by Daniel Hathaway
Orpheus Chamber Orchestra, the New York-based conductorless ensemble, joined violinist Augustin Hadelich in an impressive program of string music by Irving Fine, Haydn, Schubert, and Tchaikovsky at Akron’s E.J. Thomas Hall on Wednesday evening, March 28. Their assured playing on the Tuesday Musical series proved that you don’t always need a baton-wielding leader out in front to inspire an excellent sense of ensemble — though sometimes it can be a good idea from an interpretational point of view.
On the night of Good Friday, as the Brentano Quartet filled Oberlin’s Finney Chapel with shimmering sound, a question came to mind: what is the essence of a madrigal? Put simply, a madrigal is an Italian Renaissance form for voices full of musical effects that paint clear tonal pictures of the words being sung. More complexly, a madrigal is so shaped by its text that it constantly molds itself into new forms like Descartes’ philosophical ball of wax.
What happens when a flutist, clarinetist, violinist, and cellist come together to play music? They commission composers, because preexisting works for this quartet of instruments are a rarity. And, gratifyingly, based on Monday night’s concert at Drinko Recital Hall — presented as part of Cleveland State University’s Cleveland Contemporary Players Artist in Residency Series — Hub New Music is building a fascinating repertoire and playing it beautifully.
