by Kevin McLaughlin
It was nice to finally hear one of ChamberFest Cleveland’s “Sacred and Profane” concerts (“Night Moves” on June 28) in a religious setting — Disciples Church in Cleveland Heights — since it helped the “sacred” music resonate (in more ways than one). As the home of the Cleveland Chamber Music Society’s concerts, it’s a well-loved space to experience chamber music.
It turns out, though, you don’t necessarily need a church — or even voices — to convey the spirituality of the opener, Palestrina’s 1572 motet, Dominus Jesus in qua nocte.
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. 
There are rare, perfect moments in chamber music where minds meld and hearts coalesce in beautiful synergy. Violinist Nathan Meltzer and pianist Evren Ozel, both young phenoms, did just that with their pre-concert performance of Franck’s 
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.
From its inception, the nurturing of young artists has been an important part of 
Since bursting onto the scene in 2012 with its