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Oberlin Artist Recital Series features bassist Linda May Han Oh (Mar. 19)

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by Max Newman

Upon first thought, you would think that conveying complex themes like “the fragility of time and life” through mostly wordless music would seem futile. Bassist Linda May Han Oh and her band would beg to differ.

On March 19 in Oberlin’s Finney Chapel, the group achieved exactly that with their performance of The Glass Hours. It was an uncategorizable concert, heavy with feeling and chock-full of technical prowess.

Some concerts in Finney Chapel are swallowed up by the venue’s cavernous qualities. This was not one of them. Oh and her band sent notes swimming to every corner of the space, building walls of sound that were dotted by well-defined lead lines and solos — the ensemble was able to simultaneously convey cacophony and sonic exactitude with exquisite dynamic control.

[Read more…]

Oberlin Artist Recital Series: American Brass Quintet (Feb. 20)

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by Kevin McLaughlin

On Friday, February 20 in Oberlin’s Finney Chapel, the American Brass Quintet reasserted its long-standing theory that five brass instruments can sustain an evening with the seriousness of a string quartet.

The program calls them “the most distinguished” ensemble of its type —    and after Friday’s concert I’m inclined to believe it. Founded at Juilliard in 1960, when the brass quintet was still a recital novelty, the ABQ helped to expand the repertoire through commissioning new works and decades of touring.

For this program, they drew on repertory stretching from Elizabethan song to new American modernism.

The group — Tiago Linck and Brandon Ridenour (trumpets), Eric Reed (horn), Hillary Simms (trombone), and John D. Rojak (bass trombone) — began the program four centuries back with two pieces by John Dowland, the English lutenist whose songs of melancholy were heard in courts and taverns alike.

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American Brass Quintet visits Oberlin Artist Recital Series

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by Stephanie Manning

With more than 65 years as an ensemble under their belt and a commitment to commissioning new works, the American Brass Quintet has a lot of repertoire to choose from. “We’ve got such an extraordinary wealth of music,” bass trombonist John Rojak said. For at least the past 15 years, “every piece that has been coming in is one we want to keep playing.”

Several of those works appear on the group’s current program, which they are set to bring to the Oberlin Artist Recital Series on February 20. Trumpeters Brandon Ridenour and Tiago Linck, hornist Eric Reed, trombonist Hillary Simms, and Rojak will take to the Finney Chapel stage to present works by Anthony Barfield, Philip Lasser, Jennifer Higdon, Osvaldo Lacerda, and David Biedenbender. Tickets are available online.

Although the majority of the evening’s works are less than a decade old, the concert first finds its footing in the 16th century, with John Dowland’s Earl of Essex Galliard & Can She Excuse My Wrongs. Rojak described how Brandon Ridenour combined the two pieces into his own, “really cool” edition. [Read more…]

Danish String Quartet Finds the Human Connection

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by Stephanie Manning

Reposted with the permission of Oberlin Conservatory

These days, the Danish String Quartet keep their touring schedule simple. Arrive in a new city in the morning, play a concert in the evening, and repeat. That’s not because the group doesn’t like exploring new places — it’s because they’ve got little ones waiting at home.

“ Back before we had kids, we did three-week tours, four-week tours in the States,” violinist Frederik Øland says. “Now we’re down to two weeks at a time, because anything more than that is just too much.”

A lot has changed since the early 2000s, when the newly-formed quartet were all teenagers at Copenhagen’s Royal Danish Academy of Music. But what’s stayed constant is the critical acclaim that follows wherever they go. On Friday, November 21, the celebrated ensemble — comprised of violinists Øland and Rune Tonsgaard Sørensen, violist Asbjørn Nørgaard, and cellist Fredrik Schøyen Sjölin — will make their Oberlin debut as part of the Artist Recital Series. [Read more…]

VOCES8’s Oberlin debut: a delightful 20th anniversary program (Oct. 28)

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by Stephanie Manning

VOCES8’s 20th anniversary called for plenty of celebration and plenty of humor.

When the British a cappella group visited the Oberlin Artist Recital Series on October 28, they brought a program of audience favorites that delighted the sold-out crowd in Finney Chapel. Known for their ethereal voices and crystal clear harmonies, the octet demonstrated all that and more as they bridged the sacred and secular in “Songs From 20 Years.”

This two-decade milestone gave good reason to celebrate not only the singers, but also their longtime arranger-in-residence, Jim Clements. Responsible for some of the group’s most requested pieces, Clements is like “the secret burger sauce in the Big Mac,” joked tenor Blake Morgan.

