Fredrik Schøyen Sjölin Archives

Danish String Quartet at Cleveland Chamber Music Society (Nov. 14)

November 21, 2023 by Kevin McLaughlin

by Kevin McLaughlin

Could the prodigiously talented players of the Danish String Quartet all be drinking from some magic source? By now among the world’s finest quartets — perhaps taking the top rung left by the Emerson Quartet after their recent retirement — they perform with such easy excellence and intuitive musical consensus that you wonder: is this the product of hard work and long hours of rehearsal, or some magic potion?

Neither strain nor sweat were visible in the program for the Cleveland Chamber Music Society on November 14 at Disciples Christian Church, which included works by Mozart, Britten, Adès, and their own folk arrangements.

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Danish String Quartet to open Cleveland Chamber Music Society series

October 3, 2017 by Jarrett Hoffman

by Jarrett Hoffman

When you play the first track of Last Leaf, the Danish String Quartet’s new album of Nordic folk music, a tune over a drone in the harmonium meets your ears. Whether “Despair Not, O Heart,” a Lutheran chorale known mostly as a funeral hymn, finds a certain spot in you called soul or just some hidden nook of the brain, it feels special.

Praised by the Washington Post as “one of the best quartets before the public today,” the Danish String Quartet — Rune Tonsgaard Sørensen and Frederik Øland, violins, Asbjørn Nørgaard, viola, and Fredrik Schøyen Sjölin, cello — follow up Last Leaf with an October tour beginning in the U.S. and wrapping around to Denmark and Germany.

On October 10, the Cleveland Chamber Music Society brings the Quartet to Plymouth Church UCC in Shaker Heights with a program of Bartok’s String Quartet No. 1, Beethoven’s String Quartet, Op. 59, No. 1, and Nordic folk music arranged by the Quartet.

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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.

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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.”

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