Clive Greensmith Archives - Page 2 of 2

ChamberFest Cleveland: a conversation with first-timer (but no stranger) Clive Greensmith

June 18, 2015 by Daniel Hathaway

by Daniel Hathaway

Cellist Clive Greensmith last played in Cleveland in November of 2012. That appearance brought him to the Cleveland Chamber Music Society series during the farewell season of the Tokyo Quartet. He will return to town this week to play several works during ChamberFest Cleveland. We interviewed Greensmith in 2012 and caught up again by telephone to ask him about his ChamberFest assignments and his post-Tokyo Quartet activities.

Daniel Hathaway: When we last talked, you were heading off at the end of the Tokyo Quartet’s last season to teach at the Colburn School in Los Angeles. How is everything going for you these days?

Clive Greensmith: Two years on, everything is going wonderfully well. I was very happy with the way we ended as a quartet — we went out on a high. And I’ve just finished two wonderful years at the school now. [Read more…]

Cleveland Chamber Music Society — The Tokyo String Quartet: a conversation with cellist Clive Greensmith about its valedictory season

October 23, 2012 by Daniel Hathaway

by Daniel Hathaway

The Tokyo String Quartet stunned its many fans when it announced its intention to leave the concert circuit in July of 2013, after deciding not to replace retiring violinist Kikuei Ikeda and violist Hazuhide Isomura. The group’s final appearance in Cleveland will take place on October 30 at Plymouth Church on the Cleveland Chamber Music Society series, when the Tokyo will play Haydn’s Quartet op. 76, no. 4, Alban Berg’s Quartet op. 3 and Brahms’s Quartet op. 67. British-born cellist Clive Greensmith (left) joined the Tokyo Quartet in 2002 and along with first violinist Martin Beaver made the decision to retire the whole group. We reached Greensmith by phone in New Haven, where the quartet is in residence at Yale, to ask about how a string quartet goes about closing up shop after 44 years.

Daniel Hathaway: Did it come as a surprise to you when Mr. Ikeda and Mr. Isomura decided to retire?

Clive Greensmith: Actually, no. We had been talking about what direction the quartet should go in, and as has been fairly well publicized for a while, Martin and myself thought it would be a good thing to try to find new members. [Read more…]

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SalonEra: Medieval Christmas

by Nicholas Stevens

Art often transcends without trying, remaining rooted in its specific regional, topical, or historical niche yet appealing well beyond. A humble central-German cantor became Bach, an observer of social posturing in a narrow slice of the gentry became Austen, an aerosol virtuoso known to tag lower-Manhattan walls became Basquiat.

Northeast Ohio’s Les Délices has long been that rarest of beasts: a world-class organization so proud of its region (ours) and repertoire (distinct niches in pre-1800 music) that it never tries to be everything to everyone, paradoxically making a strong case for a broad, curious international following. In the December episode of its SalonEra series, the ensemble embraces its strengths and community to marvelous effect. [Read on…]

Piano quintets from
Local 4 Music Fund (Dec. 17)

by Jarrett Hoffman

The Local 4 Music Fund continued its “Tuning In” series on December 17 with an engaging, emotionally wide-ranging program of piano quintets, streamed live from the Steinway Piano Gallery of Cleveland.

The opener was Amy Beach’s Op. 67 (1907), a late-Romantic showcase of powerful and direct expressiveness. The closer was Dmitri Shostakovich’s intense but close-to-the-vest Op. 57 (1940). And in between was Eric Charnofsky’s 5 by 5 (2011), in one respect a hybrid of those other styles of musical communication: sometimes overtly emotional, but often exhibiting a coolness in its leaping gestures and its glassy harmonies.

[Read on…]

Music From The Western Reserve: Shapiro continues Beethoven cycle (Dec. 13)

by Nicholas Stevens

Music From The Western Reserve concerts always fall on Sunday, even as streams. December 13 was therefore as close to Beethoven’s likely birthdate on the 16th as the presenters could come to throwing a virtual party. Debuting their stream before that occasion made little difference in the concert’s power: over a week later, pianist Daniel Shapiro’s stunning interpretations remained lodged in this reviewer’s mind. As social media lit up with tributes and music-lovers around the world raised a glass, Shapiro’s MFTWR video remains on YouTube, where those interested can still listen and learn what it means to truly engage with Beethoven.

[Read on…]

Cleveland Opera Theater: Amahl and the Night Visitors

by Mike Telin

What’s on your list of favorite holiday classics? The ones you remember from childhood and — as an adult — still look forward to seeing. My list begins with Tchaikovsky’s The Nutcracker, followed by Dickens’ A Christmas Carol. And I still enjoy How the Grinch Stole Christmas and A Charlie Brown Christmas — especially Vince Guaraldi’s musical score.

Another I remember fondly is Gian Carlo Menotti’s Amahl and the Night Visitors. Commissioned by NBC, the one act, made-for-television opera, premiered on December 24, 1951, at the network’s studios in New York’s Rockefeller Center. And now, through the wonders of technology, Cleveland Opera Theater has created a magical new production of the work which is available on demand through January 6, 2021 (Three Kings Day). [Read on…]

CD Review—
Bassoonist Dana Jessen: Winter Chapel

by Mike Telin

Improvisation: the act of creating something without preparation.

Inspiration: The process of being mentally stimulated to do something creative.

On her debut album Carve, Dana Jessen challenged listeners to discard any preconceived notions they might have had about the bassoon, and allow themselves to be swept into a magical world of colorful acoustic and electronic soundscapes. The album included commissioned works interwoven with improvisations.

Jessen has now followed up with her second solo CD, Winter Chapel. Recorded on January 17, 2020 in Oberlin College’s Fairchild Chapel and available on Carrier Records, the album is a continuum in Jessen’s journey to push the musical boundaries of her instrument and herself as an improviser. [Read on…]

CD Review— Eighth Blackbird: Singing in the Dead of Night

by Lilyanna D’Amato

I know noble accents
And lucid, inescapable rhythms;
But I know, too,
That the blackbird is involved
In what I know.

Thus begins the eighth stanza of Wallace Stevens’ intensely evocative poem Thirteen Ways of Looking at a Blackbird, which describes the haunting flight of a blackbird against the backdrop of a devastatingly still, snowy night.

Enigmatic but vivid, Stevens’ imagery now serves as the artistic cornerstone of a premiere contemporary classical ensemble: Eighth Blackbird. [Read on…]

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