by Mike Telin
Jamey Haddad is in charge of programming world music for the second half of the Cleveland Orchestra’s new five-concert series ‘Fridays @ 7.’ We caught up with Jamey in New York while playing gigs for the Rock Hall Festivities, and asked him about his thoughts on why audience building initiatives such as the Fridays @ 7 are needed.
by Mike Telin
We spoke to Alisa Weilerstein about many things, including the dual role she will have this week when she performs the Dvorak Cello Concerto and later joins Jamey Haddad, Dylan Moffitt, Keita Ogawa and Michael Ward-Bergeman in the World Music portion of the evening on the Fridays @ 7 series on November 20. We also talked about her passion for Russian literature, her upcoming live television performance of the Elgar Concerto with Daniel Barenboim, and her work as spokesperson for the Juvenile Diabetes Research Foundation.
We began by asking her about her participation in Classical Music Day at the White House, and her feelings about the significance of the event that had occurred the previous day.
“Music on Tap” at Trinity Lutheran Church, Cleveland, on October 10. ClevelandClassical.com’s editor and publisher, Daniel Hathaway at the historic Beckerath organ. Held the second Saturday of the month, “Music on Tap” includes informal organ concerts, West Side Market bratwursts for sale and free beer samples from Great Lakes Brewing Co. Proceeds benefit the organ restoration fund.
Trinity’s Beckerath organ is a historical landmark. Built by Rudolph von Beckerath in 1956, it is the first large modern pipe organ in North America built on historic Baroque principles.
The next “Music on Tap” is Saturday, November 14 from 1:00 – 4:00 pm. Organists Nathan Carterette (1:00 pm) Brian Wentzel (1:45 pm) and Graham Schultz (2:30 pm) will perform. 2031 West 30th Street (at Lorain).
Photos: Sam Hubish
Carl Topilow will conduct the CIM Orchestra and Miami timba band Tiempo Libre in Ricardo Lorenz’s ‘Rumba Sinfónica’ on Saturday, October 24 at 8:30 in Severance Hall as part of the CIM Women’s Committee’s annual benefit. Tiempo Libre plays a set of their own after intermission. We reached composer Ricardo Lorenz and pianist and Tiempo Libre music director Jorge Gomez by conference call to talk about the genesis of a work for symphony orchestra and Cuban band.
Daniel Hathaway: I wanted to talk a little bit about the performance next Saturday at Severance Hall. How did this project get started in the first place?
Ricardo Lorenz (left): Well, it was a cosmic meeting in of all places, Bloomington, Indiana.
DH: At Indiana University?
Ricardo: Yes. I was teaching there for a couple of years and Jorge came to do master classes. What really caught my imagination is when I saw him doing rumba with music students. I had this idea running in my head, but it had to be put together with somebody like Jorge who brings together his classical background and his jazz and Cuban background.
Ciaramella, the Renaissance Wind Band, is in town this week for a masterclass and concert at Case. We reached shawm player Adam Gilbert in Los Angeles to ask about his career as a specialist in early wind instruments.
Mike Telin: What I first want to know, you are a shawm player. How does one go about becoming a shawm player?
Adam Gilbert: That’s a really good question. It’s changed in the last bunch of years, I think. I came to shawm because I was a recorder player. Long story. I played recorder as a kid because I wanted a clarinet – to be like Benny Goodman. That was pretty geeky in the first place, but then after I started playing clarinet I realized I wanted to play recorder, and that’s how I got involved in early music. And that was because I actually saw a concert of my hometown college collegium.
MT: And where was that?
AG: Columbia, South Carolina. I was thirteen, and that was the moment that I discovered Renaissance dances and was really excited by it. I went to New York to go to music school in January of 1981 and when I was there I was told, it’s great, you can study recorder, but my teacher said, I’ve got a gig for you if you can play a little bagpipes and shawm. A lot of people of my generation got into it from playing a lot of Renaissance instruments but nowadays you see a lot more modern oboists or baroque oboists going back and playing the earlier instruments because they’ve already had that specialty of playing double reeds.
Minnesota’s Twin Cities’ early music group, The Rose Ensemble, brings a new touring show to Cleveland on Sunday afternoon. ‘Il Poverello’ features music written in honor of Francis of Assisi. We chatted about the new production with founder and artistic director Jordan Sramek at the ensemble’s offices in St. Paul last Monday.
Daniel Hathaway: Jordan, The Rose Ensemble was just here last Spring on CWRU’s Chapel, Court & Countryside series. Might a stop in Cleveland become a yearly event for you?
Jordan Sramek: We have certain cities around the US where we perform regularly and Cleveland is becoming one of them — and that’s exciting. It’s good for a group like ours to take productions on the road. This one is in stark contrast to the last Cleveland program, which was largely middle eastern music. This show is very specific to the life of St. Francis.
85-year-old piano legend Menaham Pressler will preside over a master class on Saturday morning, October 10, and play a Mozart Concerto with the Canton Symphony under Gerhardt Zimmerman that night at 8, all thanks to Canton’s executive director Steve Wogaman, who was a doctoral student of Pressler’s at Indiana University.
Wogaman noted that “Pressler has a command of the physiology of piano playing without equal. The really amazing thing is that he teaches a sensibility for the deep understanding behind every single note. He misses nothing! We were lucky to snap him up the moment the Beaux Arts Trio disbanded and before he signed with Columbia Artists Management. I suggested that he play a certain Mozart concerto. He said ‘that sounds great, but if you have a really fine oboist, we can do No. 17’. Canton does in Terry Orcutt, and so we will!”
Olivier Latry, one of the Titular Organists of the Cathedral of Notre-Dame, Paris, and one of the most celebrated recitalists in the business will play an engaging recital on the Berghaus organ in Holy Trinity Lutheran Church in Akron on Friday, October 9, at 8 pm, opening this year’s edition of the distinguished series run by Barbara MacGregor and James Storry.
The program — made up entirely of dance music from several centuries — will culminate in an improvisation on a submitted theme, a specialty of French organists, who tend to improvise much of the music they provide when they play for masses. Latry’s playlist includes Suzann van Soldt’s Sept Danses, Buxtehude’s Passacaglia, J.S. Bach’s Fugue in G (Gigue) & Passacaglia et thema fugatum, Khachaturian’s Sabre Dance, de Falla’s Ritual Fire Dance, Karg-Elert’s Valse mignonne, Vierne’s Fantômes (Pièces de fantaisie) and Saint-Saëns’ Dance macabre.
On Friday, October 2, beginning at noon Eastern (9am-Pacific Time), you can view the live webcast of the first National Arts Journalism Summit here on the ClevelandClassical.com Blog. Learn more about the summit and view the agenda here.
[vodpod id=ExternalVideo.878912&w=425&h=350&fv=loc%3D%2F%26cid%3D1470782%26channelid%3D1470782%26share%3Dfalse%26group%3Dchannel1470782%26imu%3Dmedrect%26autoResize%3Dtrue%26localid%3D5330535334ac51b4c54603%26vrsl%3Dc.4.215%26infobar%3Dfalse]
ClevelandClassical.com notes with sadness the passing of pianist Alicia de Larrocha. An exceptional musician, we enjoyed hearing her live on many occasions. Her recordings of Catalonian composers Enrique Granados and Isaac Albeniz are among our personal library favorites.
This New York Times article from 1995 provides a snapshot of the diminutive pianist with the big talent : AT HOME WITH: Alicia de Larrocha; A Pianissimo Star
If you have a personal remembrance of Alicia, we invite you to share. Her passing is a great loss to the classical music world.