by Peter Feher
This article was originally published on Cleveland.com
CLEVELAND, Ohio — Classical musicians have exhausted just about every attempt to complete Franz Schubert’s “Unfinished” Symphony in the two centuries since the composer’s death at age 31.
But the Cleveland Orchestra doesn’t give in easily to creative despair. With guest conductor Antonello Manacorda, the ensemble has fashioned an effective, elegant substitute for the “missing” movements of Schubert’s score.
by Kevin McLaughlin
This article was originally published on Cleveland.com
CLEVELAND, Ohio — Frequent guest pianist Garrick Ohlsson returned to Severance Music Center on Thursday, Oct. 30, 50 years after his first appearance with The Cleveland Orchestra.
The concert, conducted by Franz Welser-Möst, reminded us why we cherish these performances year after year: consistent excellence, both familiar and new music, and the company of an artist whose quiet dignity and calm brilliance have become a reliable part of the city’s musical life.
The program opened with “Permissions,” a ten-minute churn by Tyler Taylor, the Orchestra’s new Daniel R. Lewis Composer Fellow. The Louisville, Kentucky-born composer and horn player brings a performer’s instinct for timbre and ensemble dynamics to his writing.
by Stephanie Manning
This article was originally published on Cleveland.com
CLEVELAND, Ohio — Works by pianist-composers Frédéric Chopin and Sergei Rachmaninoff offered some dazzling displays of virtuosity on The Cleveland Orchestra’s final Summers at Severance concert on August 21 at Severance Music Center.
Chopin’s Second Piano Concerto gave soloist Nobuyuki Tsujii multiple opportunities to shine, and Rachmaninoff’s Second Symphony provided guest conductor Dima Slobodeniouk with a rich palette of orchestral colors to paint with, even without a soloist at the Steinway.
Rachmaninoff’s Symphony No. 2 was first performed in Cleveland by the Boston Symphony in 1911 and first played by The Cleveland Orchestra under the direction of Nikolai Sokoloff in March of 1920 as part of the newly formed ensemble’s second season.
by Kevin McLaughlin
This article was originally published on Cleveland.com
CUYAHOGA FALLS, Ohio – The Cleveland Orchestra brought together music, nature and friendship in a program as warm and satisfying as a summer night under the trees at Blossom Music Center on Saturday.
Conducted by Daniel Reith — making his final appearance as the ensemble’s associate conductor — the concert offered the regional premiere of Gabriella Smith’s Rewilding, Max Bruch’s seldom-heard Violin Concerto No. 2 and Edward Elgar’s beloved Enigma Variations.
Commissioned in honor of the 50th anniversary of Cuyahoga Valley National Park — where Blossom is situated — Rewilding is Smith’s exuberant tribute to ecological restoration.
by Kevin McLaughlin
This article was originally published on Cleveland.com
CUYAHOGA FALLS, Ohio — The Cleveland Orchestra on Saturday offered a summer evening of musical storytelling that was alluring and colorful without excess.
Under the elegant and incisive direction of Elim Chan at Blossom Music Center, the program paired Maurice Ravel’s Shéhérazade with Gustav Mahler’s Symphony No. 1 in performances redolent of perfume and sonic splendor.
Coinciding with the 150th anniversary of Maurice Ravel’s birth, the opener was Shéhérazade, a 1903 song cycle with words by Tristan Klingsor, the pen name of French poet, painter, and composer Léon Leclère.
by Stephanie Manning
This article was originally published on Cleveland.com
CUYAHOGA FALLS, Ohio — When the goddess Fortuna spins her wheel, your fate is on the line. That’s the idea behind “O Fortuna,” the famous dramatic tune that has become part of pop culture thanks to its use in commercials and TV shows.
Those crashing waves of sound, lamenting life’s cruel twists of fate, both open and close Carl Orff’s “Carmina Burana,” which headlined The Cleveland Orchestra’s concert on July 12. Conductor Osmo Vänskä led the Orchestra, the Blossom Festival Chorus, and the Cleveland Orchestra Children’s Chorus in a lively performance of the work at Blossom Music Center.
by Daniel Hathaway
When BlueWater Chamber Orchestra made its debut at the Breen Center on September 12, 2010, its founder and conductor Carlton Woods introduced the new ensemble with an ambitious program of works that included Maurice Ravel’s Le Tombeau de Couperin, Howard Hanson’s Serenade for Flute, Harp and Strings, Ludwig van Beethoven’s Romance in F for violin and orchestra, Edward Elgar’s Serenade for Strings, and Argentine composer Alberto Ginastera’s Variaciones Concertantes.
In a review of that performance, I wrote
The orchestral showpiece of the afternoon was Ginastera’s Concert Variations, described by Woods as “the South American Young Person’s Guide to the Orchestra.” Beginning with Kent Collier’s big cello solo accompanied by harpist Jody Guinn, the work showcased the fine solo talents of violist Laura Shuster, clarinetist Alix Reinhardt, concertmaster Kenneth Johnston, hornist Ken Wadenpfuhl and bassist Ann Gilbert, as well as the fine ensemble acumen of the rest of the orchestra.
by Peter Feher
This article was originally published on Cleveland.com
CLEVELAND, Ohio — It’s fitting that conductor Pablo Heras-Casado should be leading The Cleveland Orchestra this week in Dmitri Shostakovich’s Symphony No. 10 — the work of a mid-career composer who was looking to make a major statement.
A decade ago, Heras-Casado was regularly touted as a possible candidate for a music directorship at a top U.S. orchestra. Although some of the heat has died down since — the 47-year-old Spaniard is currently between posts and sticking to guest-conducting gigs — he started to get the furnace roaring again at Severance Music Center on Thursday, Dec. 5.
by Stephanie Manning
With a program of only two pieces, both of them staples in chamber music repertoire, creating the conditions for a standout performance might be more difficult than usual. But the musicians in Kent Blossom Music Festival’s final entry in this year’s Faculty Concert Series knew what to do.
“Friendship is a requirement to open up and enjoy this piece,” clarinetist Afendi Yusuf said of the opener, Mozart’s Clarinet Quintet — though this sentiment could equally apply to Schubert’s Octet that followed. The July 17 performance in Kent State University’s Ludwig Recital Hall proved that the group had the friendship element in spades. [Read more…]
by Kevin McLaughlin
What is a little chamber music among friends? Pure enjoyment, that’s what. On Monday, May 6 at West Shore Unitarian Universalist Church, you got the feeling that the pleasure had by this group — clarinetist Afendi Yusuf, violist Wesley Collins, and pianist Dawoon Chung — might have occurred with or without the rapt Rocky River Chamber Music Society audience in attendance.
But, lucky for us, we were. The program — clarinet trios by Mozart, Bruch, and Robert Schumann — brought together not only infrequently performed repertoire, but an obviously friendly group of collaborators.