by Daniel Hathaway
Full-length symphony orchestra concerts normally feature three works and run nearly two hours including intermission. The pandemic, which has changed so many things, has truncated programs, both to shorten possible exposure time and to avoid the social mixing of a mid-concert interval.
Thus the third “In Focus” performance by The Cleveland Orchestra that debuted on the Adella platform on November 12 lasts only 54 minutes from stem to stern, including a conversation between Emanuel Ax and Orchestra cellist Martha Baldwin, and features only two highly contrasting works led by music director Franz Welser-Möst. The performances continue to be available on the Adella platform until March.
The music of Hungary occupies a unique place in the world of classical music. Musicians active between the mid-1800s and early 20th century understood the nation as either a land of best-kept secrets and hidden musical diversity, or as a foreign wonderland where exotic dance tunes and virtuosic fiddling occupied a lonely throne. In a recent concert, cimbalom soloist Alexander Fedoriouk and members of The Cleveland Orchestra explored both sides of the old divide: the Hungary that one expects and the richer, stranger version as well.
The Rocky River Chamber Music Society will explore “Chamber Music of Hungary” to begin its 61st season on Monday, October 14 at 7:30 pm at West Shore Unitarian Universalist Church.
Every week, Cleveland Orchestra audiences look forward to hearing the cello section’s lush sounds emerging from the surrounding group. On Friday night at CWRU’s Harkness Chapel, listeners had the unique opportunity to hear the section showcased outside of its orchestral setting in a remarkably delightful concert. iCellisti is an annual event organized by the Cleveland Cello Society and headed up by Ida Mercer, but this is the first year that the entire Cleveland Orchestra cello section was able to take part — except for one player who had a conflict. 