by Mike Telin

Written in 1977, Alfred Schnittke’s Moz-Art (after the fragment K. 416d) is based on the first violin part from Mozart’s unpublished pantomime, with dollops of the opening theme of his 40th Symphony stirred into the mix. The quirky five-minute work for two violins asks the players to throw caution to the winds as they seemingly compete to see who can turn a classical line into something absurd faster than the other.
The performance by Itamar Zorman and Diana Cohen was bust-your-gut funny. Bowed notes turned into plucked ones, then scratchings, in tune became out of tune, and slow tempos became fast enough to break the sound barrier. Hilarity ensued when the players swapped out their instruments, Zorman grabbing a very tiny violin while Cohen opted for a viola. After reclaiming their rightful fiddles, the players mischievously walked away whistling.




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 

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
Since 