Six advance to Recital Round in Oberlin Cooper Violin Competition

July 29, 2015 by Daniel Hathaway

Oberlin, July 29 — Following the concerto round of the Oberlin Cooper International Violin Competition, the jury announced early this morning the six performers who would advance to the recital round on Wednesday evening. Each will play a 30-minute recital in Warner Concert Hall at the Oberlin Conservatory of Music. Admission is free. The performances will be streamed (click here for the video link) and carried live over WCLV, 104.9 FM. At the end of the evening, the jury will name the three violinists who will play concertos in the final round with Jahja Ling and The Cleveland Orchestra on Friday evening at Severance Hall.

Recital round order and repertoire

Karisa Chiu, 16, Palatine, IL (with Ina Chiu, piano)

BEETHOVEN Sonata No. 4 in A Minor, Op. 23 (Presto)
RAVEL Tzigane
BACH Sonata No. 1 in G Minor Siciliana
WIENIAWSKI Polonaise Brillante Op. 4 in D Major

Belle Ting, 15, Taipei, Taiwan (with Roberta Whitely, piano)

MOZART Violin Concerto No. 3 in G Major, K. 216 (Adagio)
WIENIAWSKI Fantasy on Themes From Gounod’s Faust, Op. 20
SIBELIUS Mazurka, Op. 81, No. 1

Gallia Kastner, 18, Arlington Hts., IL (with Nelson Padgett, piano)

SAINT-SAËNS Introduction and Rondo Capriccioso, Op. 28
MOZART Violin Concerto No. 5 in A Major, K. 219 (Adagio)
WAXMAN Carmen Fantasie

Joshua Brown, 15, Gurnee, IL (with Nelson Padgett, piano)

PAGANINI Caprice No. 24
MOZART Violin Concerto No. 3 in G Major, K. 216 (Adagio)
WAXMAN Carmen Fantasie

Alice Haekyo Lee, 15, Toronto, ON, Canada (with Alicja Basinska, piano)

BEETHOVEN Sonata No. 1 in D Major, Op. 12, No. 1 (Allegro con brio)
BACH Sonata No. 2 in A Minor (Andante)
SARASATE Carmen Fantasie

Maya Anjali Buchanan, 15, Rapid City, SD (with Laura Kennedy, piano)

BACH Sonata No. 1 in G Minor (Presto)
WIENIAWSKI Fantasy on Themes From Gounod’s Faust, Op. 20
YSAŸE Caprice after the Etude in the Form of a Waltz by Camille Saint-Saëns

About Daniel Hathaway

Daniel Hathaway founded ClevelandClassical.com in September, 2008, after a thirty-one year tenure as music director of Cleveland’s Trinity Cathedral, where he founded the Wednesday Noon Brownbag Concert Series and Trinity Chamber Orchestra. A graduate of Harvard College and the Episcopal Divinity School, he also studied historical musicology at Princeton and Harvard Universities. Before coming to Cleveland in 1977, he served as head of humanities at the Sunset Hill School in Kansas City and as head of arts at Groton School in Massachusetts. In Cleveland, he has served on the music staff of Cleveland Opera, Great Lakes Theater Festival, and the faculty of Laurel School. As an organist, Hathaway has played recitals in the U.S., England, France, Germany, and Austria. He team-teaches Music Journalism at Oberlin College and Conservatory and is a member of the Music Critics Association of North America.

Cleveland Orchestra’s holiday concerts return with plenty of festive cheer (Dec. 11)

by Stephanie Manning

This article was originally published on Cleveland.com

CLEVELAND, Ohio — If the twinkling lights, leafy green garlands and festive poinsettias didn’t already clue you in, the holidays have arrived at Severance Music Center. ‘Tis the season for annual traditions — including The Cleveland Orchestra’s holiday concerts, which began on Wednesday evening.

Running through December 22, the programs feature plenty of seasonal classics plus some potential new favorites. The first performance proved that this mix is a delightful recipe for festive cheer.

“Look at you all, out on a school night!” conductor Sarah Hicks proclaimed joyfully from the podium. Just as many concertgoers donned red outfits to get into the spirit, Mandel Concert Hall was also decked out with decorations and stage lighting effects.

[Read on…]

Oberlin Conservatory convincingly tells Omar’s story (Dec. 8)

by Stephanie Manning

The Cleveland premiere of Rhiannon Giddens’ and Michael Abels’ Pultizer Prize-winning opera Omar on December 8 at the Maltz Performing Arts Center proved that concert productions of opera can succeed without sets, elaborate costumes and extensive staging. Indeed, the Oberlin Conservatory presentation offered more than enough to keep the audience in the crowded house enthralled.

The Opera, which was also presented at Oberlin’s Finney Chapel two days earlier, is based on the 1831 autobiography of Muslim scholar Omar ibn Said, the only such work written by an enslaved person during their enslavement, and the only such document written in Arabic.

Rhiannon Giddens’ brilliant libretto chronicles the life of ibn Said, beginning in present-day Senegal and following him through his capture, journey via the Middle Passage, and enslavement in North and South Carolina. [Read on…]

Kirill Gerstein is captivating on piano as Cleveland Orchestra recital series continues (Dec. 4)

by Daniel Hathaway

This article was originally published on Cleveland.com

CLEVELAND, Ohio — There’s no dearth of first-class piano performances to enjoy in Northeast Ohio, but Kirill Gerstein’s contribution to the collective wealth Wednesday night was extraordinary both in concept and execution.

Playing as part of the Cleveland Orchestra’s ongoing recital series at Severance Music Center, Gerstein wove an overarching narrative from the 21 little masked ball portraits in Robert Schumann’s “Carnaval.” Then he helped composer Francisco Coll blow up the idea of the waltz in two striking, brand new pieces written for Gerstein and joined Maurice Ravel in redefining that most civilized of dances in a cataclysmic performance of “La valse.”

[Read on…]

See all reviews

About Daniel Hathaway

Follow ClevelandClassical.com

Contact us