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Ámà: The Gathering Place at The Cleveland Museum of Art

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by Mike Telin

When Nigerian sound and installation artist Emeka Ogboh first received the invitation from the Cleveland Museum of Art to create a work for the Ames Family Atrium, he didn’t have a notion of what the work would be. But when he made his first site visit to the Museum in February of 2018, the city’s winter weather became a source of inspiration. “It was grey and not so happy looking,” Ogboh said with a chuckle during a Skype conversation from his home in Berlin.

After spending time in the Atrium and observing how it functions as a gathering place for social activities, he began to think, “why don’t I bring something to Cleveland from Nigeria?” adding that if he had made his first visit in the summer “it would have been a different piece.”

If you have not had the opportunity to experience Ámà: The Gathering Place, you have a few more weeks to do so — the exhibit will remain on display through the first of December. Commissioned for the Atrium, the installation uses sound, sculpture, and textiles that capture the sense of a village square reminiscent of Ogboh’s birthplace in Enugu. [Read more…]

Finding an unknown song by Karlheinz Stockhausen 

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by Tom Welsh, Director of Performing Arts
Cleveland Museum of Art

The discovery of an unknown song by Karlheinz Stockhausen provides a humanising footnote to his barnstorming 1958 lecture tour of the US.

Reprinted with the permission of The Wire, the article was originally published in July 2019.

I’d been doing some research into the experimental arts scene that flourished in San Francisco’s Bay Area in the 1950s when I unearthed this curious little score — an unknown vocal piece by Karlheinz Stockhausen buried in the papers of composer Seymour Shifrin at Yale University.

Dated 4 January 1959, the piece was written by the then 30-year old Stockhausen as a present to Shifrin’s young son Teddy. The lyric — “Clasp the hands and know the thoughts of men in other lands” — is the last line of the final stanza of the John Masefield poem The Ship And Her Makers, a romantic paean to the fortitude of maritime explorers that had been published early in the century in Salt-Water Poems And Ballads. [Read more…]

Margaret Scharf, 89

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Margaret Rickerd Scharf, who co-directed the music program at Old Stone Church in Public Square from 1969-1999 with her husband, Warren, died on Friday, August 1 at the age of 89.

“Maggie” joined Warren on the faculty of the Baldwin Wallace Conservatory in 1993, where he had served as director since 1967, and taught organ there until 2013. The couple met as graduate organ students at the Eastman School of Music (he died in 2014). She also served as Dean of the Cleveland Chapter of the American Guild of Organists, and taught at Cleveland State University.

Services will be held at The Old Stone Church on Saturday, August 10 at 11:00 am, followed by a luncheon. Read an obituary here.

Credo Music celebrates
20 years in Oberlin

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by Daniel Hathaway

Among the several distinguished chamber music programs in Northeast Ohio that welcome young musicians each summer, Credo Music is unique for its parallel emphasis on providing professional-level music instruction to students ages 13-23, and on serving others — both through outreach concerts and in volunteering opportunities in food banks, park districts, churches, Habitat for Humanity, and homeless shelters.

Oberlin Conservatory viola professor Peter Slowik, who founded Credo in Chicago in 1999, said in a recent telephone conversation that this summer is a time to reflect on the last two decades. “Twenty years is a big milestone. Musical generations turn over every three, four, or five years. This is an opportunity to look back and see what we’ve done in the past, and to pivot toward where we’re going to be in the future.”

Slowik said that Credo has been “blessed from the beginning” to have virtually all of its faculty return every summer. “We were all in our early 40s at the beginning, and now we’re all in our 60s, so we have to think about refreshing ourselves. Because we’re probably not going to keep doing this when we’re in our 90s, this is an inflection point.” [Read more…]

Contemporary Youth Orchestra heads into its twenty-fifth year

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by Mike Telin and Rory O’Donoghue

“There was no question that I was going to form this orchestra. My goal was simply to provide something new,” Contemporary Youth Orchestra founder Liza Grossman said during a recent interview. Grossman recalled that as a high school student at the Interlochen Arts Academy she was told she had two options for a career in music: play in an orchestra or teach in the schools. “I have a high respect for both of those professions, but I knew that I didn’t want to do either of them.”

Once she realized that her calling was to be a youth orchestra conductor, she knew she needed to figure out a way to let students know that there are far more options in music. It’s worked out well for Grossman, who said, “Leading CYO has grown into a life that has been so rewarding, and all of the work is a pleasure. I think it was Mark Twain who said ‘The secret of success is making your vocation your vacation.’” [Read more…]

Oberlin celebrates Daune Mahy’s 39 years as Conservatory voice professor

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by Daniel Hathaway

On Sunday, May 12, the Oberlin Conservatory honored Daune Mahy on the occasion of her retirement as professor of voice, following “39 years of exemplary service to Oberlin.”

