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Oberlin Conservatory Honors Black History Month 

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by Mike Telin

Beginning this week, Oberlin Conservatory will honor Black History Month with a series of events titled To Be Young, Gifted, and Black. It begins on Thursday, February 4 at 7:30 pm with a series overview hosted by Chris Jenkins, the Conservatory’s associate dean for academic support and liaison to the Office of Equity, Diversity, and Inclusion. The programs, which continue throughout the month, will be broadcast live on Oberlin Stage Left. A calendar of events can be found at the bottom of this article. 

Saturday, February 6 at 1:30 introduces “Decentering the Canon in the Conservatory.” Moderated by Chris Jenkins, the symposium is the result of conversations held by Conservatory faculty over the summer of 2020 — talks dedicated to responding to the murders of George Floyd and Breonna Taylor, and other tragedies linked to systemic racism. The event is presented as part of the Richard Murphy Musicology Colloquium.

What is the canon and what does decentering the canon mean? “The panelists have written extensively on this topic,” Jenkins said during a recent interview. “Although they come at it from different points of view, they agree that the canon has centered esthetically and conceptually on the idea of whiteness and on works by white composers. Beethoven and Brahms have certainly been elevated by the quality of their work, but just as much because of the obsession with Germanic culture that characterized American classical music in the 20th century. The panelists are talking about music that is other, which has its roots in cultures of people of color, and has been systematically excluded for reasons other than quality.”

[Read more…]

Credo goes online for summer 2020

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by Mike Telin

When it became clear that moving forward with an in-person music festival on the Oberlin campus was out of the question, Credo wasted no time making the decision to take the 2020 Festival online. “We thought that if the projections were right, there would be portions of the population that would feel safer with this method,” Credo’s Artistic Director Peter Slowik said during a recent telephone interview. “I think we had announced Credo Online by March 15, and I believe we were the first music festival to do that.”

Beginning on June 22 and continuing through July 10, nearly 160 students will be logging in every day to participate in live events including master classes, private lessons, and chamber music excerpt classes. Students will also have access to a variety of recorded content such as curated concerts by the Arianna, Callisto, and Jasper String Quartets, and faculty lectures about technique, as well as music theory and history discussions. They can also engage with their fellow Festival participants during “hangout sessions.”

How did the Festival planners figure out how to make everything work smoothly and efficiently? “It’s funny, because you solve one problem only to discover that you’ve created another,” Slowik said. “Most music festivals are built on the premise that you get a bunch of people together, sort them out, and do a lot of interactive things. But when you have students from five time zones in the U.S. alone, not to mention Asia, and teachers in three time zones in the U.S., it gets a little interesting when you’re planning remote private lessons. It’s also important that everybody is together for a master class, so those need to be scheduled at a certain time of day.”

[Read more…]

Charles McGuire on Cleveland Chamber Choir’s “March Choral Madness”

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by Daniel Hathaway

Cleveland Chamber Choir’s “March Choral Madness” concerts this weekend won’t feature dueling madrigals vying for slots on basketball-like brackets as they did in 2018. Instead, artistic director Scott MacPherson has chosen an interesting program of works by Johannes Brahms, Andrew Rindfleisch, and Benjamin Britten for the Choir’s mid-season programs on Saturday, March 9 at 7:30 pm at Brecksville Methodist Church and Sunday, March 10 at 3:00 pm at First Baptist in Shaker Heights.

I chatted on the phone recently with Oberlin Conservatory musicology professor Charles Edward McGuire, who will be giving pre-concert lectures 45 minutes before each of this weekend’s performances. What does he plan to tell the audience?

“I’ll be talking about my love for all three of these fantastic composers,” he said, adding that he’s trying to decide how interactive he wants to make the presentations. “You don’t have all the audiovisual aids in a concert venue that you would in a classroom. You have to rely on people’s imagination, slip in the occasional joke, and hope that the handheld microphone works.”

