by Carlyn Kessler
On Sunday afternoon, October 25, Arts Renaissance Tremont presented the third concert of its 25th Season, “Franklin Cohen and Friends,” at Pilgrim Church in Tremont — a delightful autumn afternoon of clarinet and chamber music. Departing from the printed program, the concert opened with Mozart’s Trio in E-flat, K. 498 “Kegelstatt,” featuring pianist Rafael Skorka, clarinetist Franklin Cohen, and violist Kirsten Docter. “Kegelstatt” is German for the location where one would play “skittles,” a lawn game similar to bowling that was popular in Mozart’s era. [Read more…]
Conjuring the spirit of Halloween for just one more night, the November 1 program by the Canton Symphony Orchestra under the enchanted baton (or magic wand?) of Gerhardt Zimmermann, was frightfully delicious. Not that I favor socializing in the netherworld, but from beginning to end, the evening was a magnificent dance with the devil.
Violinist Andrew Sords and pianist Eriko Izumida performed an audience-pleasing concert on Sunday afternoon, November 1, as part of the Chagrin Concert Series at the Valley Lutheran Church in Chagrin Falls. The program of works by Fauré, Ravel, and Franck included several landmarks of the late Romantic violin repertoire, all expertly performed.
This week Steven Plank, the Andrew B. Meldrum Professor of Musicology at Oberlin College, will celebrate his 25th anniversary as director of the Oberlin Collegium Musicum, when over 70 of his former singers gather for a reunion concert on November 7 at 8:00 pm in Warner Concert Hall. Read more about the event
There was no need for Opera Circle Cleveland’s collaborative production of The Bartered Bride to try to break down the “fourth wall” between performers and audience at Cleveland’s Bohemian National Hall on Sunday afternoon, October 25: the wall never went up in the first place. As the audience arrived, cast members were already milling about in the auditorium and its corridors, brightly attired in Czech folk costumes, and greeting friends and family. Carrying their instrument cases, members of the Cleveland Women’s Orchestra threaded their way through the throng, and the young acrobats who would appear in the third act were enjoying pastries in the snack bar. It felt like a big family reunion. 
It takes a special artist to hold an audience completely in thrall for an hour and twenty minutes. Such an artist would be Christian Tetzlaff, who stood all alone with his violin on the stage of Oberlin’s Finney Chapel last Friday evening, charming a large audience with solo works by Eugène Ysaÿe, Johann Sebastian Bach, György Kurtag, and Béla Bartók. 
The plangent sounds of Merima Ključo’s accordion, combined with an arsenal of musical effects from pianist Seth Knopp and evocative video art by Bart Woodstrup, told the affecting saga of a medieval Jewish prayer book last Wednesday evening in Gartner Auditorium at the Cleveland Museum of Art. 
The program might have looked conventional, but Cuarteto Casals’ performances of string quartets by Haydn, Shostakovich, and Beethoven on the Cleveland Chamber Music Society series last Tuesday at Plymouth Church were exceptional. Every piece shone with its own individual character, contributing many-hued elements to an outstanding whole. 
According to Wikipedia, in the early decades of the 20th century there were as many as 7,000 organs installed in movie theaters in the United States for the purposes of entertaining audiences before and between shows and, especially, for accompanying silent films. The theaters have, alas, mostly vanished, the organs either destroyed or re-installed elsewhere, and the skills for accompanying silent films have been lost. That is why organist Todd Wilson’s performance on Friday night at Severance Hall accompanying the 1923 American film The Hunchback of Notre Dame, starring Lon Chaney was such a brilliant feat of musical invention, theatricality and stamina.