by Nicholas Stevens
The average classical musician’s biography is a thinly veiled list of names. A performer’s teachers, schools, venues, festivals, grants, and roles may impress when dressed up in prose, but they sit side by side haloed by auras of significance, like hieroglyphs. How refreshing, then, to read a bio that sums up the appeal of a group in plain terms by the third sentence: “Since its inception, the ensemble has been defined by its unique sound, appealing as much through the personality of each timbre as it does through the color and the uniformity of the voices.” This honesty in advertising is hardly the only thing for which Northeast Ohioans can thank Vox Luminis, the Baroque-focused vocal ensemble who performed in Cleveland last week.
The towering Trinity mosaic behind the altar at Collinwood’s St. Jerome Church was an apt image to frame CityMusic Cleveland’s 15th season opener on Wednesday, October 24. Featuring violinist Tessa Lark and cellist Edward Arron, this peripatetic orchestra led by music director Avner Dorman enlivened this holy space with two grandiose, yet intricate works by one of classical music’s own trinity of B’s: Johannes Brahms.
When a composer-pianist like Ola Gjeilo lists people who have inspired them, names like Keith Jarrett, Philip Glass, and Howard Shore — all Gjeilo favorites — aren’t surprising to hear.
When the 
“I’ve been looking forward to this concert,” pianist Kirill Gerstein said by telephone from his home in Berlin. “This was the piece with which I met The Cleveland Orchestra for the first time at Blossom, and it’s very nice to return with this wonderful concerto and to play it in Severance Hall.”