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The Escher Quartet returns to Tuesday Musical on March 28

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by Mike Telin

When the Escher Quartet began planning their 2018-19 season, they knew it would include a new piano quintet by Anthony Cheung. Soon another commissioning opportunity from the Arizona Friends of Chamber Music came their way. Earlier this month the Escher gave the premiere of Chris Rogerson’s String Quartet No. 4 (2019) as part of the Tucson Winter Chamber Music Festival.

On Thursday, March 28 at 7:30 pm in Akron’s E.J. Thomas Hall, the Escher — Adam Barnett-Hart and Danbi Um, violins, Pierre LaPointe, viola, and Brook Speltz, cello — will give the second performance of Rogerson’s new work. Presented by Tuesday Musical, the program will also include Mozart’s Quartet in F, K. 590 and Beethoven’s monumental Quartet in C-sharp, Op. 131. A conversation with the musicians led by composer James Wilding will begin at 6:30 pm. Tickets are available online.

[Read more…]

Russian Duo plays ragtime at Nighttown

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by Mike Telin

“I wrote my Free Spirit Rag around 1985,” composer and pianist Brian Dykstra said during a telephone conversation. “I guess Terry Boyarsky heard a recording of it on WCLV, and got the idea of arranging it for balalaika and piano. You can imagine my surprise when I heard this back in the fall of 2017.”

On Thursday, March 28 at 7:30 pm at Nighttown, Russian Duo (Oleg Kruglyakov, balalaika and vocals, and Terry Boyarsky, piano) will present a program that includes the Duo’s arrangement of Dykstra’s Free Spirit Rag, as well as variations on Russian folk melodies, classical music, and Soviet compositions. Prior to the performance there will be a screening of director Chris Bohan’s and cinematographer Steve Hacker’s short film You Go First, which features music performed by Russian Duo. Tickets are available online.

Dykstra did send the music to Boyarsky and Kruglyakov, and gave them permission to make the arrangement. “Some months later Terry invited me to her house for dinner,” Dykstra said. “

[Read more…]

NEOSonicFest kicks off on Friday at Mahall’s

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by Mike Telin

Cleveland Chamber Symphony launches its sixth NEOSonicFest on Friday, March 29 at 9:00 pm at Mahall’s in Lakewood with a concert in partnership with Fresh Perspectives. Uno Lady (Christa Ebert), a one-woman choir, will create electronic loops, harpist Stephan Haluska will present his own electro-acoustical compositions, and Buck McDaniel and Jacob Kirkwood will present a concert version of their live electro-acoustic score written for Cleveland Public Theatre’s Fire on the Water, a meditation on the 50th anniversary of the burning of the Cuyahoga River. The evening will also feature “signature cocktails” available for purchase. Tickets go for $7.

In a recent conference call, Fresh Perspective’s Devin Hinzo said that when they were looking for a venue to present McDaniel’s and Kirkwood’s piece, they immediately thought of Mahall’s. “They support local and emerging musicians as well as music that doesn’t fit any particular genre, so it seemed like a natural fit.”

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CMA: a conversation with violinist Carolin Widmann

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by Jarrett Hoffman

German violinist Carolin Widmann rarely performs in the U.S. — and we Americans might be feeling a tad neglected.

To smooth things over, the winner of the 2017 Bayerischer Staatspreis für Musik will bring a solo program of Medieval, Baroque, and contemporary music to Transformer Station on Friday, March 29 at 7:30 pm as part of the Cleveland Museum of Art’s Performing Arts Series. Get tickets here.

I caught her on the phone in Leipzig, where she was happy to be home for a day between performances in Italy and Frankfurt. I began by asking her if there’s a reason she doesn’t perform in America more often?

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NEOSonicFest: a look back at the beginning, and a peek at what’s on tap in 2019

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by Jarrett Hoffman

When a festival runs for long enough, it becomes interesting to look back and remember that it wasn’t always a staple of the local culture. At one time, it was entirely new.

“Last weekend,” Daniel Hathaway wrote in April of 2014, the Cleveland Chamber Symphony “burst suddenly into bloom like a crocus after a long winter with the first of two concerts anchoring its promising new enterprise, NEOSonicFest…”

Back then, music director Steven Smith had been thinking for years about how to keep the name and activities of the Cleveland Chamber Symphony alive, as Mike Telin reported in our very first preview of NEOSonicFest. The retirement of the orchestra’s founder, Edwin London, and the end of its residency at Cleveland State University had slowed the group’s momentum.