The well-attended event in Warner Concert Hall, introduced by voice professor Salvatore Champagne, included nine mini-performances by distinguished singers who have passed through Mahy’s studio, video and in-person tributes, a surprise mass singing of Schubert’s An die Musik, and a reception in the Warner lobby. As the audience gathered, a slideshow of photos of students and colleagues from Mahy’s long career flashed across a big screen. [Read more…]

Essay: When music is “about” something, don’t forget to listen

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by Jarrett Hoffman

Imagine two hypothetical works of music. Piece A has a story behind it — maybe a moment in history, or an issue facing the world, or that time the composer stubbed their toe — while Piece B is just music, period.

For composers, there are some advantages to writing a “Piece A.” They can easily describe it to people who might want to hear, publicize, perform, or present it. And those same people can quickly latch onto something that’s interesting (current event) or relatable (stubbed toe). But just as easily, that concrete description can come to overshadow the actual music in discussions about the piece.

Violinist Leila Josefowicz (above) gave me some gentle sass about this during an interview last fall. She was bringing John Adams’ Scheherazade.2 to The Cleveland Orchestra, and I had asked her a couple conceptual questions about the concerto, which reimagines the character of Scheherazade as a modern, empowered woman. Here’s what she said:

[Read more…]

A Bouquet of CDs & a Book: 18 recommendations for the holidays by our correspondents

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To guide your last-minute shopping, the staff of ClevelandClassical.com has compiled a list of 17 CDs by artists who work or have a regular presence in the classical music scene in Northeast Ohio, and a book about New York City Opera that will interest local opera fans. Support your local musicians by gifting their music to family and friends!

Some of the following recordings are being reviewed here for the first time, while reviews of others are reposted from editions of ClevelandClassical.com since our last CD roundup in December of 2017.

[Read more…]

Essay:
Calder & Cage

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by Parker Ramsay

On a recent trip to Los Angeles, the author visited an Alexander Calder retrospective and saw productions of John Cage’s Europeras 1 & 2 by Yuval Sharon and Industry Opera, inspiring him to consider what vivifies or stagnates art. (Sharon has directed productions of Janacek’s The Cunning Little Vixen and Debussy’s Pelléas et Mélisande for The Cleveland Orchestra.)

On East 3rd Street in Los Angeles, the showrooms at Hauser & Wirth break away from the typical post-industrial chic of the surrounding Arts District. Solid white walls and polished concrete floors bear a sheen of sterility, defiant against trends to hang art on brick walls. There is light everywhere, eliminating the possibility of shadows. Windows and ventilation grates are absent, prohibiting the passage of moving air. And so, Alexander Calder’s mobiles sit frozen, restricted from displaying the anti-gravitational nuance for which they are known. Rotational joints appear locked in place, constraining metal ligaments from separating or conjoining in motion. Touching is strictly not allowed. Attempts by children to blow air are met with reprimands from security, loaded five or six guards deep in a showroom containing only twelve pieces.

The viewer can physically move around the art, imagining the possibility of various spirals and spins, but any permutation of the sculptures’ various elements is limited by the human mind. [Read more…]

Ohio Light Opera Costume Retrospective showcases four decades of design

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by Kelly Ferjutz
Special to ClevelandClassical.com

The importance of costumes in theater or opera is easy to determine. Just think of how often a brief glimpse of a costume can not only tell you when the action is taking place, but frequently where as well. Think of The Mikado, for instance, or more recently, Brigadoon or My Fair Lady. But those costumes don’t just appear like magic.

Oh, no. There are numerous meetings with the other technical staff of the production in addition to Costume Design. Among these are Set and sometimes Prop Design, Lighting Design, more rarely Sound Design, plus the Stage Director, Choreographer, Stage Manager and Conductor. All of these people have an interest in how the production will both look and sound to an audience. Depending on the size of the show, these meetings may begin as much as a year in advance of opening night.

Obviously, I Do! I Do! (the famous two-person, one-set musical of 1966) isn’t nearly as demanding or complex as Phantom of the Opera, but either of them could easily have been ruined by a lack of proper attention to the necessities. For the former, that meant two nightgowns and a huge bed. For the latter, it seemed like half the population of Paris was onstage at times. [Read more…]

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