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A Little Bit of Everything with VOCES8

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by Stephanie Manning

Reposted with the permission of Oberlin Conservatory

For Barnaby Smith, putting a concert program together is like cooking a three-course meal.

“You want the audience to come and have the starter, the main, and the dessert,” the countertenor says. “It’s like they’re having a nice dinner party while meeting the eight people on stage.”

As the Artistic Director of VOCES8, Smith curates those “dinner parties” for the renowned British vocal ensemble. And he has plenty of music choices to pick from. The a capella group is known for their genre-spanning repertoire — and they’re also celebrating their 20th anniversary this year. Both of those ideas come to the forefront in the program that they’ll bring to Oberlin’s Finney Chapel on October 28 as part of the Artist Recital Series.

“It’s got everything from Renaissance polyphony to jazz and pop songs,” Smith says. “There’s a little bit of something for everyone — Simon and Garfunkel, a few madrigals, and a bit of Bach and Elgar.” [Read more…]

Folk quartet adds Oberlin to the fabric of their American Patchwork (Sept. 13)

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by Stephanie Manning

Once you’ve listened to the American Patchwork Quartet, you might not hear your favorite folk songs the same way. Take the group’s September 13 version of “Shenandoah,” which began with an introduction that held the Oberlin audience spellbound.

Accompanied only by a drone, Harini (“Rini”) Raghavan’s voice spun out a searching melody in the South Indian Carnatic style, an improvisation of pure sound and syllable. But before long, she took a breath and seamlessly began the words to “Shenandoah,” the rest of the group then picking up the familiar, bittersweet song.

Interactions like that are at the heart of the American Patchwork Quartet — a group that combines different cultural and musical traditions to perform folk music in a distinct and dynamic way. Their Saturday night performance in Finney Chapel marked the group’s debut on the Oberlin Artist Recital Series.

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A Musical Patchwork, Rather Than a Melting Pot

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by Stephanie Manning

Reposted with the permission of Oberlin Conservatory

When Clay Ross moved to New York City in 2002, he encountered people from all over the world during jam sessions at the popular jazz clubs.

“It was like a United Nations of talent,” says the South Carolina native, who moved to the city to pursue a jazz career. After learning where he grew up, “people would often say, ‘Oh, you must really know a lot about American folk music and country music,’ because they had this idea about what it means to be from the American South.”

But there’s a lot more to Ross than that first impression. The guitarist and vocalist spent 10 years studying music from Brazil and Latin America, during which he founded the group Matuto. He’s also won two Grammys with his group Ranky Tanky, which focuses on Gullah music of the southeastern Sea Islands.

In 2019, those years of conversations about cultural assumptions and expectations took shape into something new when Ross founded the American Patchwork Quartet. This collective of musicians reinterprets American folk tunes through their varied cultural backgrounds and musical training. And on September 13 at 7:30 pm, the group will perform in Finney Chapel as part of the Oberlin Artist Recital Series. Tickets available online. [Read more…]

Contemporary Collaborations with Third Coast Percussion

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by Stephanie Manning

Reposted with the permission of Oberlin Conservatory

“Strum,” “Strike,” and “Bend” are all evocative references to the physicality of string and percussion instruments. And one is especially significant.

Put all three together, and you get the title of Third Coast Percussion’s (TCP) upcoming program with violinist/composer Jessie Montgomery. “ I think the ‘Bend’ part is maybe the most interesting,” says ensemble member Robert Dillon. “Something we really have enjoyed about Jessie’s percussion writing is this twisting, warping, or bending of sounds.”

Whether that’s blowing through a tube into a tom-tom or hitting a crotale before dipping it into water, these manipulations are ubiquitous in Montgomery’s music. And her recent piece for TCP is no exception.

[Read more…]

Martha Redbone Roots Project: community and storytelling in Oberlin (Apr. 6)

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by Stephanie Manning

Martha Redbone knows how to tell a good story. So you’d better listen up, and get ready to sing along.

“This really will be a church tonight,” the singer promised Oberlin’s Finney Chapel and its assembled audience on April 6. The mood was indeed congregational — sometimes religious, but always communal. Redbone, pianist Aaron Whitby, violinist Charlie Burnham, and bassist Fred Cash, Jr. fostered an intimate evening of American Roots music with their performance as The Martha Redbone Roots Project. [Read more…]

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