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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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ChamberFest Cleveland: “Karenin’s Smile” (June 16)

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by Kevin McLaughlin

After the seriousness and communal pall brought on by the COVID pandemic, this year’s ChamberFest is asserting “Lightness of Being” as a theme, inspired by Milan Kundera’s 1984 novel The Unbearable Lightness of Being. In the second concert of the Festival, titled “Karenin’s Smile,” works by Mozart, Janáček, and Saint-Saëns were appropriately buoyant and cheerful, thrilling those gathered at Cleveland’s St. Wendelin Church on June 16.

Mozart wrote two of his six so-called “viola quintets” in 1787 in close succession — one in C major, one in G minor. The C major, with its more amiable and optimistic disposition, was a fitting choice on Friday evening.

Cellist Jonathan Swensen opened with a puckish rising arpeggiated triad, which first violinist David Bowlin answered with equally cheeky delight. The wide-ranging motive hinted at the movement’s dimensions (a good fifteen minutes long), and the violin answer set the bantering pattern. Bowlin made a fine leader, acquitting himself in both Allegro movements with mirthful virtuosity.

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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.”

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ChamberFest Cleveland: “In Full Swing” (June 14)

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by David Kulma

CIM’s Kulas Hall on Friday, June 14 was the setting for the enjoyable and amazingly performed second concert in ChamberFest Cleveland’s eighth season. Titled “In Full Swing,” the evening featured three works tangentially related to dancing by Leonard Bernstein, John Adams, and Antonín Dvořák. But before the fantastic music-making by professionals, the pre-concert performance by the Deng sisters was easily a highlight. [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…]

AHA! Festival concert to feature ChamberFest Cleveland piano trio

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by Hannah Schoepe

Rabinovich-Herbert-BowlinWhisking the listener away on a diverse journey of sounds, the AHA! Festival will present a piano trio from a fellow local summer series, ChamberFest Cleveland. Pianist Roman Rabinovich, cellist Oliver Herbert, and violinist David Bowlin will come together to play gems of the chamber music repertoire by Brahms, Kodály, and Janáček on Friday, June 8 at 2:00 pm in Drinko Hall at Cleveland State University.

Friday’s program will feature Brahms’ effervescent Piano Trio No. 1 in B, completed in 1854 and revised throughout the composer’s life. One of the most popular trios of all time, it reflects both the vivaciousness of Brahms’ youth and the emotional depth of his maturity. We recently spoke with David Bowlin, who admitted that the work is his favorite on the program. “I love the whole B-major trio,” he said. “Everyone loves the B-major trio!”

The concert also includes a modern twist: the Kodály Duo for Violin and Cello, and Janáček’s Pohádka (“Fairytale”) for piano and cello.

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Lou Harrison Centennial at the Cleveland Museum of Art (Oct. 20)

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by Timothy Robson

Harrison-MITAmerican composer Lou Harrison (1917-2003) studied with Arnold Schoenberg and Henry Cowell, but followed his own creative path, strongly influenced by Asian music, especially the gamelan music of Java (now a part of Indonesia). In celebration of Harrison’s 100th anniversary, the Cleveland Museum of Art presented a concert of his music on Friday, October 20 in Gartner Auditorium. The evening featured radiant performances by the MIT-based Gamelan Galak Tika, founded and directed by composer Evan Ziporyn. [Read more…]

Cleveland Museum of Art presents Lou Harrison Centennial October 20

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by Jarrett Hoffman

Harrison-LouFamous for his integration of traditional musics of Asia into classical music of the West, composer Lou Harrison died in 2003 at the age of 85 as he was on his way to Ohio State University for a week of performances of his music. A few months shy of his 100th birthday, the Cleveland Museum of Art will celebrate the composer’s centennial this Friday, October 20 at 7:30 pm at CMA’s Gartner Auditorium.

The program includes Harrison’s Concerto for Piano with Javanese Gamelan and his Suite for Violin with American Gamelan, and will feature pianist Sarah Cahill, violinist David Bowlin, and the Boston-based group Gamelan Galak Tika, directed by Evan Ziporyn, playing two of the composer’s own sets of gamelans. [Read more…]

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