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Akron Symphony concludes season at a high point with Mozart, Boulanger & Ravel (May 11)

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by Kevin McLaughlin

Unfinished works seem to be held in higher esteem for their being incomplete — the remaining music feeling more precious, conscious as we are of what else might have been lost. How to explain then, the impact of Mozart’s Mass in c, K. 427, lacking an Agnus Dei and missing half of its Credo, and yet seeming gloriously whole in its current state?

On Saturday, May 11 at EJ Thomas Hall, the Akron Symphony Orchestra under the direction of Christopher Wilkins ended its 2023-24 season at an apex with Mozart’s “Great” Mass and works by French composers Lili Boulanger and Maurice Ravel.

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Rocky River Chamber Music Society: clarinet trios among friends (May 6)

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by Kevin McLaughlin

What is a little chamber music among friends? Pure enjoyment, that’s what. On Monday, May 6 at West Shore Unitarian Universalist Church, you got the feeling that the pleasure had by this group — clarinetist Afendi Yusuf, violist Wesley Collins, and pianist Dawoon Chung — might have occurred with or without the rapt Rocky River Chamber Music Society audience in attendance.

But, lucky for us, we were. The program — clarinet trios by Mozart, Bruch, and Robert Schumann — brought together not only infrequently performed repertoire, but an obviously friendly group of collaborators.

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Conductor shines in Severance Music Center debut with Cleveland Orchestra in Rachmaninoff’s Second Piano Concerto (Apr. 26)

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By Kevin McLaughlin  |  Cleveland Classical

This article was originally published on Cleveland.com

CLEVELAND, Ohio — Conductor David Afkham made everything look easy in his Severance Music Center debut with The Cleveland Orchestra on Friday evening, April 26. He committed to lead works by Unsuk Chin, Rachmaninoff, and Bartók in March when Lahav Shani asked to be away for the birth of his first child.

That program would be a heavy lift for any conductor, but the Orchestra responded to Afkham’s remarkable assurance and clarity and delivered some of the most exhilarating performances of the season to date.

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Cleveland Chamber Collective: Ty Alan Emerson’s Oath Breaker (Apr. 28)

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by Kevin McLaughlin

It is one of Cleveland’s persistently good things that outlets for fresh new music — played by some of the area’s best musicians — continue to thrive. On Sunday, April 28, we were reminded of this again at Cleveland Chamber Collective’s presentation of Ty Alan Emerson’s Oath Breaker, a Requiem for chamber ensemble and digital playback at the Pivot Center.

Emerson conducted a distinguished ensemble comprising Linda White, flute, Emily Cornelius, violin, Brian Slawta, viola, Trevor Kazarian, cello, Eric Charnofsky, piano, and Dylan Moffitt, percussion.

Oath Breaker takes the audience on a 60-minute journey of anger, grief, and hope, as a kind of collective PTSD therapy session about the events of January 6 and its subsequent aftermath. The mixture of recorded electronics, live performances, and poetic and prosaic texts helped to conjure in real time the horror of that day.

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Cleveland Composers Guild partners with Factory Seconds Brass Trio & others (Apr. 21)

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by Kevin McLaughlin

The Cleveland Composers Guild found an ideal partner in the Factory Seconds Brass Trio (Jack Sutte, trumpet, Richard King, horn, and Rick Stout, trombone), who, along with other performers, assembled a recital program of the first order at Rocky River’s West Shore Unitarian Universalist Church on Sunday, April 21.

Before the trio took the stage, a handful of instrumental and vocal performers drew welcome attention to non-brass works by Nicholas Puin, Matthew C. Saunders, Margaret Brouwer, and Andy Junttonen.

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Tuesday Musical hosts Jazz at Lincoln Center Orchestra with Wynton Marsalis (Apr. 20)

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by Kevin McLaughlin

On April 29, the world will celebrate Duke Ellington’s musical mastery on the 125th anniversary of his birth. A sophisticated giant of American music, Ellington wrote and performed as leader of his eponymous jazz orchestra from 1923 until his death in 1974.

It was a double privilege, then, to experience the Jazz at Lincoln Center Orchestra with Wynton Marsalis in EJ Thomas Hall on Saturday, April 20. First, to hear the JLCO again in Akron “after forty years” (according to Marsalis), and second, to hear this ensemble perform the Ellington book at the very highest level of technical skill and as mindful stewards of jazz tradition.

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Polenzani & Drake
on Chamber Music Society (Apr. 9)

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by Kevin McLaughlin 

I’ve been enjoying watching the tenor Matthew Polenzani’s masterclasses on YouTube. There’s one at Ravinia from a few years ago where he approaches students like a shy visitor, then gently teaches like he performs — guilelessly and penetratingly.

It was this sort of unaffected honesty that Polenzani brought to the Cleveland Chamber Music Society at Disciples Christian Church on Tuesday, April 9, in a recital program of Schubert, Schumann, Finzi, and Ives. Out of keeping with the series’ regular fare of string quartets and instrumental chamber music, the freshness was doubly felt.

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John Adams leads Cleveland Orchestra in riveting program of music with environmental themes (Ap. 4)

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by Kevin McLaughlin | Cleveland Classical

Originally published on Cleveland.com

CLEVELAND, Ohio — Two forest-themed works and a picture of a noir-suffused city that never sleeps formed a riveting Cleveland Orchestra program on Thursday evening April 4 in Mandel Concert Hall at Severance Music Center under the direction of guest conductor John Adams.

A good way to convince someone to care more about trees is to take them on a hike. American naturalist John Muir, who hiked with common folk and presidents alike, encouraged everyone to “climb the mountains and get their good tidings.”

Another way is to bring the trees to the people. Gabriella Smith did just that with Breathing Forests, her mesmerizing 30-minute organ concerto, composed in 2021 for James McVinnie, who was soloist on Thursday.

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Canton Symphony: Mozart Requiem (Mar. 23)

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As a whole, Mozart’s Requiem is a grandiose work, sublime in its evocation of salvation and eternal rest, and fearsome in its visions of the Last Judgment. The grand forces that meet the eye — four soloists, chorus, and orchestra — suggest drama and spectacle, even if the scoring is dark: the lighter hues of flutes and oboes are omitted in favor of basset horns (cousins of the clarinet), bassoons, a choir of trombones, and strings in their lower registers. Even trumpets and timpani are used less for their ceremonial qualities than as emulsifiers of the texture.

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CityMusic: Vivaldi recomposed at St. Stan’s (Mar. 16)

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by Kevin McLaughlin

By the end of violinist Laura Hamilton’s and CityMusic Cleveland’s convincing performance of Max Richter’s Four Seasons Recomposed (after A. Vivaldi) on Saturday, March 16 at the Shrine Church of St. Stanislaus, you had the uncanny feeling that what you were hearing was not so much a new piece but an old piece in a dream.

In each of the twelve movements Richter brings Vivaldi in and out of focus by isolating and repeating melodic fragments against an attenuated accompaniment. In the slow movements more of the melody is preserved — the Largo in “Winter” for example — but the original harmonic framework is altered. [Read more…]

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