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Electroacoustic composer Sarah Davachi on CMA series at Transformer Station (Oct. 6)

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by Daniel Hathaway

Some composers of electroacoustic music are content to assemble collections of ear-tickling sounds — the musical equivalent of shiny objects that briefly attract attention. Others construct pieces that feature some kind of unifying narrative that invites the listener on a journey with a beginning, a middle, and an end. Canadian-born Sarah Davachi belongs to the latter persuasion, as she demonstrated at Transformer Station on Sunday evening, October 6. Her engaging, hour-long performance was part of the Cleveland Museum of Art’s Performing Arts Series. [Read more…]

Electroacoustic musician Sarah Davachi makes her Cleveland debut at Transformer Station 

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by Mike Telin

While growing up in Calgary, Sarah Davachi studied the piano — until it stopped engaging her. “It didn’t feel like the instrument I wanted to use to express myself,” the electroacoustic musician said during a telephone interview. “When I got the bug to make, as opposed to just play other people’s music, I started letting go of the piano.” Then, in 2007, Davachi fortuitously took a job at Calgary’s National Music Centre, which houses a large collection of musical instruments including vintage synthesizers and organs. Davachi’s life was forever changed.

On Sunday, October 6 at 7:30 pm at Transformer Station, Sarah Davachi will make her Cleveland debut with a solo concert of electronic soundscapes. The evening is part of the Cleveland Museum of Art’s Performing Arts Series. Tickets are available online.

A graduate of the University of Calgary, Davachi also holds a master’s degree in electronic music and recording media from Mills College and is currently pursuing a PhD in musicology at UCLA. Her compositions combine her interest in vintage analog synthesizers with contemporary treatment of acoustic instruments. She released her first recording, Barons Court, in 2015. Her ninth album, Pale Bloom, was released in June of this year. [Read more…]

ChamberFest Cleveland 2019: Under the Influence

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by Mike Telin

Since bursting onto the scene in 2012 with its Big Bang!, ChamberFest Cleveland has established itself as an organization of the highest musical integrity with a seemingly endless number of themed programs. Looking through the archives of this publication, it’s fascinating to see the imaginative and clever way the Festival has reinvented itself each year.

But a closer look reveals that ChamberFest’s mission, “to nurture a deep family-like connection between musicians and audiences of all ages,” has never waned. In summing up the 2016 season, ClevelandClassical.com critic Neil McCalmont noted, “Technical prowess, fierce dedication, and the cultivation of friendships all contribute to ChamberFest’s captivating concerts, which keep audiences coming back season after season.”

Season 8, titled Under the Influence, considers the factors that inspire and influence composers. Cutting-edge pieces by John Adams, John Cage, and Steve Reich will anchor works by other classical composers. Pre-concert talks will be held prior to most concerts and are open to the public. Tickets and subscriptions are on sale now and range in price from $15 to $40. For concert details and additional information, call (216) 471-8887 or visit www.chamberfestcleveland.com.

[Read more…]

Cleveland Museum of Art debuts Cenk Ergün’s Formare (May 8)

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by Daniel Hathaway

Cleveland audiences had their first live encounters with the music of Turkish-born composer Cenk Ergün in March of 2016, when the JACK Quartet premiered his commissioned works Sonare and Celare in Gartner Auditorium at the Cleveland Museum of Art. Ergün’s second appearance at the Museum earlier this month came in the form of a Cleveland Foundation Creative Fusion project. On Wednesday evening, May 8, the composer (seated on the pavement above) unveiled his hour-long Formare, turning the Ames Family Atrium into a vast sound installation. [Read more…]

Cleveland Museum of Art to present world premiere of Ergün’s Formare

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by Mike Telin

Since its inception in 2008, the Cleveland Foundation’s Creative Fusion program has brought more than 80 international artists to Cleveland for residencies. For the program’s latest edition, the Cleveland Museum of Art (CMA) is partnering with the Foundation in the commissioning of six new works by composers from across the globe under the auspices of the Museum’s Performing Arts Series.

On Wednesday, May 8 at 7:30 pm in the Museum’s Ames Family Atrium, composer Cenk Ergün will present Formare, the second premiere of the series. The work is scored for female choir, children’s choir, harpsichords, and trombones. The hour-long concert is free.

Responding to questions by email, Ergün said that the work’s title, Formare, means “to form” in Latin, and refers both to the formation of sound, and to the positioning of the performers within the space. Ergün will use both the ground level and second-floor allées of the atrium.

“The four trombones are divided into pairs and placed on the west and east allées,” Ergün said. “Four of the twelve singers are spread across the north allée, and the other eight, along with three harpsichords and a children’s choir, are positioned evenly across the ground floor. [Read more…]

“Avital Meets Avital” at the Cleveland Museum of Art (Apr. 10)

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by Nicholas Stevens

Building on shared qualities, musicians from divergent traditions and genres can achieve synthesis in sound. This is the premise behind Avital Meets Avital, an album and touring program devised by two unrelated holders of the same Moroccan-Jewish surname. The premise of such cross-genre collaborations implies that musical matter fired from opposing directions will fuse, but still generate the hot glow of differences reconciled. In a recent performance in Cleveland, however, no such glimmer of inter-genre friction remained. [Read more…]

CMA: violinist Carolin Widmann at Transformer Station (Mar. 29)

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by Daniel Hathaway

Concerts at Transformer Station always come with surprises, and on Thursday evening, March 29, there were at least two from the get-go. The audience found themselves seated around one of Mexican artist Raúl de Nieves’ enigmatic beadwork and fabric installations. And in a way, the extraordinary concert by German violinist Carolin Widmann was already in progress when ticket holders arrived. [Read more…]

Avital meets Avital at Cleveland Museum of Art

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by Jarrett Hoffman

Avi Avital remembers meeting Omer Avital — no relation — in the cafeteria at the Jerusalem Music Academy.

“We both had this look on our faces like, ‘What’s in that strange instrument case?’” Avi told me during a recent phone call. “He was with his oud, and I was with my mandolin.”

They started talking and discovered how much they had in common. “There’s the family name, for one thing,” Avi said. “We’re not blood-related, but it’s the DNA of our heritage — Avital is a name that is typical to Jewish Moroccan families.” Both Avi and Omer were born and raised in Israel, their parents having immigrated there from Morocco. “We connected very fast.”

[Read more…]

Organist Emmanuel Culcasi at Cleveland Museum of Art (Mar. 31)

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by David Kulma

The young award-winning Frenchman Emmanuel Culcasi is the most recent organist to set ablaze the thousands of pipes of the Cleveland Museum of Art’s McMyler Memorial Organ. His program on Sunday afternoon, March 31 in Gartner Auditorium focused on light and included works by the great French organist Louis Vierne, who gave a recital on the instrument in March of 1927 when it was still located in the Museum’s Armor Court. [Read more…]

CMA: a conversation with violinist Carolin Widmann

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by Jarrett Hoffman

German violinist Carolin Widmann rarely performs in the U.S. — and we Americans might be feeling a tad neglected.

To smooth things over, the winner of the 2017 Bayerischer Staatspreis für Musik will bring a solo program of Medieval, Baroque, and contemporary music to Transformer Station on Friday, March 29 at 7:30 pm as part of the Cleveland Museum of Art’s Performing Arts Series. Get tickets here.

I caught her on the phone in Leipzig, where she was happy to be home for a day between performances in Italy and Frankfurt. I began by asking her if there’s a reason she doesn’t perform in America more often?

[Read more…]

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