By Daniel Hautzinger
Intelligent programming at its best not only uncovers interesting musical connections, but can also lend insight into the world beyond music. The repertoire for ChamberFest’s eighth concert, at Fairmount Presbyterian Church, is a fine example. The juxtaposition of three works from a 35-year period by “Three Bouncing Czechs” provided a glimpse into different historical moods, revealing the drastic psychological damage wrought by World War I.
Erwin Schulhoff was born in Prague in 1894. He was wounded in WWI while serving in the Austro-Hungarian military, and ended the war in an Italian POW camp. The first movement of his String Sextet was composed in Dresden in 1920, two years after the end of the war, the final three movements in Prague in 1924. It is an intense work, devoid of hope: the death and desolation of the war Schulhoff had just witnessed pervade every note. [Read more…]
“I would write to you only by means of music,” said Robert Schumann in a letter to his wife, the composer and pianist Clara Schumann. Theirs is a storied coupling, beginning against the wishes of Clara’s father, ending with Robert’s mental breakdown and early death, and complicated by their close relationships with Johannes Brahms. All three being heart-on-their-sleeve Romantic composers, and with Robert’s letter in mind, it makes sense to explore this “Love Triangle” through their music.
A back-lit beer cooler casting its light on rows of folding chairs. Vivacious artwork hanging from the walls. Popcorn tumbling from bag to hand to mouth. The murmur of conversations smoothed by wine. Plus the fine musicians of ChamberFest, having a ball.
In an interview last week, oboist Alex Klein told us that he looked forward to ChamberFest’s Family Concert. “I confess that when I was with the Chicago Symphony the thing I liked to do most were the family concerts. To walk on stage and hear the buzz of children talking is very stimulating.” Klein went on to say that his program would not be the typical Peter and the Wolf concert but rather would include works by experimental composers as well as portions of Bach’s Goldberg Variations arranged for sting trio. “OK I thought, a room full of kids listening to Berio and Xenakis – what could possibly go wrong?” On Saturday morning, June 21 a large number of families gathered at MOCA and were treated to a 50-minute concert that that held everyone in rapt attention.
ChamberFest Cleveland is doing it right. With ten concerts over eleven days blends thoughtful programming, diverse venues, exceptional musicians, and a convivial vibe for a musical experience as refreshing and sweet as the ice cream that’s served after some of the concerts. It’s an ideal model for the future of classical music.
ClevelandClassical staffers Mike Telin, Daniel Hautzinger and myself were among the thirty-three members of the Music Critics Association of North America who gathered in Chicago from June 17-19 for the association’s annual meeting.
ChamberFest Cleveland’s savvy programming strategy continued on Saturday, June 21 with a 5:00 pm concert at MOCA Cleveland that paired an edgy solo cello work by Iannis Xenakis with a daring arrangement of J.S. Bach’s Goldberg Variations for string trio.
“Another opening, another show…” And so it was on Thursday afternoon, June 19 when the Ohio Light Opera staged its opening performance Irving Berlin’s Call me Madam in Freedlander Theater on the campus of The College of Wooster. Filled to capacity, the house was teeming with enthusiasm as OLO launched its 36th season with a political topic that, not coincidentally, hit close to home.