[Read more…]

Oberlin Conservatory opens year with WWI Festival (Sept. 8-9)

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by Daniel Hathaway

New school years in conservatories of music don’t often begin with big projects that bring multiple faculty members together around a single topic, but violin professor Sibbi Bernhardsson may have started something at Oberlin with his World War I festival last weekend. Two gallery presentations, four concerts, and two panel presentations on Saturday and Sunday, September 8 and 9 involved some twenty Oberlin faculty musicians and thirteen speakers from Oberlin and beyond in “Creative Arts & Music in the Shadow of War — Commemorating the Centenary of WWI.” [Read more…]

Oberlin Conservatory to begin year with World War I Festival Sept. 8 & 9

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by Daniel Hathaway

“I’ve always loved music from the early 20th century, particularly during World War I, ” Oberlin violin professor Sibbi Bernhardsson said in a recent telephone conversation. “And I’m fascinated by the decade after the war, which is more varied than any ten-year period in the 19th century. You have the Second Viennese School, the Russian composers, things that are starting up in America, Modernism, and reactions to this and that. It’s a very rich time.”

Bernhardsson, who joined the Conservatory faculty last year after 17 seasons touring with the Pacifica Quartet, was seized by the idea of marking the 100th Anniversary of the cessation of hostilities, using Oberlin’s deep musical and scholarly resources to explore the music surrounding the Great War. “Looking at the number of great chamber pieces that were written during the era, not only are they all very different, some are clearly about the war while other composers were writing as though there was no war going on at all. This became a fascinating thing to me,” he said.

The violinist broached the idea of a festival with Oberlin musicology professor Charles McGuire early last spring only to discover that McGuire, who is in charge of Oberlin’s Murphy Colloquium, had already been talking with his colleagues about mounting a panel discussion about World War I music. “That seemed fortuitous,” McGuire said in a separate telephone conversation. “It’s always better to plan a scholarly panel if it’s surrounded by great music, and Sibbi’s very enthusiastic — a whirlwind when he sinks his teeth into something.” [Read more…]

Cleveland Chamber Choir joins March Madness — with Madrigals

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by Daniel Hathaway

ScottMacPhersonClevelandChamberChoirMaybe you’ve already begun filling out your 2018 NCAA March Madness bracket. But if making predictions about basketball isn’t your passion, why not turn to madrigals instead? Cleveland Chamber Choir director Scott MacPherson will join a reduced contingent of his singers in “March Madrigal Madness” in the Recital Hall of the Cleveland Museum of Art on Sunday, March 18 at 3:00 pm to present his own “Sweet Sixteen.”

“At the end of last season, we decided to expand slowly and offer a third program in 2017-2018,” MacPherson said in a telephone conversation. “We thought it would be fun to tie a March program into the NCAA tournament. We can’t really set up a 64-composer draw, but we want the concert to be interactive, so we’ll print the program in the form of a 16-song tournament bracket.”

MacPherson will invite the audience to vote on their favorite madrigal or part song by composers in four national categories — three of them from the 16th century and one from the 19th. [Read more…]

Oberlin Collegium Musicum celebrates 20 years with Steven Plank on February 20: Interviews with three of the reunioning singers

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by Mike Telin

Since its founding in the early 1960’s, the Oberlin Collegium Musicum has become one of the most popular ensembles on campus both among conservatory and college students. Some would say that over the years it has developed something of a cult following both in its on campus and off campus performances. The Collegium has varied in character over the decades, but for the past 20 years, the group has been a 40-voice chorus conducted by Steven Plank, professor of musicology at the Oberlin Conservatory.

The Collegium will celebrate this milestone in a two-day reunion on February 19 & 20 culminating in a free performance on Saturday evening at 8 pm in Warner Concert Hall. Some sixty Collegium alumni will gather to sing a program of renaissance music, and Plank has taken advantage of this large group of singers to open and close the concert with one of the most spectacular pieces in the 16th century repertory: Thomas Tallis’ forty part motet for eight choirs of five voices each. This mammoth piece will be sung both in its Latin (‘Spem in Alium’) and English forms (‘Sing and Glorify’).

Dr. Plank has had a remarkable influence on his students over the years. Here are interviews with three alumni who will be joining the reunion chorus this weekend. [Read more…]

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