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ChamberFest: small tweaks, big results for “Mystical Reveries” (June 14)

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by Stephanie Manning

Sprinkling a few changes into a chamber concert program can add the perfect amount of variety to an otherwise straightforward evening. Such was the case at ChamberFest Cleveland on June 14 with “Mystical Reveries.” The choice of swapping keyboard for harp in works by Heinrich Ignaz Franz Biber and C.P.E. Bach, as well as opting for the original horn/piano pairing in the Robert Schumann, injected just enough excitement into this pleasant evening of music.

The Friday night program at Harkness Chapel saved the most traditional selection for last: Johannes Brahms’ Piano Trio No. 2 in C. Pianist Roman Rabinovich, violinist Joseph Lin, and cellist Oliver Herbert gave a spirited performance, taking advantage of the Chapel’s tastefully dry acoustic to accentuate moments of uber-quiet playing.

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Brandon Ridenour returns to ChamberFest Cleveland

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by Mike Telin

This week, trumpeter Brandon Ridenour will be featured in three ChamberFest Cleveland programs both as a performer and arranger.

Ridenour’s journey to becoming a  trumpet soloist, collaborative artist, composer, and arranger began at age 5, when he started studying piano with his father. After picking up the trumpet in 5th grade band class in Grand Rapids, Michigan, Ridenour went on to study at the Juilliard School. After graduating he became the youngest member to join the Canadian Brass and eventually embarked on a solo career.

In 2014 Ridenour became the first trumpeter in 30 years to win the Concert Artist Guild competition. In his role as performer-composer, he helped to launch the Brooklyn-based ensemble Founders, and in 2023, he joined the American Brass Quintet. As an educator, he serves on the faculties at Juilliard, The New School and the Manhattan School of Music, where he is passionate about developing a new model of education for a well-rounded, progressive musician of the future.

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Harpist Bridget Kibbey makes ChamberFest debut

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by Mike Telin

ChamberFest Cleveland launches its 2024 season — three weeks’ worth of concerts inspired by the theme of  “Sacred and Profane” — on Wednesday, June 12 at 7:30 pm at the Cleveland Institute of Music’s Mixon Hall.

Opening night marks the ChamberFest debut of harpist Bridget Kibbey, who will be featured in Claude Debussy’s Danse sacrée et danse profane — and throughout the first week of the festival. Tickets for all performances are available online.

I caught up with the Findlay, Ohio native on Zoom and began our delightful conversation by asking her if it was true that she first heard the harp in a church.

Bridget Kibbey: That’s true. It was a small country Mennonite church. I was taking piano lessons at the time and one of my Suzuki piano kid mates’ mother was a harpist. I saw her play and was just floored, so I started lessons with her right away at age nine. That’s what makes Ohio so special, there’s so many local music studios. I think that’s why Ohio produces great musicians, great music teachers, and music lovers.

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Festival season in Cleveland gets underway

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by Daniel Hathaway

The early onset of summery weather even before May has run its course heralds a shift in Northeast Ohio’s classical music activity from concert series to festivals — six of which will launch in the next few weeks.

Local 4 of the American Federation of Musicians will present the fourth edition of She Scores, a celebration of music written by underrepresented composers, from May 30 through June 2 (Thursday through Saturday at 7 and Sunday at 4) in Mixon Hall at the Cleveland Institute of Music. In a preview article, Mike Telin writes, “what began with performances of works by 16 composers has now blossomed into a four-concert series featuring works by 31 living composers who identify as female or nonbinary.” Emily Laurance will give a pre-concert lecture an hour before each performance. Admission is free.

Encore Chamber Music’s 9th annual Music and Ideas Festival gets underway on June 2, and continues through June 24. [Read more…]

Heaven on Earth: An Overview of ChamberFest Cleveland’s 2024 Season

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by Donald Rosenberg
Reposted courtesy of ChamberFest Cleveland

“A paradox, a paradox, a most ingenious paradox,” sing Ruth, Frederick, and the Pirate King in Gilbert and Sullivan’s The Pirates of Penzance. They could be mulling over the theme of ChamberFest Cleveland’s 2024 season — “Sacred + Profane.” In chicken-and-egg metaphorical fashion, did the season’s title come first or the vast, fascinating selection of music?

In the end, it’s all rhetorical. ChamberFest audiences this year will be the beneficiary of glorious repertoire performed by stellar artists, whether or not the philosophical question of thematic priorities can be answered. What’s for certain is that co-artistic directors Diana Cohen, Franklin Cohen, and Roman Rabinovich are always on the lookout for a concept that will help them devise coherent, meaningful, and engaging programs.

