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Akron Symphony concludes season at a high point with Mozart, Boulanger & Ravel (May 11)

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by Kevin McLaughlin

Unfinished works seem to be held in higher esteem for their being incomplete — the remaining music feeling more precious, conscious as we are of what else might have been lost. How to explain then, the impact of Mozart’s Mass in c, K. 427, lacking an Agnus Dei and missing half of its Credo, and yet seeming gloriously whole in its current state?

On Saturday, May 11 at EJ Thomas Hall, the Akron Symphony Orchestra under the direction of Christopher Wilkins ended its 2023-24 season at an apex with Mozart’s “Great” Mass and works by French composers Lili Boulanger and Maurice Ravel.

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Canton Symphony: Mozart Requiem (Mar. 23)

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As a whole, Mozart’s Requiem is a grandiose work, sublime in its evocation of salvation and eternal rest, and fearsome in its visions of the Last Judgment. The grand forces that meet the eye — four soloists, chorus, and orchestra — suggest drama and spectacle, even if the scoring is dark: the lighter hues of flutes and oboes are omitted in favor of basset horns (cousins of the clarinet), bassoons, a choir of trombones, and strings in their lower registers. Even trumpets and timpani are used less for their ceremonial qualities than as emulsifiers of the texture.

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Alla Boara: creating soundscapes from history at CMA (Jan. 24)

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by Max Newman

If there’s one thing that the Ohio-based group Alla Boara can do, it is allowing their listeners to explore the past by relishing in the present. And for those who packed into the Cleveland Museum of Art’s Gartner Auditorium on Wednesday, January 24 for the ensemble’s performance celebrating the release of their new record, that is exactly what they got.

It was an evening of storytelling through word and song.

Bandleader Anthony Taddeo, the group’s composer and drummer, based his arrangements off of a series of Alan Lomax’s 1954 field recordings of Italian folk music. Throughout the night, Taddeo and other band members laid out historical context to the pieces on show with a backdrop of original images from Lomax’s Italian journey. It gave the audience a clear snapshot of Italy in the mid-1950s, and created an authentic atmosphere for each song played. [Read more…]

Modern Italian folk group Alla Boara celebrates new album at CMA

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by Mike Telin

While earning his bachelor’s degree in music performance from the School of Jazz at The New School in New York City, percussionist Anthony Taddeo was tasked with writing a paper, and his search for a topic led him to the New York Public Library. There he stumbled across a little-known archive of field recordings made by the folklorist Alan Lomax during a sojourn in Italy.

“My dad being from Italy, I thought that writing about Italian folk music would be a cool way to kind of dig into my roots,” the Cleveland native said during a recent conversation.  “I was absolutely dumbfounded by how beautiful and diverse the music was. I was so impacted by that — it was the first time I felt like my heritage and my profession collided. So I made a mental note to figure out some way to bring recognition to this beautiful art form.”

After completing a master’s in composition at Youngstown State University, touring North America and Europe, and being featured on over 30 albums, Taddeo decided to turn to the Italian folk music he had fallen in love with as an undergraduate.

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Les Délices: Noel, Noel at Holy Trinity, Akron (Dec. 20)

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by Kevin McLaughlin

Giving hope and joy at the darkest time of the year is one reason, maybe the reason, for the timing of holiday celebrations in December, and music and poetry are good ways to ward off the cold and gloom.

Les Délices’ Christmas-themed program, this year titled “Noel, Noel,” offered many glimmers of cheer on Wednesday evening, December 20 at Holy Trinity Lutheran in Akron. But on their journey from the contemplative toward the celebratory, this serious band seemed more comfortable with the former than the latter.

The program grouped beloved carols, seasonal hymns, and seventeenth century instrumental variations into six sets, like stages on a Christmas journey, from “Darkness” through “Hope,” “Peace,” “Joy” and “Love,”  to “Light,” with poetry readings in between. But the musicians’ devotion to skill and restraint came through the loudest.

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Canton Symphony enters a new era:
a conversation with music director designate Matthew Jenkins Jaroszewicz

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by Mike Telin

When Matthew Jenkins Jaroszewicz was appointed Music Director Designate of the Canton Symphony in August of 2020, the plan was for him to assume the role of Music Director in 2026. But with the passing in June of Gerhardt Zimmermann, the Orchestra’s longtime Music Director, Jaroszewicz suddenly found himself tasked with filling some big shoes sooner than expected.