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Baldwin Wallace Opera presents Stravinsky’s The Rake’s Progress

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by Daniel Hathaway and Mike Telin

Igor Stravinsky’s The Rake’s Progress is based on a series of 18th-century engravings of the same name by William Hogarth and boasts a libretto by W.H. Auden and Chester Kallman. The opera chronicles the moral and physical demise of Tom Rakewell, who deserts Anne Trulove for London’s decadent delights. After many adventures initiated by Nick Shadow, a.k.a. the Devil, Tom ends up in a hospital for the insane. The moral of the story: the Devil will find work for idle hands. Click here to read a short synopsis.

On Thursday, March 21 at 7:30 pm at the Klais Drama Center, Baldwin Wallace Opera Theater takes on this entertaining tale of Tom and his pact with the Devil. The double cast includes Ethan Burck and Benjamin Krumreig as Tom Rakewell, faculty members Benjamin Czarnota and Marc Weagraff as Nick Shadow, DeLaine Crutchfield and Giuliana Bozza as Anne Trulove, and Nan Golz and Sarah Antell as Baba the Turk. Scott Skiba directs and Domenico Boyagian conducts the Baldwin Wallace Orchestra. Performances continue on March 22 and 23 at 7:30 pm and March 24 at 2:00 pm. Tickets are available online.

We spoke with Marc Weagraff by telephone and began by asking him how it feels to play the Devil?

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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:

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The Cleveland Orchestra
announces summer plans

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by Daniel Hathaway

As The Cleveland Orchestra prepares to launch its seven-city Asia Tour from March 28 through April 13, and now that the days are beginning to grow longer and brighter, it’s time to have a look at the Orchestra’s concerts for the summer, single tickets for which go on sale on April 1.

Once again, the Orchestra will hold down two fronts — at the Blossom Music Center and at Severance Hall. The Blossom season, which begins on June 29 and ends on September 1, will be bookended by screenings of big hit movies with live performances of John Williams film scores. Blossom begins with Harry Potter and the Sorcerer’s Stone and ends two months later with Star Wars: The Empire Strikes Back.

In between its al fresco concerts in Cuyahoga Falls, The Cleveland Orchestra will put its Severance Hall air conditioning to good use in four “Summers at Severance” events — plus two screenings of the 1989 Batman film with a live performance of Danny Elfman’s score. There’s an outdoor component to the in-town concerts as well: the Severance audiences can spill out onto the front patios for food and drink before and after the performances.

The complete summer schedule follows. [Read more…]

Burning River Baroque tells
the “Other Side of the Story”

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by Mike Telin

Curating thoughtfully-programmed, politically-inspired concerts has become a calling card for the innovative, Cleveland-based ensemble Burning River Baroque.

In the past year, soprano Malina Rauschenfels and harpsichordist Paula Maust have presented “Suppressed Voices: Music of the Banished” which featured music by Johann Rosenmüller —  a German who escaped to Italy after being imprisoned for homosexuality — and Peter Philips, who was imprisoned as a Catholic in Anglican England, then later fled to the Spanish Netherlands. “Destructive Desires” examined works by Couperin, Rameau, Jacquet de la Guerre, Caccini, Eccles, and Courbois under the light of the #MeToo era.

On Wednesday, March 20 at Glo, Rauschenfels and Maust will be joined by Sarah Lynn, baroque flute, and Glenna Curren, baroque cello, in a concert titled “The Other Side of the Story.” The program, which draws on ancient mythology, literature, and Biblical passages, highlights characters whose viewpoints are underrepresented.

Presented by Fresh Perspectives, the evening includes a 6:45 pm pre-concert talk with host Devin Hinzo and musician Zach Manzi. [Read more…]

Paul Jacobs to play U.S. premiere
of Deutsch organ concerto
at Severance Hall

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by Daniel Hathaway

Organist Paul Jacobs will return to Severance Hall this week to play four performances of Viennese composer Bernd Richard Deutsch’s Okeanos with Franz Welser-Möst and The Cleveland Orchestra.

The concerts, which begin on Thursday evening, March 14 and run through Sunday afternoon, March 17, include Haydn’s Symphony No. 34 and Tchaikovsky’s Symphony No. 5. This week’s programs mark the first United States performances of Deutsch’s organ concerto, which received its debut in November of 2015 by Wolfgang Kogert and Radio-Symphonie-orchester Wien in the Großer Saal of Vienna’s Musikverein.

I caught up with Jacobs on his mobile phone during a break between auditions at the Juilliard School in New York to ask him for some of his impressions of Deutsch and Okeanos.

“I only knew Deutsch by name, but he has quite a successful career and reputation in Europe. It’s my hope that his music becomes better known here in the United States. It’s really excellent writing. We’ve spoken on the phone, and we’re the same age, which is an interesting feature of the collaboration.” [Read more…]

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