A title is “always a jumping-off point for us to be thinking in a certain direction,” says Diana Cohen, “and then all kinds of other suggestions come through because of personnel or instruments or different considerations. It’s just a beginning.” [Read more…]

ChamberFest Cleveland: “Words Misunderstood” (June 30)

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by Mike Telin

On Friday, June 30, ChamberFest Cleveland presented a delightful evening of chamber music to a capacity audience at Dunham Tavern. The program, “Words Misunderstood,” included an oddity by György Ligeti, ear-catching 21st-century works by Caroline Shaw and Gabriella Smith, and some engaging German Romanticism by Max Bruch.

Performed without the “obligatory” intermission, the concert began with György Ligeti’s Poème symphonique (for 100 metronomes). An oddity or an absurdity, depending on your point of view, here the work was presented as Ligeti intended — as a serious piece of music. Ten musicians made their way to their groups of ten mechanical metronomes, each set to a different tempo, all of them sitting on the wooden shelf that ran along three walls of the venue.

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ChamberFest Cleveland: “Carnival of the Animals” (June 24)

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by Peter Feher

Camille Saint-Saëns forbade public performances of The Carnival of the Animals during his lifetime, but he might have made an exception for ChamberFest Cleveland this summer.

On June 24 at the Cleveland Institute of Music’s Kulas Hall, ChamberFest conjured some of the informal spirit of Saint-Saëns’ lighthearted work as it would have been heard in 1886 among the composer’s circle of intimates. It was in keeping with ChamberFest’s theme this season — “Lightness of Being” — even when the evening seemed elaborate and embellished and the music-making sounded seriously first-rate. [Read more…]

ChamberFest Cleveland: “Vortex” (June 25)

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by Mike Telin

If you are familiar with William Cowper’s 1785 poem The Task, then you know the famous line “Variety is the very spice of life, that gives it all its flavor.” On Sunday, June 25 at Harkness Chapel, ChamberFest Cleveland presented a program that was steeped in musical variety and spices for the ear.

Written in 1977, Alfred Schnittke’s Moz-Art (after the fragment K. 416d) is based on the first violin part from Mozart’s unpublished pantomime, with dollops of the opening theme of his 40th Symphony stirred into the mix. The quirky five-minute work for two violins asks the players to throw caution to the winds as they seemingly compete to see who can turn a classical line into something absurd faster than the other.

The performance by Itamar Zorman and Diana Cohen was bust-your-gut funny. Bowed notes turned into plucked ones, then scratchings, in tune became out of tune, and slow tempos became fast enough to break the sound barrier. Hilarity ensued when the players swapped out their instruments, Zorman grabbing a very tiny violin while Cohen opted for a viola. After reclaiming their rightful fiddles, the players mischievously walked away whistling.

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ChamberFest Cleveland:
“Es muss sein” — it must be (June 29)

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by Kevin McLaughlin

Fate — as represented by “Es muss sein” (it must be), Beethoven’s enigmatic motto tucked in the last movement of the String Quartet No. 16 in F — was the guiding light for ChamberFest’s program on Thursday evening, June 29 at CIM’s Mixon Hall. A passage from Milan Kundera’s book The Unbearable Lightness of Being was read aloud by co-artistic director Roman Rabinovich, who went on to explain the text’s Beethoven reference and how it aligns with the Festival’s overall Lightness theme. In addition to the Beethoven, works included Lera Auerbach’s compact Piano Trio No. 1 and the monumental Piano Quintet by Sergey Taneyev.

What seems by now to be ChamberFest’s “inevitability” of excellence also played a role. Like some sort of magic trick, each disparately assembled group — mostly made up of musicians who don’t frequently play together — conjured miracles of coalescence in every work.

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ChamberFest Cleveland: “Fidelity and Betrayal” (June 17)

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by Mike Telin

From the beginning, ChamberFest Cleveland’s artistic directors have turned to creative themes for their programming inspiration. This season the Festival’s guiding light has taken a literary slant with Lightness of Being — after Milan Kundera’s 1984 novel The Unbearable Lightness of Being. But don’t feel like you need to have read the novel to enjoy the concerts — Donald Rosenberg’s brilliantly written program notes will tell you what you need to know.

On Saturday, June 17 in CIM’s Mixon Hall, the program “Fidelity and Betrayal” included works from the standard repertoire, a never-performed work by a well-known composer, a piece inspired by Cuban and South American dances, and music that had never been heard before — anytime, anywhere.

 

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