by Nicholas Stevens
Let it never be said that the Vienna Boys Choir, which visited Akron for a concert at E.J. Thomas Hall last week, puts on a dull show. The singers themselves tend to stand stock still, yet this default mode of immobility makes the group’s occasional choreography — and director Manolo Cagnin’s energetic movements as both conductor and pianist — all the more exciting to watch. [Read more…]
by Nicholas Stevens
At their best, contemporary art exhibitions stop just short of overwhelming a visitor, coaxing forth contradictory emotions and images. True to their name, Transient Canvas — the Boston-based duo of bass clarinetist Amy Advocat and marimba specialist Matt Sharrock — capture the spirit of today’s visual art scene in their performances, curating pieces and assembling them into diverse yet coherent collections. In a concert on Lorain County Community College’s Signature Series last week, Sharrock drew this very comparison, likening one of the pieces on the program to a mammoth avant-garde painting. [Read more…]
by Nicholas Stevens
Of the many quotable lines issued by filmmaker and musician Jim Jarmusch at the Cleveland Museum of Art last week, two stood out: “I’m a self-proclaimed dilettante, and I don’t think that’s a bad thing,” and later, “The most beautiful thing humans do — have done — is music.” Both comments, given during a post-concert interview in the Museum’s Gartner Auditorium, shed light on the performance that Jarmusch and his bandmate Carter Logan had just staged.
by Nicholas Stevens
Kyoungtack Hong’s painting Library-Mt. Everest (2014) depicts exactly what its title suggests: a few bookshelf cubes and decorative objects cluster around the edge of the canvas, with a photorealistic image of Mount Everest in sunlit glory at the center. The work plays with the conventions of Korean chaekgeori, a kind of 19th-century painted screen on which artists depicted the contents of a scholar’s study. The musical experiences offered by Ji Aeri, a virtuoso of the gayageum — a zither-like instrument — and percussionist Kim Woongsik at a recent concert involved a process not unlike that of taking in Hong’s painting: as one moves from the outer portions of a work toward its heart, simplicity yields to sublimity.
by Nicholas Stevens
In the ten seconds that conclude the first movement of Antonín Dvořák’s Sextet in A, the world outside falls away. The players must sing out the first theme at full volume, slowing as though crossing a finish line—then, a moment of gut-wrenching tension gives way to a fading sunset of a chord. A merely excellent ensemble might pull out all the stops here. Yet the Academy of St. Martin in the Fields Chamber Ensemble, being the first-rate group of musicians they long have been, keep this moment incandescent while maintaining a sense of larger-scale trajectory. [Read more…]