by Daniel Hathaway
Pianist Wu Han, violinist Philip Setzer, and cellist David Finckel — the No-Name trio who like to keep it that way — have been offering performances of Beethoven’s complete piano trios for several years now. That repertoire takes up two complete concert programs, and presenters have been given their choice of several formats.
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.
by Jarrett Hoffman
New York, March 27.
Apollo’s Fire brought the house down and the heart rates up at their Carnegie Hall debut last Thursday, March 22 at the venue’s cozy Zankel Hall in New York City. The highlight of this “Evening at Bach’s Coffeehouse” was the closer: a thrilling, caffeinating performance of Vivaldi’s “La Follia” Sonata for Two Violins and Continuo, arranged by artistic director, conductor, and harpsichordist Jeannette Sorrell for this Cleveland-based Baroque orchestra.
by Mike Telin
Since 2014, the Grammy Award-winning Cleveland Chamber Symphony has sponsored NEOSonicFest, a festival of new music performed by musicians from Northeast Ohio and beyond. The 2018 festival will run from April 5 through 11 (see below for concert dates and times).
Clarinetist Carol Robinson and trumpeter Nate Wooley will kick things off by performing selections from Éliane Radigue’s Occam Ocean on April 5 at MOCA. The composer describes her work as “an ongoing acoustic work with influences ranging from electromagnetic waves, to William of Ockham’s philosophies, to science fiction mythologies.”
The always creative No Exit will return to the Festival on April 6 at Heights Arts. The ensemble was founded by composer Timothy Beyer as an outlet for the commissioning and performance of contemporary avant-garde concert music. No Exit is committed to promoting the works of living composers, particularly the music of young and emerging artists who haven’t yet received either the opportunities or exposure of their better-known counterparts. (Works by Leo Ornstein, Ty Emerson, Per Nørgård, James Praznik, Andrew Rindfleisch & Tristan Murail).
by Nicholas Stevens
“There are more things in heaven and earth,” Shakespeare wrote in the voice of the iconic character Hamlet, “Than are dreamt of in your philosophy.” The line has supernatural overtones in context, but the essential message — that the staggering variety and abundance of the world defies comprehension — applies just as well to human cultural production. As Wu Man and the Huayin Shadow Puppet Band demonstrated last week at the Cleveland Museum of Art, even the traditional music of a single country can yield practices and sounds that seem universes, rather than mere miles or years, apart.
by Daniel Hathaway
For four decades, Trinity Cathedral has presented an evening concert on Good Friday, often dedicated to a setting of the Passion of Jesus drawn from one of the four Gospels.
On Friday, March 30 at 7:30 pm, music director Todd Wilson will lead the Cathedral Choir, soloists, and members of Trinity Chamber Orchestra in a particularly striking setting of the Passion according to John by Estonian composer Arvo Pärt. Completed in Austria in 1982, Passio was the culmination of Pärt’s tintinnabuli style, and in many ways harks back to the liturgical passion settings of the middle ages.
In one of several near-mystical statements explaining that style of composition, Pärt wrote on his website,
Tintinnabulation is an area I sometimes wander into when I am searching for answers — in my life, my music, my work. In my dark hours, I have the certain feeling that everything outside this one thing has no meaning. The complex and many-faceted only confuses me, and I must search for unity. What is it, this one thing, and how do I find my way to it?
by Jarrett Hoffman
The Brentano String Quartet has an affinity for both the standard repertoire and music very old and very new. Their program on the Oberlin Artist Recital Series at Finney Chapel on Friday, March 30 at 8:00 pm covers all those bases. Beginning with arrangements of madrigals by Monteverdi and Gesualdo, they’ll jump 400 years to the music of Oberlin Conservatory composition chair Stephen Hartke, then close with Shostakovich’s Quartet No. 12 in D-flat.
Among the Brentano’s many honors, violinists Serena Canin and Mark Steinberg, violist Misha Amory, and cellist Nina Lee celebrated the Quartet’s “silver anniversary” — 25 years — in 2017.
“Our friendship has been the real sine qua non for continuing as a long-term quartet,” Amory wrote in an email while the Quartet was in Spain. “It is possible that we spend as much time with each other as we do with our own families, which without our love and esteem for one another would be a tough proposition. We are not a group that would thrive well on a business-based type of arrangement, where we would meet for rehearsals and concerts but otherwise have nothing to do with each other.”
by Mike Telin
Like many first-generation Americans whose families had been forced to leave their homes because of Nazi atrocities during World War II, pianist Sandra Shapiro grew up not fully understanding the circumstances that led to her father’s arrival in the United States.
“I grew up in Milwaukee but moved away to study at Juilliard when I was fourteen,” Shapiro said during a telephone conversation, “so my relationship with him did not go beyond that until the very end when he was dying, and then it was too late to ask questions. When you’re fourteen you don’t think about your parents’ lives — they’re just your mother and father. Sadly, I was not interested, and he didn’t talk about his past. There was a sense of taboo to even talk about those years.”
Shapiro’s quest to discover her father’s past has led to the creation of her four-concert project, Musical Roots: an exploration of cultural heritage and influences. The first installment, “In My Father’s Footsteps — a daughter’s search for answers,” will be presented on Wednesday, March 21 at 8:00 pm at the Cleveland Institute of Music’s Mixon Hall. Shapiro’s musical documentary will include works by Liadov, Chopin, Rachmaninoff, and Schubert. The concert is free, but seating passes are required. Call 216.795.3211.
by Mike Telin
“Beethoven’s six piano trios are important touch points in his development as a composer,” pianist Wu Han said during a telephone conversation. “Hearing all of them is the equivalent of hearing all of the string quartets — not only is it a rich and unusual experience, but you become a different listener.”
Thanks to the Cleveland Chamber Music Society, audiences will have the opportunity to hear all six trios when Wu Han, violinist Philip Setzer, and cellist David Finckel perform them on two adjacent nights at Fairmount Temple.
On Monday, March 26 at 7:30 pm, the program includes Op. 1, Nos. 1 and 3, and Op. 70, No. 1 (“Ghost”). The following evening — same time — you can hear Op. 1, No. 2, Op. 70, No. 2, and Op. 97 (“Archduke”). Tickets are available online.
The pianist said that hearing the three trios that make up Opus 1 will help listeners understand Beethoven in a deeper way. “He made his debut in Vienna with them. They were played in one evening and Haydn was there. Each of the three are completely different, but it was the most innovative piano trio writing of that time. He pushed the art form forward. You gain a sense of the evolution of the art form in Opus 70, and of course Opus 97 set the stage for the trios of Brahms, Mendelssohn, and Dvořák.”
by Jarrett Hoffman
Next week, Boston-based quartet Hub New Music will make their Cleveland debut in two free concerts, highlighted by the premiere of Fun House by Andrew Rindfleisch, director of the composition department at Cleveland State.
Flutist Michael Avitabile, clarinetist David Dziardziel, violinist Zenas Hsu, and cellist Jesse Christesen can be heard at CSU’s Drinko Recital Hall on Monday, March 26 at 8:00 pm, after a short residence working with the university’s composition department. Then they’ll head to Cirigliano Studio Theatre on Wednesday, March 28 at 7:30 pm to perform on LCCC’s Signature Series.
Opposite Fun House on the program is Soul House (2017), a commission from composer Robert Honstein, but there’s no connection between the two Houses. “Our program sounds like something off of HGTV,” Avitabile joked. “It’s funny that the pieces turned out that way,” he said in a recent conversation from Jamaica Plain in Boston — “I’m at the very end of the Orange Line.”