Erik Satie Archives - Cleveland Classical

No Exit in “Music, Mind, Mirth, and Mayhem,” music influenced by Erik Satie, at Spaces (April 8)

April 20, 2016 by Daniel Hathaway

by Mike Telin

For the most recent installment of No Exit’s year-long celebration of Dadaist composer Erik Satie, the ensemble commissioned seven composers to write new works representing their own take on Satie and how his music has shaped their own musical universe. On Friday, April 8 in the acoustically pleasing SPACES gallery, No Exit presented the second of three performances featuring the new compositions. The Satie-inspired musical sandwich also included works by Heinz Holliger, Georges Delerue, and Buck McDaniel. [Read more…]

No Exit to celebrate music of
Erik Satie in three concerts

April 4, 2016 by Daniel Hathaway

by Mike Telin

Although Erik Satie’s Vexations consists of a single page of manuscript, the composer included the following statement: “In order to play the theme 840 times in succession, it would be advisable to prepare oneself beforehand, and in the deepest silence, by serious immobilities.”

Beginning on Monday, April 4 at 8:00 pm in Cleveland State University’s Drinko Recital Hall, No Exit will present the first of three area concerts featuring Satie’s incomparable work. The concerts are the second installment in the ensemble’s year-long celebration of the music, mind, mirth and mayhem of the original musical Dadaist, who lived from 1866 to 1925. The program will be repeated on Friday, April 8 at SPACES and on Saturday, April 16 at Heights Arts. Both concerts will begin at 8:00 pm. [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.

[Read on…]

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.”

[Read on…]

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