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Making Beethoven’s Op. 80 virtual: how Oberlin’s Tiffany Chang pulled it off

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by Daniel Hathaway

Originally, Oberlin Arts and Sciences Orchestra conductor Tiffany Chang simply planned to join in the celebration of Beethoven’s 250th birthday year with an October performance of his Choral Fantasy, featuring piano professor Peter Takács on the solo part the composer himself played at its debut in a marathon concert on December 22, 1808. But after the novel coronavirus began its inexorable progress across the country in March, shuttering live concerts for the foreseeable future, a change in plans was in order.

Why not create a virtual performance instead, using the school’s sophisticated recording technology? How complicated could that be? In a Zoom conversation from Chang’s home in Taiwan, where she has been hunkering down since the campus went on break at Thanksgiving, she confessed, “I didn’t know what I didn’t know, which is how you get into these huge projects.” [Read more…]

The Legacy of Black Musicians: Entertainer Josephine Baker 

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by Lilyana D’Amato

In the decade following the First World War, French popular culture was dominated by images of negrophilia: the disconcerting obsession with and seizure of Black — specifically African — culture. 

Introduced to African folk art through global imperialism and colonialism, the French became fascinated with racialized depictions of the “savage” Black body, fetishizing Blackness through painting, sculpture, film, and performance. In the early 1920s, avant-garde Parisian artists began appropriating Black culture as a means of exploring what they saw as the juxtaposition between the “primitive” and changing notions of modernity. 

When entertainer Jospehine Baker, the hugely influential African American expatriate, arrived in Paris in 1925, she became the face of this racialized mania. Her body and persona came to signify the exotic, used to satisfy colonialist sexual fantasies.

[Read more…]

Violinist Wendy Case joins faculty of YSU’s Dana School of Music

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by Daniel Hathaway

Although this is not an optimal moment to start a new job, violinist Wendy Case is enjoying her new position on the faculty of the Dana School of Music at Youngstown State University.

“So far it’s been fantastic. We’re doing all the classes online, and private lessons and chamber groups in person, both indoors and outside, where we have some spaces we can use.”

Case, who studied at the University of Michigan, the Cleveland Institute of Music, and SUNY Stony Brook, has recently held teaching positions in Chattanooga, Tennessee at Berry College, Covenant College, and Chattanooga State. Founding violinist of the Brahms’ Ghost Piano Trio, she has served as artistic director of the Scenic City Chamber Society and performed with the Tetris Duo, the Pitch Pipe Foundation, the Nashville Opera, and the Atlanta Symphony. Her current projects include recordings and a series of presentations on the interplay of advanced string technique and acoustical physics.

Originally a Michigander, Case says she’s excited to move back North. “I’m glad to be here. I’ve loved Northeast Ohio for a really long time.” [Read more…]

Piano Cleveland Virtu(al)oso: Questions for the six finalists

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by Daniel Hathaway

On Friday evening, August 7 at 7:00, the first three of six finalists in Piano Cleveland’s Virtu(al)oso online competition will be heard playing 30-35 minute programs previously video recorded at Steinway locations in the U.S. and abroad. The remaining three finalists will go online on Saturday, August 8.

We caught up with all of them either by email or Skype to ask versions of these questions:

1) Waiting is always a part of competitions, but this one is unusual. How did it feel to have so long to wait between recording your program and having it streamed in the First Round.

2) Did you listen to yourself in the first round? What was that like?

3) Do you plan to listen to yourself in the final round?

4) What’s your favorite piece in your final round program, and why?

5) Based on your experience with Virtu(al)oso, if the pandemic continues well into the future, would you consider entering a virtual competition again? [Read more…]

Virtu(al)oso Piano Competition: Round One, Sessions 1-6 (July 30-August 4)

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by Daniel Hathaway

International piano competitions normally take place in real time in a single location. But when SARS-CoV-2 forced Piano Cleveland to postpone its Cleveland International Piano Competition until 2021, the organization decided to hold an online contest in its place.

Thus 30 pianists, chosen to compete in Virtu(al)oso out of a field of 130 applicants, turned up at Steinway locations in Cleveland, New York, London, Hamburg and Beijing, each to video record a 20-minute and a 30- to 35-minute program of music of their choice. There were no repertoire hoops to jump through: the only stipulation was that pieces be in contrasting styles. And to guarantee fair comparisons, visual and sonic values were to be standardized among the five recording venues.

Then during six First Round sessions beginning on July 30, the recordings of five pianists would be streamed each evening, to be vetted by a jury watching remotely on their own screens. Six pianists would be chosen to move on to the Final Round on August 7 and 8. [Read more…]

The Legacy of Black Classical Music: 
Composer Florence Price

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by Lilyanna D’Amato

In November, 1943, composer Florence Price began a letter to Boston Symphony conductor Serge Koussevitzky with a painful admission: “to begin with, I have two handicaps — those of sex and race. I am a woman; and I have some Negro blood in my veins.”

