by Jarrett Hoffman
A swirl of CIM connections pervades the next program from the school’s New Music Ensemble, starting with the featured guest: Jerod Impichchaachaaha’ Tate ’00, a composer and citizen of the Chickasaw Nation in Oklahoma who is dedicated to the development of American Indian classical composition.
“Jerod has been on my list for quite some time,” New Music Ensemble director Keith Fitch said in an interview. “He’s a really interesting composer who’s carved a fascinating career, and who is representative of a community of musicians we don’t often hear from.”
Music from opposite ends of Tate’s career will bookend the program on Sunday, October 31 at 4:00 pm in Mixon Hall. Talowa’ Hiloha (Thunder Song) for solo timpani was written in 1997 when he was at CIM, while MoonStrike for string quartet and narrator was premiered in 2019. The role of narrator, who recounts three American Indian legends, will be played in this case by Tate himself.
This season, even more than usual, Imani Winds is booked and busy. Rescheduled concerts from last year, combined with new additions to their schedule, promise a season full of travel and performances. “It’s a lot of making up for lost time,” bassoonist Monica Ellis said in a recent interview. “We’re just grateful that we’re able to be back and have live performances again, in one way or another.”
Till Fellner last came to town in 2011 at the invitation of the Cleveland Chamber Music Society. The Austrian pianist returns to the series for a recital next Tuesday, November 12 at 7:30 pm in Mixon Hall at the Cleveland Institute of Music. Roger Klein will give a pre-concert lecture at 6:30 pm. Tickets are available 
Murder, cannibalism, a return from the dead, and revenge — basically everything you could want from an evening out. You get all of that in Philip Glass’ and Robert Moran’s 
A rare sensitivity emanated from the stage of CIM’s Mixon Hall on June 8. The source was Jason Vieaux, playing a carefully crafted program of music mostly from the 1700s during the Cleveland International Classical Guitar Festival.
Mozart the influencer was documented in music for winds by Beethoven and Poulenc for ChamberFest Cleveland’s fifth program on Thursday, June 20 in CIM’s Mixon Hall, while the notion of “Mozart the Giant” was affirmed by the composer’s own 
This weekend a collection of carefully placed screws, bolts, and pieces of wood, cloth, and rubber will make the Steinway in CIM’s Mixon Hall sound less like a piano and more like an ensemble of percussion instruments.
Even for Alexi Kenney — who has loved Bach since age six and considers the Chaconne from the Second Violin Partita to be one of the greatest pieces of all time — digesting the work is not easy.
When given her choice, guitarist Xuefei Yang likes to present programs that represent a variety of musical styles. “The guitar is such a diverse instrument, and I think of myself as a diverse player as well,” Yang said via Skype from her home in the U.K.
Since bursting onto the scene in 2012 with its