Every so often, the first seconds of a concert bring neither anxiety over how the rest will go nor twitchy overstimulation, neither boredom nor ecstasy, but a satisfying assurance. Some performances click right away, the musicians’ technique unimpeachable, their artistry and expression powerful, their manner warm but professional. Such concerts hold attention in a special way — the chances of a misstep negligible enough that listening never involves comparison to an abstract standard. In the Phaeton Trio’s recent tour de force in Rocky River, the initial gestures of the performance set a high standard that held throughout. [Read more…]
Musicians love a good metaphor: take, for instance, that of summiting a mountain. When a violinist speaks this way after playing all of Bach’s partitas, or a soprano recalls preparations for a Wagner opera, the image of the artist mounting some hostile peak offers implications of persistence, struggle, and of course triumph. Pianists might describe Beethoven’s sonatas this way. But how many have actually played at the top of a mountain? Archival video confirms that French pianist Pierre Réach literalized this image of the soloist at the summit over twenty years ago. A recent concert in Cleveland confirmed that the figurative Everest of Beethoven’s piano music still bears his banner as well. [Read more…]
The Cleveland Orchestra — or at least half of it — marked Valentine’s Day with a straight-through, 50-minute concert led by Belgian early music guru Philippe Herreweghe. The February 14 performance, marketed as a romantic evening of orchestral classics, played to a packed house (marketing works!). [Read more…]
Music is said to be a universal language, but it does speak with different accents. When you’re playing music by Jean Sibelius, it’s helpful to have a Finnish conductor on the podium, which is what made Susanna Mälkki’s pair of Cleveland Orchestra concerts so lucid and communicative earlier this month. [Read more…]
On Sunday afternoon, February 16, The Cleveland Orchestra accomplished the seemingly impossible feat of performing two concerts simultaneously at different parts of the Cleveland metropolis. One was the final performance of this week’s subscription concert, the other a free community concert at Lakewood Civic Auditorium.
Today’s touring string quartets hew to so uniformly high a standard that it’s often little individual touches that make ensembles stand out. The Polish musicians who make up the Apollon Musagète Quartet showed up at Plymouth Church in Shaker Heights for their debut on the Cleveland Chamber Music Society series on February 4 in matching plaid suits and black shirts. And jettisoning their jackets, they played standing (except for the cellist). [Read more…]
CityMusic Cleveland is best known for the free orchestra concerts it gives all over the Cleveland area, often in large churches and synagogues. But another feature of this group’s programming is its chamber music series at Praxis Fiber Workshop in Collinwood. This cosy art space was perfect for the concert I heard on Friday, January 24. People filled the room, and the music enveloped the space for an immersive experience. I highly recommend trying to get a seat in the quasi-alcove off to the side.
During Daniel Meyer’s short tenure as artistic director and conductor of BlueWater Chamber Orchestra, the ensemble has risen to a new level of quality. On Saturday, February 1 at Plymouth Church, Meyer and his ensemble performed an excellent program titled “A Classical Feast,” focusing on music from the late 18th century.
As the 250th anniversary of Beethoven’s birth sweeps classical music audiences along a twelve-month, field-wide festival of heroics, experiments, rhapsodizing, and apocalyptic drive, a challenge arises for performers who plan to acknowledge the occasion. In a season peppered with all-Beethoven programs, how does one stand out? Of the many approaches that could thrill an audience and do justice to the composer, which ones serve the ensemble just as well? On a late January evening, the Amici Quartet offered their answer: impeccable playing and utter unity. [Read more…]
When UNESCO made its first list of the Intangible Cultural Heritage of Humanity in 2008, it welcomed Kabuki theatre, Sardinian folksong, and dozens of other media into a globe-spanning canon. These, the committee declared, stood out among the untold multitudes of human creative practices. Among them ranked the Iraqi maqam, in which poetry, chamber music, and lighter songs flow into extended, semi-improvised performances. As the ensemble Safaafir and singer Hamid Al-Saadi recently proved to Northeast Ohioans, the centuries-old coffeehouse art form still holds the power to thrill. [Read more…]