by Nicholas Stevens
Over the centuries, the music we now gather under the umbrella of the “classical” tradition has had many benefactors and venues. While universities have long incubated modern music and civic concert-presenting organizations have sustained Romanticism, religious institutions dominated patronage from the earliest musical notation through the dawn of the 18th century, and houses of worship often served as concert halls.
by David Kulma
The Cleveland Chamber Choir has a bold tagline: “More than Music!” The final program of their fourth season, a collaboration with the Cleveland Composers Guild, clearly reflected this progressive mandate. Pairing living, local composers with works by British and American women, artistic director Scott MacPherson curated a delightful, satisfying evening titled “The Personal Muse” at Fairmount Presbyterian Church on Saturday, May 18. [Read more…]
by Nicholas Stevens
Distinct schools of thought emerge in any generation of musicians. Sometimes, this expresses itself in well-defined groups and ideological manifestos. In other cases, style comes before labels. When the Carpe Diem String Quartet visited Northeast Ohio last week, they brought not merely new music, but a recognizable approach that draws on certain corners of the classical tradition. Audiences enjoyed a concert of fresh fare that concluded with a Romantic mainstay — one that, in context, felt like a clear ancestor to the other material. [Read more…]
by Timothy Robson
Canadian pianist Angela Hewitt played a recital sponsored by the Cleveland International Piano Competition on Saturday evening, May 18 in Gamble Auditorium at Baldwin Wallace University. I do not remember another concert in which every aspect of the performance had the level of technical virtuosity and surpassing taste and musicianship of this program.
by Daniel Hathaway
The Cleveland Orchestra Chorus and pianist Mitsuko Uchida were featured in Thursday evening’s concert at Severance Hall on May 16, the chorus in Schubert’s great Mass in E-flat, the pianist in Bartók’s Third Piano Concerto — works that came at the very end of each composer’s time on earth. At some 50 minutes in duration, Schubert’s setting is as difficult to imagine performing in a church context as Beethoven’s Missa Solemnis. Even the most imaginative ecclesiastical choreographers would be hard-pressed to match such extended music with liturgical actions. (Is there enough incense in Vienna?) [Read more…]
by David Kulma
CityMusic Cleveland closed out its 15th season with five concerts in worship spaces across the Cleveland area the third week in May. The enjoyable and excellently curated program, “Hidden Gems,” was led by Mélisse Brunet and featured cellist Amit Peled. I heard the Friday, May 17 performance at Lakewood Congregational Church.
by Daniel Hathaway
The Cleveland Orchestra Youth Orchestra closed its 33rd season at Severance Hall on Friday evening, May 10 with impressive performances of music by Bartók, Bruch, and Shostakovich under the leadership of Vinay Parameswaran, and with the help of a whole village of teachers and coaches who have molded these young musicians into an accomplished ensemble. [Read more…]
by Daniel Hathaway
Cleveland audiences had their first live encounters with the music of Turkish-born composer Cenk Ergün in March of 2016, when the JACK Quartet premiered his commissioned works Sonare and Celare in Gartner Auditorium at the Cleveland Museum of Art. Ergün’s second appearance at the Museum earlier this month came in the form of a Cleveland Foundation Creative Fusion project. On Wednesday evening, May 8, the composer (seated on the pavement above) unveiled his hour-long Formare, turning the Ames Family Atrium into a vast sound installation. [Read more…]
by Timothy Robson
The third and final house concert of ChamberFest Cleveland’s spring season took place on May 16 at the home of Mark and Sue Hollingsworth in Shaker Heights. The central “great room,” with its two-story ceiling, surrounding mezzanine, and grand staircase, was a perfect venue for the several dozen people in attendance, who flanked the performers on three sides. The ambiance was intimate but not oppressive. [Read more…]
by Daniel Hathaway
To close out their first season under the leadership of Jay White, Quire Cleveland presented “Ave Maria: England’s Rose,” two concerts of early English church music devoted to the cult of the Virgin Mary. On Sunday afternoon, May 5, Quire’s commanding performances reveled in the sumptuous acoustic of Historic St. Peter Church in downtown Cleveland. Appropriately, a statue of the Virgin gazed on nearby. [Read more…]