by Timothy Robson
ChamberFest Cleveland offered a light-hearted program of mostly unusual repertoire on Tuesday, June 19, in the resonant Crawford Rotunda at the Cleveland History Center of the Western Reserve Historical Society in University Circle. Performers included several familiar members of the “ChamberFest family” as well as some talented newcomers. [Read more…]
by Jarrett Hoffman
Absence makes the heart grow fonder, and Clevelanders haven’t heard their orchestra live since mid-May. In the interim, The Cleveland Orchestra has been on the road, finishing off their centennial-capping Prometheus Project with performances at Vienna’s Musikverein and Tokyo’s Suntory Hall. Oh, how we miss them.
We’ll get reacquainted with TCO soon, thanks to their schedule at this year’s 50th anniversary season of Blossom Music Festival, plus their fourth Summers@Severance series.
The Cleveland Orchestra marks the unofficial beginning of summer when they open their Blossom season on Saturday, July 7 at 8:00 pm. At the helm will be music director Franz Welser-Möst, leading the Orchestra in Mussorgsky’s Pictures at an Exhibition in its orchestration by Ravel, Reznicek’s Overture to Donna Diana, and Beethoven’s Triple Concerto, featuring TCO’s own soloists –– pianist Joela Jones, violinist Stephen Rose, and cellist Mark Kosower. At this concert and two others, check out the Image Magnification system, which displays live video of the performers on LED screens in the Blossom Pavilion. Fingers crossed for the weather — a firework show is planned for afterwards.
by Robert Rollin
Last Saturday night at the Bop Stop saxophonist Javier Oviedo and pianist Ron Palka presented a lively concert of modern works as part of the Classical Saxophone Project. The highlight of the first half was Steven Cohen’s eclectic Sonata for Alto Saxophone and Piano. The cyclical 3-movement piece used modal elements with lowered second steps including a Hebrew scale. Oviedo displayed excellent dynamic control throughout. [Read more…]
by Daniel Hathaway
Modeling consummate artistry for the 35 participants and associates in the opening performance of the 2018 Cleveland Trombone Seminar in CSU’s Drinko Hall on Saturday afternoon, June 16, founder and director Shachar Israel showed how varied and engaging a program of transcriptions for the instrument can be. [Read more…]
by Alice Koeninger
A recent phone conversation with David Shimotakahara, Executive Artistic Director of GroundWorks DanceTheater, was as much about his upcoming collaboration with ChamberFest Cleveland as it was about the process and source of creativity.
GroundWorks is about to kick off its 20th season with its second collaboration with ChamberFest in a June 30 concert at 7:30 pm at the Maltz Performing Arts Center. “Dawn of a Revolution” spans centuries of music from Beethoven to Alberto Ginastera, connected by the common thread of György Ligeti’s Musica Ricercata for solo piano, selections of which are distributed throughout.
“I don’t think I would call the dance itself ‘Dawn of a Revolution,’” Shimotakahara said with a laugh, “but it works from the music side, referring to these breakthroughs of ideas, these moments of musical revolution.” The concept was created by ChamberFest’s own Frank and Diana Cohen, who were interested in finding a way to showcase these different, significant pieces from the chamber music canon. [Read more…]
by Daniel Hathaway
“We’ve always treated French music as something very special,” Kenneth Slowik, artistic director of the Oberlin Baroque Performance Institute, said in a telephone conversation. “It’s one of the two reigning styles in Baroque music that we have to come back to on a regular basis.”
BPI originally rotated annually between studies of the four main national schools of Baroque performance practice — English, German, Italian, and French — but now organizes its summer institutes more thematically. Currently in the second and final week of its 47th season, the BPI faculty is busy teaching the finer points of French Baroque style to 101 students of all ages and levels of accomplishment. “We try to instill in our students some sense of how we do what we do — and why — through teaching, lectures, and by example,” Slowik said.
Before they can assign those students to the weekly chamber groups in which much of the teaching takes place, the faculty have an immense puzzle to put together. “It’s always mysterious who’s going to show up,” Slowik said. “This year we have a raft of bassoonists. Some years we’re light in the flute department and some years it’s overflowing.” [Read more…]
by Nicholas Stevens
Last week, as part of the seventh annual Cleveland Trombone Seminar, a concert by Mark Lancaster Lusk took listeners into the heart of the brass player’s world: a region dominated by vocal music, modernist explorations, and jazz.
by Delaney Meyers
The Syndicate for the New Arts has brought a host of interesting artists and groups to the Cleveland area this summer, including the Buffalo, NY-based Sotto Voce Vocal Collective. On Saturday afternoon, June 9, the ensemble presented a dazzling program of not-often heard contemporary vocal music in the dreamy acoustic of Ohio City’s St. John’s Episcopal Church, the oldest-standing religious building in Northeast Ohio. [Read more…]
by Mike Telin
Every composer has their own way of approaching their craft. “When I write a piece, whether it’s for orchestra or chamber ensemble, I want everybody to have a moment in the spotlight,” Sebastian Chang said during a telephone conversation. “Most of the time that works out great and results in something that is fun to play. But when Alex asked me to write a timpani part, that pretty much changed everything.”
On Saturday, June 30 at 7:30 pm at the Maltz Performing Arts Center, clarinetist Franklin Cohen, violinist Diana Cohen, timpanist Alexander Cohen, and pianist Roman Rabinovich will perform the world premiere of Chang’s Cryptogenic Infrastructure Fantasy (CIF) as part of ChamberFest Cleveland’s season finale. “Dawn of a Revolution” will also include Debussy’s Violin Sonata, and David Shimotakahara’s choreography of selections from Ligeti, Beethoven, Ravel, Pärt, Shostakovich, and Ginastera, performed by GroundWorks Dance Theater. Tickets are available online.
Chang, who serves as pianist and resident composer for the Louisville Orchestra, began writing CIF with a mission to correct an injustice that orchestral timpanists often experience. “They usually rest for 300 bars, then play a single note just to punctuate a big moment. They don’t get a lot of time in the spotlight and I wanted to fix that with this composition.”
by Jarrett Hoffman
Drafted into the French army at the start of World War II, Olivier Messiaen soon found himself captured by the Germans and held at the prisoner-of-war camp known as Stalag VIII-A. There, a guard with a love of music provided the composer with the necessities of his craft — paper, pencils, erasers, and a quiet place to work — and he set about writing his Quatuor pour la fin du temps, which he and three fellow musician-prisoners would premiere in the camp’s Barrack 27.
You can’t overstate the contrast in time and place between that barrack at Stalag VIII-A in Görlitz, Germany, 1941, and Reinberger Chamber Hall at Severance Hall in Cleveland, Ohio, 2018. But perhaps the two settings will be linked by some small thread on Friday, June 29 at 7:30 pm, when Reinberger plays host to ChamberFest Cleveland’s concert titled “Behind Bars” — and four performers close out the evening by contending with those marks on paper that comprise Quartet for the End of Time.
Taking on that eight-movement work will be violinist Noah Bendix-Balgley, clarinetist Franklin Cohen, cellist Julie Albers, and pianist Roman Rabinovich. I reached the string players and pianist by phone and by email to talk about a few specific movements and how they plan to interpret the work as a whole. Selections from our separate conversations are presented here in a roundtable format.