by Daniel Hathaway | Cleveland Classical
Originally published on Cleveland.com
CLEVELAND, Ohio — There are people —myself among them — whose favorite Sunday afternoon concerts are either programs of art songs or solo piano music.
German baritone Matthias Goerne and Russian-born pianist Evgeny Kissin checked both of those boxes in Mandel Concert Hall at Severance Music Center on April 14 with a program of Lieder and piano Ballades by Robert Schumann and Johannes Brahms.
by Daniel Hathaway
Coming between a performance by the Baroque string band ACRONYM on Friday evening and the St. John Passion on Sunday afternoon, the Baldwin Wallace Bach Festival concert on Saturday evening, April 13 featured a selection of works that the composer wrote in 1724, his second year as Cantor in Leipzig.
That was the year he completed and premiered the first version of the St. John Passion, and launched the ambitious and ultimately uncompleted long-term project of composing a five-year cycle of cantatas for nearly every Sunday and major festival in the church year..
For this occasion, festival director Dirk Garner drew on BWV: Cleveland’s Bach Choir, a small but mighty ensemble of fifteen voices. [Read more…]
by Kevin McLaughlin
I’ve been enjoying watching the tenor Matthew Polenzani’s masterclasses on YouTube. There’s one at Ravinia from a few years ago where he approaches students like a shy visitor, then gently teaches like he performs — guilelessly and penetratingly.
It was this sort of unaffected honesty that Polenzani brought to the Cleveland Chamber Music Society at Disciples Christian Church on Tuesday, April 9, in a recital program of Schubert, Schumann, Finzi, and Ives. Out of keeping with the series’ regular fare of string quartets and instrumental chamber music, the freshness was doubly felt.
by Daniel Hathaway | Cleveland Classical
Originally published on Cleveland.com
CLEVELAND, Ohio — Music can transport you — not only emotionally, but physically — to another time and place.
Cleveland Orchestra fans who hopped on guest conductor Klaus Mäkelä’s magic carpet at Severance Music Center on Thursday evening were swept away to the streets of Lima to hear Peruvian street vendors hawking their goods, then to England for a ramble through the Malvern Hills, and finally to ancient Iraq to quaff wine with the king of Babylon and a thousand of his idol-worshiping lords. Although the evening didn’t turn out well for Belshazzar, Walton’s music raised the roof of Mandel Concert Hall by a yard or two with resplendent orchestral and choral sound.
by Max Newman
One of the most marvelous things about live music in Cleveland is the wonderful and unexpected places that it takes you. Places where one would not expect to witness joy-inducing song, places that make you feel as though music, in this city, is truly everywhere.
One such location is the third floor of the Cleveland Public Library, on an expansive landing between two gloriously intricate staircases. It was here where I watched singer-songwriter Marye Lobb perform a series of heartfelt and powerful songs on the afternoon of Saturday, April 6.
by Kevin McLaughlin | Cleveland Classical
Originally published on Cleveland.com
CLEVELAND, Ohio — Two forest-themed works and a picture of a noir-suffused city that never sleeps formed a riveting Cleveland Orchestra program on Thursday evening April 4 in Mandel Concert Hall at Severance Music Center under the direction of guest conductor John Adams.
A good way to convince someone to care more about trees is to take them on a hike. American naturalist John Muir, who hiked with common folk and presidents alike, encouraged everyone to “climb the mountains and get their good tidings.”
Another way is to bring the trees to the people. Gabriella Smith did just that with Breathing Forests, her mesmerizing 30-minute organ concerto, composed in 2021 for James McVinnie, who was soloist on Thursday.
by Peter Feher
The Carnival of the Animals is missing a movement. You could easily believe this listening to Koholā Sings, an enchanting new piece by Takuma Itoh, which uses a harp to conjure up the voice of a humpback whale.
In a sensitive solo turn, harpist Yolanda Kondonassis gave the world premiere of Itoh’s work at University Circle’s Church of the Covenant on March 16, joined by BlueWater Chamber Orchestra and conductor Daniel Meyer. Their collaboration was the highlight of a program that was all-around remarkable for its delicate touch.
by Daniel Hathaway
On March 12, near the beginning of their 14-city North American tour, the Dover Quartet returned to Cleveland to plumb the depths of a rich selection of programmatic pieces on the Cleveland Chamber Music Society series at Plymouth Church in Shaker Heights.
The audience was swelled by a large contingent of students from the Elyria High School Orchestra, who listened attentively from the church’s balconies and received a first-class lesson in ensemble playing from one of the finest string quartets in the business.
As a whole, Mozart’s Requiem is a grandiose work, sublime in its evocation of salvation and eternal rest, and fearsome in its visions of the Last Judgment. The grand forces that meet the eye — four soloists, chorus, and orchestra — suggest drama and spectacle, even if the scoring is dark: the lighter hues of flutes and oboes are omitted in favor of basset horns (cousins of the clarinet), bassoons, a choir of trombones, and strings in their lower registers. Even trumpets and timpani are used less for their ceremonial qualities than as emulsifiers of the texture.
by Kevin McLaughlin
By the end of violinist Laura Hamilton’s and CityMusic Cleveland’s convincing performance of Max Richter’s Four Seasons Recomposed (after A. Vivaldi) on Saturday, March 16 at the Shrine Church of St. Stanislaus, you had the uncanny feeling that what you were hearing was not so much a new piece but an old piece in a dream.
In each of the twelve movements Richter brings Vivaldi in and out of focus by isolating and repeating melodic fragments against an attenuated accompaniment. In the slow movements more of the melody is preserved — the Largo in “Winter” for example — but the original harmonic framework is altered. [Read more…]