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ChamberFest Cleveland: 
An Enchanting Celebration (July 2)

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by Peter Feher

If you missed the tail end of ChamberFest Cleveland’s season, don’t be too worried. The highlights from each summer of brilliant, collaborative performances have a way of sticking around — online on the Festival’s YouTube channel and, more recently, on the radio with WCLV. Certainly this year’s finale, on July 2 at the Maltz Performing Arts Center, was full of such memorable musical moments.

The program, titled “An Enchanting Celebration,” made good on its promise of a special event. ChamberFest put two large ensembles on stage for a pair of works brimming with instrumental and stylistic variety.

[Read more…]

ChamberFest Cleveland:
“Timeless Explorations” (June 25)

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by Daniel Hathaway

The first piece of business at ChamberFest Cleveland’s June 25 concert in Mixon Hall at the Cleveland Institute of Music was rearranging the order of the program. “Timeless Explorations” was to have begun with a new piece, but probably for practical reasons involving a prepared piano, Yevgeniy Sharlat’s Dumka-22 and Beethoven’s Piano Trio, Op. 70, No. 2 traded places.

Violinist Diana Cohen, cellist Jonathan Swensen, and pianist Andrius Žlabys launched the sixth concert of ChamberFest’s tenth anniversary season with an effervescent performance of Beethoven’s least-performed trio. Bedecked with sparkling runs and ensemble flourishes and set in the gemütlich key of E-flat, the piece made an attractive opener and served as a lovely vehicle for the musicians to express their unassuming virtuosity.

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ChamberFest Cleveland: “Spirited Away” at Disciples Church (June 17)

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by Daniel Hathaway

The post-COVID era may be on the horizon, but it hasn’t arrived yet. That dastardly microbe that has wrought havoc in the performing arts world for more than two years is still on the prowl.

Just ask Jessica Peek Sherwood, ChamberFest Cleveland’s new executive director, whose first official acts since coming on board June 1st have been to replace musicians whose positive test results have left them on the sidelines.

Swapping out individuals in a festival roster can often be accomplished quickly and efficiently, as for ChamberFest’s opening concert when Rising Star Sterling Elliott offered to step in for another cellist without missing a beat. It’s not so simple when a guest ensemble like King’s Return, the Dallas male vocal quartet, is scheduled to headline a concert. [Read more…]

ChamberFest Cleveland & Cleveland Chamber Music Society at the Maltz (Apr. 5)

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by Daniel Hathaway

Having discovered surprisingly little overlap between their mailing lists, Cleveland’s two main purveyors of chamber music decided to bring their followers together on April 5 to enjoy a joint concert at the Maltz Performing Arts Center.

Although they tend the same vineyard, The Cleveland Chamber Music Society and ChamberFest Cleveland go about their mission differently. [Read more…]

ChamberFest & Chamber Music Society come together April 5 “For the Love of Chamber Music”

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by Mike Telin

Examining the mailing lists of an arts organization can reveal a lot. First and foremost that list tells you who is attending the events. And when comparing the mailing lists of two like-minded organizations, for example ones devoted to chamber music, one would expect to find more than a fair amount of overlap.

“Many of us at Cleveland Chamber Music Society have gone to a lot of ChamberFest concerts over the years and admired their exceptional quality and creative programming,” Steve Somach, the CCMS director of programming, said by telephone. “We have commented amongst ourselves that when we attend those concerts, there are so many unfamiliar faces.”

During a separate conversation these sentiments and observations were echoed by Franklin Cohen, one of ChamberFest Cleveland’s artistic directors. “I’ve always loved going to CCMS concerts,” he said, adding that it is a different audience.