Acutely aware of the classical tradition’s discriminatory leanings, Price was direct. She desperately needed Koussevitzky to program her compositions. The work of a woman composer is predetermined, she said, “to be light, froth, lacking in depth, logic and virility… add to that the incident of race — and I hope you will understand some of the difficulties that confront one in such a position.”

At that point in her career, she had already achieved unprecedented success. The first-prize winner of the 1932 Wanamaker music contest and the first Black female composer to have a symphony performed by a major American orchestra, she was a distinguished member of the Black intelligentsia, fraternizing with the likes of W.E.B. Dubois, Langston Hughes, and Paul Laurence Dunbar. She had received national acclaim for her nearly faultless virtuosity, and yet, she never heard back from Koussevitzky. [Read more…]

Sphinx Performance Academy “at” CIM: advocating for diversity while going online

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by Jarrett Hoffman

If there’s one classical music festival that best represents this particular moment in time, it might be the Sphinx Performance Academy. Not only does it focus on cultural diversity, and not only has it shifted online this summer due to the coronavirus pandemic, but it has also taken on a new dimension amidst the movement for racial justice sparked by the death of George Floyd.

SPA, as the festival is known, is a full-scholarship program focusing on chamber music and solo playing for string players ages 11-17 who come from cultural backgrounds that are underrepresented in classical music. It’s one of the many programs of the Detroit-based Sphinx Organization, founded in 1997 and devoted to diversity in the arts.

Multiple conservatories and schools of music have hosted SPA since it launched in 2004, including the Cleveland Institute of Music since 2017. And with physical hosting out of the question this year, the CIM-affiliated session will run online from July 25 to August 8. (That will follow other virtual sessions of SPA that took place earlier in July and June through partnerships with the Curtis Institute of Music and the Juilliard School.)

[Read more…]

Cleveland Orchestra Musicians’ “Summer Salute to Healthcare Workers”

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by Mike Telin

Never has it been more important to thank a healthcare worker than the present. And for the past four-plus months, people have expressed their gratitude to workers on the frontline of the Coronavirus Pandemic in a multitude of ways, from banging on pots to flyovers by the U.S. Navy Blue Angels.

For the past six weeks, more than 40 members of The Cleveland Orchestra have shown their appreciation with a “Summer Salute to Healthcare Workers.” The idea for the concerts came from Lynne Ramsey, the Orchestra’s first assistant principal viola.

“During the early part of the shutdown, Lynne saw military planes doing flybys over hospitals as a salute to healthcare workers,” violinist Isabel Trautwein said during a telephone conversation. “So she thought, what if musicians would do ‘playbys’?” [Read more…]

The Legacy of Black Classical Music: 
Joseph Boulogne, Chevalier
de Saint-Georges

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by Lilyanna D’Amato

While many of you may recognize this week’s composer, Joseph Boulogne, Chevalier de Saint-Georges, perhaps you know him by a different name: “the Black Mozart.”

Deeply problematic, the nickname casts this virtuosic musician as the lesser equivalent of a White counterpart. In his article, Joseph Boulogne, the Chevalier de Saint-George and the Problem With Black Mozart, Julian Ledford suggests that through this biased comparison, Saint-Georges becomes “a mythicized inferior of the status quo’s perfect symbol of 18th-century classical music.”

Historically, this is how the Western canon has always understood Black classical music: in contrast to a supposedly superior model. By severing Saint-Georges’ name from Mozart’s, we restore the legacy he is owed — a reckoning long overdue.

Born in the French West Indies colony of Guadeloupe, Joseph Boulogne spent his childhood on a plantation near Basse-Terre. [Read more…]

Is now the time to retire 
The Star-Spangled Banner?

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by Daniel Hathaway

During the recent demonstrations responding to the death of George Floyd while in police custody in Minneapolis, a number of monuments were toppled that represented the racist history of the United States. Among them, in San Francisco’s Golden Gate Park and elsewhere, statues memorializing Francis Scott Key were pulled down.

Key was author of the poem Defence of Fort M’Henry, inspired by the British bombardment in Baltimore Harbor in September 1814, that became the text of The Star-Spangled Banner. Joined to a tune by British composer John Stafford Smith, the song was officially adopted by the U.S. Navy in 1889 and became our National Anthem by resolution of Congress in 1931.

The problem with Francis Scott Key, a Baltimore lawyer and district attorney, is that he had owned slaves since 1800. While he went on public record to oppose human trafficking, he also represented the owners of runaway slaves.

The problem with his poem is that for 21st-century America, its sentiments seem less and less conducive to uniting a divided nation.

[Read more…]

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