Johann Sebastian Bach converse on the Ouija board of the 21st century."

Avner and I were contemplating about the reasons why in the last sixty years there has not been a piano concerto that entered the repertoire in a way that Bartok and Prokofiev have been. Is the genre obsolete? Is the content the problem? The composers? Do we need another piano concerto?

The answer is a resounding... No!
...and Yes!!
No, because the orchestra does all that it can to drive the spirit away at the end. But Yes, because indeed we have a new piano concerto which in time, I hope, will enter the repertoire.



I am not the Father of this new concerto. That would be Avner.
I am also not the Son... would that be Michael?
How about the Holy Ghost....? I think that actually works perfectly with the content!

To understand that, though, as well as to read more from the composer and the press I suggest clicking on Lost Souls.

The Lost Souls will conjure again, this time with the Fairfax symphony on March 13, 2010.

Alon Goldstein