Christopher Auerbach-Brown Archives - Cleveland Classical

No Exit: 5 composers, 5 premieres, part 2

February 12, 2019 by Jarrett Hoffman

by Jarrett Hoffman

If you ask a bunch of composers how they dreamed up their latest pieces, they’ll all have something completely different to say.

That’s what I learned this past week, when I spent time on the phone with five of them to ask about their new chamber works being premiered by No Exit this weekend.

That new music ensemble, directed by Tim Beyer, will give free performances of these pieces at Heights Arts (Friday, February 15 at 7:00 pm), SPACES gallery (Saturday, February 16 at 8:00 pm), and WOLFS gallery (Friday, March 1 at 7:00 pm) in this second installment of the group’s Cleveland Composers Series.

Pianist Brianna Matzke plays Auerbach-Brown’s Slow Waltzes at the Bop Stop (June 12)

June 28, 2016 by Mike Telin

by Mike Telin

When is the tempo of a waltz too slow? For composer Christopher Auerbach-Brown the answer may well be never, as was evident during the first full performance of his 2014 work titled The Slow Waltzes at the Bop Stop on Sunday, June 12. [Read more…]

No Exit Begins new season with concerts on November 22 & 24

November 24, 2014 by Daniel Hathaway

by Mike Telin

NoExit The new music ensemble No Exit will launch their 2014-15 concert season next week by shining a spotlight on the works of area composers, including the debut of two world premiere pieces. The performances will take place on Saturday, November 22 at 8:00 pm in Spaces Gallery and on Monday, November 24 at 8:00 pm in Cleveland State University’s Drinko Auditorium.

No Exit artistic director Timothy Beyer says that, “While we have always been very passionate in our focus on Cleveland-area composers, this concert is unique in that with the exception of the Jacob Druckman piece, the entire program consists of living composers from our area. I think that we live in an age where ʻregionalismʼ, in regard to art music, is not such a meaningful term anymore. Itʼs become a much bigger world than that. However, there is still something quite singular and extraordinary about so much music coming out of our neck of the woods. We wanted to present a program that reflected this.” [Read more…]

Cleveland Orchestra’s holiday concerts return with plenty of festive cheer (Dec. 11)

by Stephanie Manning

This article was originally published on Cleveland.com

CLEVELAND, Ohio — If the twinkling lights, leafy green garlands and festive poinsettias didn’t already clue you in, the holidays have arrived at Severance Music Center. ‘Tis the season for annual traditions — including The Cleveland Orchestra’s holiday concerts, which began on Wednesday evening.

Running through December 22, the programs feature plenty of seasonal classics plus some potential new favorites. The first performance proved that this mix is a delightful recipe for festive cheer.

“Look at you all, out on a school night!” conductor Sarah Hicks proclaimed joyfully from the podium. Just as many concertgoers donned red outfits to get into the spirit, Mandel Concert Hall was also decked out with decorations and stage lighting effects.

Oberlin Conservatory convincingly tells Omar’s story (Dec. 8)

by Stephanie Manning

The Cleveland premiere of Rhiannon Giddens’ and Michael Abels’ Pultizer Prize-winning opera Omar on December 8 at the Maltz Performing Arts Center proved that concert productions of opera can succeed without sets, elaborate costumes and extensive staging. Indeed, the Oberlin Conservatory presentation offered more than enough to keep the audience in the crowded house enthralled.

The Opera, which was also presented at Oberlin’s Finney Chapel two days earlier, is based on the 1831 autobiography of Muslim scholar Omar ibn Said, the only such work written by an enslaved person during their enslavement, and the only such document written in Arabic.

Rhiannon Giddens’ brilliant libretto chronicles the life of ibn Said, beginning in present-day Senegal and following him through his capture, journey via the Middle Passage, and enslavement in North and South Carolina. [Read on…]

Kirill Gerstein is captivating on piano as Cleveland Orchestra recital series continues (Dec. 4)

by Daniel Hathaway

This article was originally published on Cleveland.com

CLEVELAND, Ohio — There’s no dearth of first-class piano performances to enjoy in Northeast Ohio, but Kirill Gerstein’s contribution to the collective wealth Wednesday night was extraordinary both in concept and execution.

Playing as part of the Cleveland Orchestra’s ongoing recital series at Severance Music Center, Gerstein wove an overarching narrative from the 21 little masked ball portraits in Robert Schumann’s “Carnaval.” Then he helped composer Francisco Coll blow up the idea of the waltz in two striking, brand new pieces written for Gerstein and joined Maurice Ravel in redefining that most civilized of dances in a cataclysmic performance of “La valse.”

See all reviews