On Saturday, October 7 at 7:30 pm, the young conductor will lead the Orchestra’s season-opening concert at Zimmermann Symphony Center. The program, titled “Ode to Freedom,” includes Joan Tower’s Made in America, Dmitri Shostakovich’s Symphony No. 5, and two works that will feature Seohyun Kim, winner of the 2022 Thomas and Evon Cooper International Violin Competition: Maurice Ravel’s Tzigane and Jeff Scott’s Song of the Uirapuru, receiving its world premiere. Tickets are available online.

I caught up with Jaroszewicz by phone and began by asking him how he is managing during this period of transition.

Matthew Jenkins Jaroszewicz: It’s been difficult for a lot of reasons. Obviously, in six years serving as Gerhardt’s assistant and then associate, I built a professional and personal relationship with him, and with his wife Sharon as well. The plan was for me to take over as Music Director in 2026, and after that Gerhardt would still be around as the Music Director Emeritus for five more years. So to not only be thrust into the role three years early, but to not have Gerhardt there as someone I could lean on as a mentor was a shock.

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ChamberFest Cleveland:
“Echoes from the Valley”

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by Mike Telin

Whenever three adventurous musicians share a stage, the programming possibilities are endless. On Friday, November 4 at 7:30 pm at the Cultural Arts Center at Disciples Church, ChamberFest Cleveland will present soprano Amanda Powell, clarinetist Franklin Cohen, and pianist Peter Takács in “Echoes from the Valley,” a program of global folk songs. Tickets are available online.

“We’ve programmed concerts like this before during ChamberFest,” Cohen said during a recent telephone conversation. “I’ve admired Amanda’s talent for years. I’ve heard her with Apollo’s Fire and at different clubs and her talent is not confined to one little box. Everyone loves her work, and she’s been a very important part of the ChamberFest family for a number of years.” 

Powell will be featured in Schubert’s Der Hirt auf dem Felsen (“The Shepherd on the Rock”) and Ravel’s Cinq melodies populaires grecques. The trio will also present an exploration of international folk songs — from the Appalachian Mountains to the Greek seaside to a classical Arabic muwashshah — in arrangements by Dave Morgan, as well as Two Ladino Songs arranged by Paul Ferguson. “The arrangements are fantastic and we’re looking forward to playing them,” Cohen said. 

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Fire & Grace & Ash: music & entertainment at St. Malachi (Apr. 30)

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by Stephanie Manning

An audio recording does not do Fire & Grace & Ash justice. In their 2019 album, Partita Americana, the trio — Edwin Huizinga, violin, William Coulter, guitar, and Ashley Hoyer, mandolin — brought first-rate musicianship to a melting pot of classical, bluegrass, and folk music. It’s a record that’s impressive enough on its own, but it paled in comparison to the trio’s live, in-person concert on April 30 at St. Malachi Church.

The opening few minutes were the perfect introduction to the range of styles ahead, flowing seamlessly through Bach, the classic folk tune “The Wayfaring Stranger,” and an energetic fiddle piece. The three musicians, who moved naturally as a unit, clearly enjoy making music together, and their mood was infectious. Huizinga’s resonant violin sound filled up the space, while Coulter on guitar was a steady, reliable bass voice. In the face of two louder instruments, Hoyer’s mandolin was sometimes more difficult to hear — but her time to shine came during her piece Two Trees, a sentimental tune that brought her crystal-clear tone to the forefront.

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ENCORE and ChamberFest: World Class Music in the eastern suburbs (June 11 & 12)

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by Daniel Hathaway

Since many Clevelanders don’t have a clue why State Route 91 in Cuyahoga and Lake Counties is called SOM Center Road, maybe it’s time to rename at least one five-mile segment of that thoroughfare that passes through the centers of Solon, Orange, and Mayfield townships.

Based on recent events, its new designation might well be “Chamber Music Way” in honor of the fine performances that are taking place this month at Gilmour Academy in Gates Mills and The Grove Amphitheatre in Mayfield, courtesy of ENCORE Chamber Music Institute and ChamberFest Cleveland, respectively. In addition to the distinction of presenting some of the first in-person performances to come onto the calendar since the pandemic, both organizations were making their debuts in new venues. [Read more…]

Apollo’s Fire: “Allure” at First Baptist (Nov. 8)

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by Daniel Hathaway

You’d be fortunate enough these days to be able to field three sopranos who could successfully channel the celebrated singing of the Three Ladies of the Court of Ferrara, but to find a trio of singers who all happen to be named Amanda would really be pushing your luck.

Jeanette Sorrell did just that for Apollo’s Fire’s “Allure” programs earlier this month, and the results are stunning. Sopranos Amanda Forsythe and Amanda Powell and mezzo-soprano Amanda Crider deliver the kind of jaw-dropping performances of virtuosic works that might well have landed them jobs at the 17th-century Ducal court.

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