Pathways: Robert Cassidy, piano (MSR Classics).
Although composer Claude Debussy rejected the term “impressionism” and referred to music writers who used the term as “fools,” today Debussy’s music is synonymous with the impressionist movement. On his self-titled CD from back in 2012, pianist Robert Cassidy captured the essence of the composer’s music with his performances of the twelve Préludes of Book 1. On his latest recording, Pathways, Cassidy once again demonstrates his affinity for this music with discerning interpretations of the twelve preludes that comprise Debussy’s second book, as well as works by Chopin and Feigin.
From the first prelude to the last, Cassidy plays with a light touch, assured technique, and an expansive color palette. While no. 3, La Puerta del Vino (Mouvement de Habanera), is appealingly seductive, Cassidy brings a playfulness to Ondine (Water-Sprite) during No. 8. The pianist beautifully voices No. 10, Canope (Très calme et doucement triste), and the concluding Feux d’artifice (Fireworks) brings his performance to a flashy end. [Read more…]
Start with the second track of this excellent survey of George Frideric Handel’s expertise in writing for the soprano voice and its realization through the supple vocal chords of Amanda Forsythe. “Geloso tormento,” from Almira, the 19-year-old composer’s first opera, shows how ravishingly Handel and Forsythe can depict both rage and lament in the course of a single aria. (The soprano stunned audiences with such vocal prowess in the role of Edilia in the same opera during the 2013 Boston Early Music Festival.)
Timothy Weiss and the Oberlin Contemporary Music Ensemble wrapped up their fall term on Wednesday, December 9 in Warner Concert Hall at the Oberlin Conservatory with impressive performances of works by Andrew Norman, Jesse Jones, Augusta Read Thomas, Elizabeth Ogonek, and Carlos Sanchez-Gutierrez — five living composers, all born since 1964. 
In a celebration of popular culture in Waetjen Auditorium at Cleveland State University on Saturday evening, December 12, music director Liza Grossman and the Contemporary Youth Orchestra offered up terrific performances of clever works by Leonard Bernstein, Michael Daugherty, and DeeJay Doc. 
In the grand scheme of chamber music, a group that is only beginning its 14th season as an ensemble is still in its adolescence. Young though the Jupiter Quartet may be, their energy, enthusiasm, and technical prowess put them head to head with established chamber music groups who have developed the fine patina that only many years of playing together can buff to a fine sheen. 
A couple of weeks ago, The Price Is Right host and former Clevelander Drew Carey urged long-suffering Cleveland Browns fans to stop attending (expletive) Browns games and instead go see the (expletive) orchestra. This prompted the Akron Symphony Orchestra to champion the comedian’s cause by offering to exchange a Browns ticket stub for a free ticket to their annual holiday pops concert, “Home for the Holidays,” on Friday, December 11 at E.J. Thomas Hall. 
Back to the Future (1985) took center-stage at Severance Hall last Thursday evening, December 10, on The Cleveland Orchestra’s “At the Movies” series. Deftly conducted by associate conductor Brett Mitchell, the Orchestra played the score live as the film was shown on a huge screen over the stage. Other than a slight bobble at the outset, the performance sparkled with excellent ensemble and balanced beautifully with the lively soundtrack. 
A great thing about chamber music is that it can be performed in any space that can accommodate a small number of musicians while leaving room to comfortably seat an audience. Since 2005, Heights Arts’ Close Encounters Chamber Music Series has found its niche in Cleveland’s vibrant chamber music scene by presenting concerts in intriguing and inviting spaces around the city. The series, coordinated by artistic director Isabel Trautwein, presented its first concert of the season on Sunday afternoon, November 22 at Dunham Tavern Museum in Midtown. 
When you’ve presented a Christmas program every December for seven years, it could become a routine event — your institutional Nutcracker. Happily, Quire Cleveland has taken its “Carols for Quire” program in new directions and infused it with new twists every year. The 21-voice professional ensemble’s concert on Sunday afternoon in the chaste, Gothic space of St. Peter’s Church in downtown Cleveland just might have been its best edition yet. 
Last Sunday afternoon, December 6, The Cleveland Women’s Orchestra, under its Music Director and Conductor Robert Cronquist, presented “A Commemorative Program in Memory of the Women’s Orchestra at Auschwitz” at Kangesser Hall at The Park Synagogue in Cleveland Heights. The event received support from Violins of Hope Cleveland and The Cleveland Jewish Federation. Robert Conrad, President of WCLV, acted as host and introduced each work. It was a lively and interesting concert.