by Peter Feher
VOCES8 sings a little something for everyone. The British a cappella ensemble had a packed house at E.J. Thomas Hall on October 19, ready for the group’s polished take on any song. The program, the first performance in Tuesday Musical’s 2021–2022 Akron Concert Series, ran from Renaissance music to jazz — styles that don’t intuitively go together.
But the key to unlocking the octet’s approach came in the first piece after intermission. A swinging, singing arrangement of Bach’s Bourreé II from the Second English Suite was a bridge between musical worlds. The number, not a VOCES8 original but something of an a cappella standard, takes the composer’s quintessential Baroque keyboard writing and delivers it with a wink, in la-la-la’s and doo-be-doo’s. A lighthearted way with otherwise staid classics might make for the group’s mission statement. [Read more…]
Like many of us, guitarist Celil Refik Kaya had a lot of time on his hands over the past eighteen months, and he used the opportunity to lean into another of his musical passions — composing. In his second-ever visit to the Cleveland Classical Guitar Society, Kaya brought the product of this extra time with him — the newly-composed Sketches, based on four works of visual art created by his father.
At the top of their program at the Cleveland Museum of Art on Sunday afternoon, October 24, Apollo’s Fire founder and artistic director Jeannette Sorrell told the full house that the Baroque orchestra was opening its 30th season with Vivaldi’s Four Seasons rediscovered, returning to a piece that the ensemble has featured every year since 1991.
Poet, composer, and protofeminist — these are all accurate labels, but they only begin to describe the incredible Sor Juana Inés de la Cruz. Known as “The Phoenix of Mexico” and “The Tenth Muse,” de la Cruz led a fascinating life and left behind a legacy that artists of all kinds continue to explore today.
To open the academic calendar in recent years, Oberlin Conservatory violin professor Sibbi Bernhardsson has organized interdisciplinary festivals centered around intriguing themes. That continued earlier this month with “Music, Sports, and the Enduring Influence of Ancient Greece,” a topic that was examined through a variety of events, musical and otherwise, over the course of two days. I caught the tail-end of the festival via live stream: the fourth and final faculty recital in Warner Concert Hall on the evening of October 10.
Most live performances this fall have quickly turned into lovefests, so eager have audiences been to re-engage with musicians face to face.
CityMusic Cleveland has always been on a mission. This season, the group is staying true to its community vision — music for everyone, and concerts for free — even if performances look a little different in 2021. The programming is slimmed down from chamber orchestra to chamber music, and there’s an increased emphasis on new works (each program this season features a world premiere).
Carlos Kalmar, newly appointed principal conductor of the Cleveland Institute of Music Orchestra, made his debut with the ensemble on Sunday afternoon, October 10, in what is now the Jack, Joseph and Morton Mandel Concert Hall at Severance Music Center.
Midway through a recent concert by the Imani Winds, the group’s newest member, hornist Kevin Newton, stepped up to the microphone. Introducing a piece by Henri Tomasi, Newton highlighted a particular quote attributed to the French composer: “Music that doesn’t come from the heart isn’t music.”
Les Délices has allowed us an advance look at the first full video program of its new season, Song of Orpheus, which will debut