After some discussion, the two organizations decided to compare their respective mailing lists, and they were met with a surprising discovery — there was very little duplication. “It became apparent that having a collaborative event would be a great way for Cleveland-area chamber music lovers to be introduced to both organizations,” Somach said. [Read more…]

ChamberFest Cleveland: Emerging into Light (June 24)

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by Timothy Robson

It was with a sense of relief and anticipation that I attended last Thursday’s third-to-last concert of ChamberFest Cleveland 2021, after a complete pandemic cancellation of its 2020 season. This musical star of Cleveland summers returned along with many performers from past seasons, plus talented younger musicians in CFC’s Rising Star program. As usual, the performances were top-notch. [Read more…]

ChamberFest Cleveland — Luscious Soundscapes (June 16)

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by Mike Telin

On Wednesday, June 16 at 7:00 at The Grove Amphitheatre, ChamberFest’s theme of the evening was Luscious Soundscapes and included music by Richard Strauss and Amy Beach.

However, it was pianist Shai Wosner’s imaginative interweaving of sonatas by Italian Baroque composer Domenico Scarlatti with sonatas by American composer Frederick Rzewski that got things off to a fascinating start. [Read more…]

ENCORE and ChamberFest: World Class Music in the eastern suburbs (June 11 & 12)

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by Daniel Hathaway

Since many Clevelanders don’t have a clue why State Route 91 in Cuyahoga and Lake Counties is called SOM Center Road, maybe it’s time to rename at least one five-mile segment of that thoroughfare that passes through the centers of Solon, Orange, and Mayfield townships.

Based on recent events, its new designation might well be “Chamber Music Way” in honor of the fine performances that are taking place this month at Gilmour Academy in Gates Mills and The Grove Amphitheatre in Mayfield, courtesy of ENCORE Chamber Music Institute and ChamberFest Cleveland, respectively. In addition to the distinction of presenting some of the first in-person performances to come onto the calendar since the pandemic, both organizations were making their debuts in new venues. [Read more…]

ChamberFest Cleveland:
Looking Ahead at Week 2

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by Mike Telin

The second week of ChamberFest Cleveland begins on Wednesday, June 16 at 7:00 pm at The Grove Amphitheatre in Mayfield. Admission is free, but reservations are required. A full weekly calendar listing is below.

The program “Luscious Soundscapes” begins with pianist Shai Wosner’s imaginative interweaving of sonatas by Italian Baroque composer Domenico Scarlatti (1685-1757) with sonatas by American composer Frederick Rzewski (1938 -). Wosner’s three pairings include Scarlatti’s Sonata in d K. 141 with Rzewski’s Nanosonata No. 36 (“To a Young Man”), Scarlatti’s Sonata in d K. 9 with Rzewski’s Nanosonata No. 38 (“To a Great Guy”), and Scarlatti’s Sonata in c K. 230 with Rzewski’s Nanosonata No. 12.

If juxtaposing music by these two seemingly dissimilar composers sounds like an oddity, Wosner believes they make an interesting match. “I love Scarlatti and I love Rezewski,” the pianist said during an interview. “And I think that Scarlatti and Rzewski are mavericks in similar ways. Of course their music is very different from one another’s, and Rzewski was not trying to emulate Scarlatti in any way with his short sonatas. The Nanosonatas are almost like a stream of consciousness, but I hear that in the Scarlattis as well.” [Read more…]

ChamberFest Cleveland: a conversation with Shai Wosner

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by Mike Telin

After a long wait, the next edition of ChamberFest Cleveland will kick off on Wednesday, June 9 at 7:00 pm at The Grove Amphitheatre in Mayfield. Admission is free, but reservations are required. The program, titled “Legends,” will include Antonín Dvořák’s Legends, Enrique Granados’ Sonata for Violin and Piano, Paul Wiancko’s American Haiku, and Franz Schubert’s Trio No. 2 in E-flat.

The evening will begin with pianist Shai Wosner’s arrangement of the Dvořák performed by clarinetist Franklin Cohen, violist Dimitri Murrath, and Wosner, who will be making his ChamberFest debut.

Originally written for piano four-hands, the ten pieces that comprise the work were later arranged for orchestra by the composer. I asked the pianist why he decided to make his own arrangement, and why he chose this particular instrumentation?

[Read more…]

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