by Nicholas Jones
Three has been the magic number throughout ChamberFest 2014, and nowhere more than in its closing concert in CIM’s Mixon Hall on Sunday afternoon. The music was rich and, as usual with ChamberFest, the musicianship masterful. This very enjoyable program, titled “3X,” included three works, each featuring instruments in multiples of three.
The contribution of “three” was the well-known Beethoven Piano Trio in D, opus 70, known as the “Ghost.” Like other chamber works from Beethoven’s middle period, the “Ghost” is intense, full of contrasts that surprise and excite. Violinist Diana Cohen (ChamberFest’s artistic and executive director), cellist Gabriel Cabezas, and pianist Orion Weiss gave a performance that brought out both the strength and the subtlety of the piece. [Read more…]
Intelligent programming at its best not only uncovers interesting musical connections, but can also lend insight into the world beyond music. The repertoire for ChamberFest’s eighth concert, at Fairmount Presbyterian Church, is a fine example. The juxtaposition of three works from a 35-year period by “Three Bouncing Czechs” provided a glimpse into different historical moods, revealing the drastic psychological damage wrought by World War I.
“I would write to you only by means of music,” said Robert Schumann in a letter to his wife, the composer and pianist Clara Schumann. Theirs is a storied coupling, beginning against the wishes of Clara’s father, ending with Robert’s mental breakdown and early death, and complicated by their close relationships with Johannes Brahms. All three being heart-on-their-sleeve Romantic composers, and with Robert’s letter in mind, it makes sense to explore this “Love Triangle” through their music.
A back-lit beer cooler casting its light on rows of folding chairs. Vivacious artwork hanging from the walls. Popcorn tumbling from bag to hand to mouth. The murmur of conversations smoothed by wine. Plus the fine musicians of ChamberFest, having a ball.
On Wednesday, June 25, Mike Telin had the opportunity to attend a ChamberFest Cleveland rehearsal of Tan Dun’s Ghost Opera for String Quartet and Pipa, with Water, Stones, Paper and Metal, which will be presented in Kulas Hall at the Cleveland Institute of Music on Saturday, June 28 at 8:00 pm. The performance will feature the world premiere of choreography by GroundWorks Dance Theater artistic director David Shimotakahara. The performance promises to be an emotional experience. Tan Dun’s music is captivating and the choreography adds a new and wonderful dimension to the music. The production is a collaboration that requires a lot of sharing of ideas between the musicians, the dancers and the collective. As violinist Amy Schwartz Moretti said, “I’ve never done anything like this before. You can only prepare so much at home, because everything needs to be discussed with your colleagues. But we’re all having a great time!” (Click on the images to enlarge.) 
In an interview last week, oboist Alex Klein told us that he looked forward to ChamberFest’s Family Concert. “I confess that when I was with the Chicago Symphony the thing I liked to do most were the family concerts. To walk on stage and hear the buzz of children talking is very stimulating.” Klein went on to say that his program would not be the typical Peter and the Wolf concert but rather would include works by experimental composers as well as portions of Bach’s Goldberg Variations arranged for sting trio. “OK I thought, a room full of kids listening to Berio and Xenakis – what could possibly go wrong?” On Saturday morning, June 21 a large number of families gathered at MOCA and were treated to a 50-minute concert that that held everyone in rapt attention.
ChamberFest Cleveland is doing it right. With ten concerts over eleven days blends thoughtful programming, diverse venues, exceptional musicians, and a convivial vibe for a musical experience as refreshing and sweet as the ice cream that’s served after some of the concerts. It’s an ideal model for the future of classical music.
Sometime in the next year, Noah Bendix-Balgley will leave his position as concertmaster of the Pittsburgh Symphony Orchestra, which he won when he was 27 in 2011. Why leave such a desirable chair, especially when he was appointed at such a young age? To become first concertmaster of the Berlin Philharmonic, one of the most prestigious orchestras in the world.
ChamberFest Cleveland’s savvy programming strategy continued on Saturday, June 21 with a 5:00 pm concert at MOCA Cleveland that paired an edgy solo cello work by Iannis Xenakis with a daring arrangement of J.S. Bach’s Goldberg Variations for string trio.