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Rising Stars steal the show at ChamberFest’s Folklorica (June 23)

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by Rory O’Donoghue

There are rare, perfect moments in chamber music where minds meld and hearts coalesce in beautiful synergy. Violinist Nathan Meltzer and pianist Evren Ozel, both young phenoms, did just that with their pre-concert performance of Franck’s Violin Sonata during ChamberFest Cleveland’s Folklorica on Sunday, June 23 in CWRU’s Harkness Chapel. On an afternoon packed with stellar musicianship, the two distilled Franck down to its exquisite essence. I doubt I will ever hear a better rendition.  [Read more…]

No Exit: Gabriel & Pongracz at Appletree Books (June 21)

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by Rory O’Donoghue

Cleveland’s preeminent new and avant-garde music ensemble, No Exit, returned to Appletree Books in Cleveland Heights for another intimate evening of chamber music on Friday, June 21. Flutist Sean Gabriel performed three solo works and was joined by percussionist Andrew Pongracz for two pieces for flute and marimba.

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Kent Blossom celebrates 51st season

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by Rory O’Donoghue

The Kent Blossom Music Festival returns this weekend, marking the 51st season of Kent State University’s collaboration with The Cleveland Orchestra. From June 30 to August 4, the Festival boasts a five-concert Faculty Series and a ten-concert Young Artist Series, including its annual side-by-side performance between students and The Cleveland Orchestra under the direction of Bramwell Tovey. 

“Our faculty concert series will feature fantastic artists from The Cleveland Orchestra, Kent State’s revered faculty, the Miami String Quartet, pianist Spencer Myer and other guest artists,” Festival director Ricardo Sepúlveda said in his letter introducing this year’s season. For these musicians, their tenure at Kent Blossom is more than just performance based — they’ll be working closely with the 43 visiting students accepted this year.  [Read more…]

ChamberFest Cleveland stuns with season opener (June 13)

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by Rory O’Donoghue

ChamberFest Cleveland descended from the heavens with “Under the Influence,” the inaugural concert of its eighth season on June 13 in CIM’s Mixon Hall. Exquisite interpretation, unparalleled finesse, and delightful music-making tied the evening’s selections together in performances of simply the highest caliber. [Read more…]

Petra Poláčková gains steam at the CICG Festival (June 9)

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by Rory O’Donoghue

Czech guitarist Petra Poláčková returned to the Cleveland International Classical Guitar Festival with a performance that gained in confidence and character as it went along on Sunday, June 9 in CIM’s Mixon Hall. She began with several works by the wildly successful lutenist Sylvius Leopold Weiss, which she performed on her beautiful nine-string Romantic guitar crafted by Jan Tulacek. Visually striking with its additional strings, the instrument had a pure, sweet sound of remarkable depth. [Read more…]

ChamberFest Cleveland 2019: behind the scenes with Franklin Cohen

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by Rory O’Donoghue

“This year’s ChamberFest — the way everything’s turned out — is really quite satisfying. It makes me smile.” I could almost hear Franklin Cohen grinning through the phone.

Prior to the beginning of this year’s festival, I had the opportunity to talk with Cohen, principal clarinet emeritus of The Cleveland Orchestra and co-artistic director of ChamberFest, about the current season and the evolution of the Festival. Above all, he’s immensely appreciative of how far he’s come: “It’s just so wonderful to be able to do this, to have this life of music. I fell in love with music as a child, lying under the piano when my mother would practice. I couldn’t escape the spell, and still can’t.”

ChamberFest emerged in 2012 with its first season, Big Bang!, and has been on the rise ever since. [Read more…]

Blood, mold, and fine music with the Berrow Duo and Sound Energy at Re:Sound (June 7)

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by Rory O’Donoghue

“We look forward to smashing the heteropatriarchy with you,” cellist Benjamin Swartz said before performing a program of Sofia Gubaidulina, Tamar Diesendruck, and Kaija Saariaho with Boston-based string trio Sound Energy. The group closed the second concert of this year’s Re:Sound New and Experimental Music Festival on Friday June 7 at The Magalen, which featured a sensational first half by the Berrow Duo and made a strong case for the many daring voices of 21st century composers.

[Read more…]

Cleveland International Classical Guitar Festival: Colin Davin plays electric & acoustic (June 6)

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by Rory O’Donoghue

Guitarist Colin Davin explored the relationship between old and new on his opening recital of the 19th Annual Cleveland International Guitar Festival on June 6, pairing Steve Reich’s Electric Counterpoint with David Crowell’s Point Cloud (a Cleveland premiere) and two Bach transcriptions. The two-time prizewinner of the Guitar Foundation of America International Competition, who currently teaches at the Cleveland Institute of Music, presented an evening of utmost musicianship at Mixon Hall.

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June 15 ChamberFest concert prelude to present Golka’s Debussy arrangement

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by Rory O’Donoghue

For pianist Adam Golka, arranging should be organic. Along with his good friend Roman Rabinovitch, he’ll perform his new arrangement of Debussy’s luminous La mer for two pianos on Saturday, June 15 at 6:45 pm in Mixon Hall as a prelude to ChamberFest’s Turning/Tipping Points.

“For many years I was in love with La mer and I yearned for a way to perform it,” Golka said by email, “and though I played around with the idea, it became clear that a two-hand solo version would have too many compromises. There is no way one pianist could bring out all the gorgeous textures and layers of the orchestral score, and each detail is so utterly exquisite.”

La mer premiered in Paris in 1905 to a middling reception, but gained traction over the next few years and secured an enduring place in the orchestral canon following its second Parisian outing in 1908. Its evocative movement titles — “De l’aube à midi sur la mer” (“From dawn to midday on the sea”), “Jeux de vagues” (“Play of the Waves”), and “Dialogue du vent et de la mer” (“Dialogue of the wind and the sea”) — offer ample room for interpretation, and Debussy’s deliberate avoidance of calling it a “symphony” in favor of “three symphonic sketches” all contribute to the work’s enigmatic beauty. [Read more…]

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