by Mike Telin
To say that the music of Bernard Rands is tinged with Ravel and Debussy doesn’t tell the whole story. In reality, his music extends beyond that into a post-modern, impressionistic world. On the recently-released CD, Rands at Oberlin, the composer’s engaging musical voice is brought to life in stellar performances by Robert Walters of the Concerto for English Horn and Orchestra (2015) and by tenor Magnus Staveland of the Pulitzer prize-winning Canti del Sole (1983). [Read more…]
by Nicholas Stevens
Would it matter if the best-ever performance of Bach’s Suites for solo cello took place in a cinder block closet with no one listening? The question, which one could safely and simply answer “no,” may seem like a dull retread of the classic “if a tree falls…” formula. However, it raises a question of its own: how much can the venue and framing of a performance do to elevate a musical experience?
Can we attribute some of the special glow of a concert to the room, spoken introductions, and circumstances without giving excellent musicianship short shrift? In the case of a live-streamed concert by cellist Mark Kosower this past weekend, this writer’s answer is yes — or ja, in Bach’s German.
by Jarrett Hoffman
Today, July 24, ACRONYM releases one of the most impressive and enjoyable recordings in recent memory, one that can be appreciated by scholars, aficionados, and plain old music lovers alike.
by Jarrett Hoffman
The 24 hours leading up to the opening concert of this year’s Orcas Island Chamber Music Festival were, as artistic director Aloysia Friedmann said during a post-recital Q&A, “harrowing.”
by Mike Telin
Composer John Harbison has done it all. His numerous awards include a MacArthur Fellowship and a Pulitzer Prize. He has written works for many of America’s leading musical organizations and has served as composer in residence with the Pittsburgh Symphony and the Los Angeles Philharmonic. His catalogue includes three operas, seven symphonies, twelve concerti, a ballet, six string quartets, numerous chamber works, and a large body of sacred music. On her latest CD, Late Air — Music by John Harbison, soprano and Oberlin voice professor Kendra Colton reminds us that the celebrated composer has a special talent for writing art songs — she also proves herself to be a sensitive interpreter of them. [Read more…]
by Jarrett Hoffman
Occasionally, a performance or recording is so well-crafted that a critic feels compelled to put away their journalistic spectacles and their cool, distant approach and put on a giant foam hand. That was my experience with the Jupiter String Quartet’s new album, Metamorphosis, where the ensemble shows off all the special qualities that make their performances such a thrill to hear.
by Jarrett Hoffman
A shared sense of the epic ties together the final two works of A New Century, the three-part live album from Franz Welser-Möst and The Cleveland Orchestra that is also the ensemble’s inaugural release on its own record label.
We begin with the world premiere recording of Okeanos, Bernd Richard Deutsch’s concerto for organ and orchestra, featuring Paul Jacobs as soloist. The title refers not only to the Titan of Greek mythology, but also “to an idea of immense (and sometimes unfathomable) greatness and breadth, which conjures up in my mind the thought of the organ,” as Deutsch writes in his notes. [Read more…]
by Daniel Hathaway
If you haven’t already warmed up to French Baroque clavecin music, Chicago-based keyboardist Jory Vinikour’s L’Unique: Harpsichord Music of François Couperin should make a strong impression on your musical tastes. The most prominent member of a musical dynasty second only to the German Bachs, François Couperin left a large treasure trove of keyboard works, 234 in all, arranged in 24 suites or Ordres. [Read more…]
by Daniel Hathaway
After weeks of watching online streams of archived concerts and ad hoc performances from quarantined musicians’ living rooms and bedrooms, it was thrilling to be able to advertise, preview, and report on two real-time webcasts last Friday and Saturday that embraced high production values and addressed the persistent issue of how to compensate musicians for online services. Saturday afternoon’s joint recital by Colin Davin and Jason Vieaux was sponsored by the Cleveland International Classical Guitar Festival, whose 2020 iteration, scheduled for that weekend at the Cleveland Institute of Music, vanished in the wake of the pandemic. [Read more…]
by Jarrett Hoffman
Cellist Mark Kosower has long believed that the music of J.S. Bach can bring people together. His live-streamed performance from Trinity Cathedral on Friday, June 5, revealed how deeply he feels about that: perhaps what was most healing was his passion itself. This was the first in a pair of concerts that Kosower will give at Trinity this summer with no audience present, covering all six of the composer’s solo cello suites under the banner of his project “Bach for Humanity.” On Saturday, he brought the odd-numbered works, playing from memory and starting with No. 5. Full of agony and desperation, its Prelude was a fitting way to begin. The Allemande stood out for its poetic flexibility, while the second Gavotte ran smooth, Kosower’s technique flowing easily.