The Baldwin Wallace Bach Festival’s April 13 concert in Gamble Auditorium featured the BW Motet Choir under Dirk Garner in motets and cantatas from across Bach’s life. The first half paired what might be Bach’s earliest motet with his longest. The short motet Ich lasse dich nicht, du segnest mich denn, BWV Anh. 159 for choir and organ was long thought to be by an older relative, Johann Christoph Bach. Now accepted to be by the most famous Bach, this work takes its text from Genesis: “I will not let you go, unless you bless me.” [Read more…]
“Everyone’s Italian tonight,” host and conductor Carl Topilow exclaimed, greeting the capacity Cleveland POPS audience at Severance Hall on Saturday, April 13. With the engaging assistance of soprano Alyson Cambridge, tenor John Cudia, and the POPS Chorus — not to mention a special green, white, and red clarinet, assembled from Topilow’s multichromatic collection of instruments — the Orchestra lined up and checked off 21 of everyone’s favorite selections from Italian opera, leaving few corners of the repertoire unexplored. [Read more…]
Les Délices concluded their tenth anniversary season from April 5-7 with evocations of what our Baroque forebears thought to be the basic constituents of the natural world. The three programs sprang from founder and oboist Debra Nagy’s arrangement of Jean-Féry Rebel’s brilliant Les Elements, but also included extracts from the operas of Jean-Philippe Rameau, and a new work commissioned from Theo Chandler. Harpsichordist Mark Edwards provided a complementary interlude: two of Rameau’s keyboard works that express the powers of nature. [Read more…]
The Baldwin Wallace Bach Festival concert on the afternoon of April 12 carried the title “Suites and Motets.” Fynette Kulas Music Hall, a former church worship space repurposed as a concert venue, was set up with the audience surrounding the orchestra and choir on three sides. Cellist René Schiffer, who performed three movements from Bach’s unaccompanied cello suites as “ear cleansers” between the motets, sat on what is normally the room’s stage platform. [Read more…]
The duo piano team of Greg Anderson and Elizabeth Joy Roe combined virtuosity and entertainment at their afternoon concert on April 13 in Baldwin Wallace’s Gamble Auditorium, as part of the 2019 BW Bach Festival. Johann Sebastian Bach’s works were filtered through the lens of composers as diverse as Heitor Villa-Lobos and György Kurtág, and through the duo’s own arrangements.
In the third of four back-to-back performances of J.S. Bach’s “Great Catholic Mass” on Sunday afternoon, April 14 in St. Raphael Church in Bay Village, the musicians of Apollo’s Fire showed no signs of fatigue despite heavy physical and musical demands. Led by artistic director Jeannette Sorrell, soloists, chorus, and instrumentalists gave uniformly brilliant performances of a musical monument that the composer was only able to hear in bits and pieces during his lifetime. [Read more…]
It’s a near-sacred tenet of the concert business that the show must go on. Happily for the Oberlin Artist Recital Series, French pianist Alexandre Tharaud made that happen when he stepped in on very short notice — and soon after an international flight — to replace Piotr Anderszewski in Finney Chapel on April 3. And with J.S. Bach’s daunting “Goldberg” Variations, no less. [Read more…]
Concerts at Transformer Station always come with surprises, and on Thursday evening, March 29, there were at least two from the get-go. The audience found themselves seated around one of Mexican artist Raúl de Nieves’ enigmatic beadwork and fabric installations. And in a way, the extraordinary concert by German violinist Carolin Widmann was already in progress when ticket holders arrived. [Read more…]
Case Western Reserve University’s string orchestra — the Case Camerata Chamber Orchestra led by conductor David Ellis — currently fields 25 student musicians mostly majoring in the sciences (two of whom are also music minors). For their Friday, April 5 concert at Harkness Chapel, Ellis invited five collaborators from his own professional group Earth and Air: String Orchestra to coach each section and sit principal for the performance. The results were noticeable: the group played with an admirable cohesion and rhythmic precision.
For a case study in the inadequacy of words to capture experiences, consider the gulf between describing the Nakatani Gong Orchestra and hearing, seeing, and feeling it live. A “large-ensemble nomadic sound art project,” according to founder, director, instrument-builder, and performer Tatsuya Nakatani, the NGO enlists local volunteers to play seventeen variously sized gongs. A description of the event might dwell on the bows and beaters that fourteen Ohioans recently used to play the gongs in concert. It might catalog the exact sounds the group created from one moment to the next. However, the proper language for this experience is that of enchantment. [Read more…]