by Mike Telin
There are many reasons to admire violinist Jennifer Koh. She possesses rock-solid technique and rhythm, impeccable intonation, and a tonal palette worthy of a master-painter. And her musical decisions are always intelligent and thoughtful. All of these attributes were on display when the dynamic violinist returned to her alma mater for a performance of her “Bach and Beyond Part III” program. The concert on Sunday, April 12 in Finney Chapel was presented as part of Oberlin College and Conservatory’s Artist Recital Series. [Read more…]
The Cleveland Philharmonic Orchestra sadly notes the recent death of former Music Director and Director Emeritus, William B. Slocum.
Three years after his first solo appearance with the Cleveland Women’s Orchestra, violinist Michael Ferri will return to Severance Hall to help the ensemble celebrate its 80th birthday with a performance of Tchaikovsky’s Violin Concerto on Sunday, April 26 at 3:30 pm.
New York-based mezzo-soprano Lara Nie and her long-time keyboard collaborator, Brandt Fredricksen, will join violinist Hristo Popov for the final concert in this year’s Chagrin Concert Series at Valley Lutheran Church in Chagrin Falls on Sunday, April 26 at 3:00 pm. The concert is free, but donations are welcome.
The Gruca White Ensemble must have a special connection to the number 100. Their formation as a flute and guitar duo dates back to 2013, when they played an hour-long concert on WCLV as a part of The Music Settlement’s Centennial Celebration. Then, at the duo’s concert on Saturday night, April 18, Bop Stop manager Gabe Pollack told the audience that we were attending the 100th performance hosted by The Music Settlement at the facility. Linda White and Robert Gruca became Artists in Residence at The Music Settlement in 2014, and their concert this weekend showcased their appealing collaboration. 
French guest conductor Lionel Bringuier and French cellist Gautier Capuçon brought a program of French music both well-known and obscure to Severance Hall last weekend. The ever-adaptable Cleveland Orchestra took on a French accent for the occasion, producing a concert that was elegant and savory, and structured like a classic French menu. I heard the performance on Thursday evening, April 16. 
The challenge for any group that takes on The Four Seasons is to “make it new,” as the poet Ezra Pound enjoined his fellow modernists. Performed and recorded time and again, Vivaldi’s most famous pieces are in perpetual danger of being played (and heard) as baroque elevator music. Apollo’s Fire, with soloist Olivier Brault, met the challenge head-on in a dramatic, fresh interpretation of these Venetian masterpieces. 
1935, 1936, 1940, 1946, 1947, 1951, 1955, 1959, 1963, 1967, 1971, 1975, 1979, 1983, 1985, 1989, 1993, 1997, 2001, 2005, 2007, 2011 — and now 2015. Those are the 23 years in which the 83-year-old Baldwin Wallace Bach Festival has featured Johann Sebastian Bach’s “Great Catholic Mass,” as his sons described it. That makes it a tradition, for sure, but Dirk Garner’s concept in his first year as the festival’s new artistic director was notable for its infusion of new energy and vitality into a work that needs a regular shaking-out in order to remain fresh. 
Italian organist and scholar Edoardo Bellotti, a faculty member at the Eastman School of Music in Rochester, New York, played a highly musical and satisfying concert on Saturday afternoon as part of the 83rd BW Bach Festival in Berea. He performed on the 1974 Rudolf Janke organ at the United Methodist Church of Berea. The north German character of the organ fit Bellotti’s program. Bellotti is also a noted improvisor, and at the end of the concert he created two excellent examples of his skills, both in Baroque style. 
A new era began this weekend for the revered Baldwin Wallace Bach Festival, now in its 83rd season, with a new artistic director, Dirk Garner, and orchestral conductor Octavio Más-Arocas. In any such transition the new regime has the opportunity to assess tradition and determine the direction forward. If the first concert of the 2015 festival on Friday, April 17, in BW’s Gamble Auditorium, is any indication, the organization is in good hands, with a vivid sense of imagination and purpose, yet not losing track of the past.