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Cooper International Competition for Violin returns for 2026

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by Mike Telin

We all know the names of the superstar violinists who regularly grace the stages of the world’s famous concert halls. But what they have in common is that they were all once young musicians honing their skills in hopes of having a career that would lead them to those renowned venues.

Beginning on Thursday, August 6 and continuing through Monday, August 10, you can hear eighteen superstars in the making when the Cooper International Competition presents the 2026 edition for violin. All sessions will be held in Warner Concert Hall at the Oberlin Conservatory and are free and open to the public. The competition will also be streamed live on oberlin.edu and The Violin Channel. Click here for a complete schedule and here to view the participants.

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Steelpan virtuoso Victor Provost at Oberlin’s Birenbaum (Nov. 20)

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by Max Newman

Oberlin College and Conservatory is a school of sonic opportunity. No matter where you wander on its campus, no matter which of its corners you choose to explore, you are bound to find an abundance of music.

One of these many musical corners is the Birenbaum Performance Space, where on Thursday evening, November 20 in front of an intimately seated crowd, steelpan virtuoso Victor Provost strutted his stuff along with the Oberlin Performance and Improv (PI) Ensembles. The performance blended both genre and experience level in a delightful and holistic exploration of world music.

Considering the eclectic mix of instruments that were used, the spatial awareness of each member of the ensemble was impressive. Instruments seldom overlapped or obscured others. Indeed, there was a collective sound that could only be described as unbrokenly full.

 

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Poiesis Quartet returns to Oberlin

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by Mike Telin

Since forming at Oberlin Conservatory in the fall of 2022, The Poiesis Quartet have enjoyed a meteoric rise in the ranks of professional string quartets.

In 2023, the Quartet won the Gold Medal and BIPOC Prize at the St. Paul String Quartet Competition and the Grand Prize and Lift Every Voice Prize at the Fischoff National Chamber Music Competition.

In May 2024, they joined the roster of Concert Artists Guild and last August were named First Prize and Commission Prize winners at the 2025 Banff International String Quartet Competition. The Poiesis are currently the Graduate Quartet-in-Residence at the University of Cincinnati College-Conservatory of Music.

On Friday, October 31, violinists Sarah Ying Ma and Max Ball, violist Jasper de Boor, and cellist Drew Dansby will return to their alma mater to be featured in John Adams’ Absolute Jest with the Oberlin Orchestra. Directed by Raphael Jiménez, the program at 7:30 pm in Finney Chapel also includes Carlos Simon’s Fate Now Conquers, Angelica Negrón’s Campos Flotantes, and Zhou Tian’s Transcend. The concert is free.

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Miró Quartet at Finney Chapel (Oct. 10)

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by Kevin McLaughlin

At Oberlin’s Finney Chapel on Friday evening, October 10, the Miró Quartet continued its complete Beethoven cycle and marked its thirty-year homecoming with the three “Razumovsky” quartets of Op. 59. Founded at Oberlin in 1995 by violinist Daniel Ching and cellist Joshua Gindele, the group later took its enduring form with the arrivals of second violinist William Fedkenheuer and violist John Largess.

After winning a competition hat-trick at Fischoff, Banff, and Naumburg, as well as an Avery Fisher Career Grant, the Miró found a home as Quartet-in-Residence at the University of Texas at Austin. Returning to Oberlin for this six-concert Beethoven marathon gave the evening an air that was both valedictory and self-renewing.

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Cooper International Piano Competition welcomes 21 young pianists to Oberlin

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by Mike Telin

“This year, we had 190 applicants,” Robert Shannon, director of the Cooper International Piano Competition, said during a recent telephone conversation. “I listened to them all, and I can tell you that the level of playing has never been higher.”

This weekend, the Cooper International Competition will welcome 21 pianists between the ages of 13 and 18 who have advanced through the preliminaries of submitted videos to participate in live rounds in Oberlin’s Warner Concert Hall from July 20 to 23.

The 21, who represent eight countries, are vying for the opportunity to play full concertos in a final round with The Cleveland Orchestra under the direction of Samy Rachid at Severance Music Center on Thursday, July 24 at 7:30 pm — and for the $20,000 first prize. Tickets are available online. Click here to view a complete schedule.

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International Contemporary Ensemble returns to Oberlin (Mar. 14)

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by Stephanie Manning

The International Contemporary Ensemble hasn’t been back on the Warner Concert Hall stage in a number of years, but seeing them there somehow feels right. Founded at Oberlin Conservatory in 2001, the group has retained strong ties to the school, making their March 14 appearance notable as one of the few homecomings since the ensemble’s founding.

The Friday night concert featured eight artists from ICE’s roster, including four Oberlin alumni, two current faculty members, and twelve Conservatory students. Titled “Composing While Black: Volume I” and curated by the Ensemble’s artistic director George Lewis, the program featured music by people familiar to both the Oberlin community and Northeast Ohio at large. [Read more…]

Old Friends, New Collaboration: Anthony McGill and Emanuel Ax bring recital tour to Oberlin

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by Stephanie Manning

Reposted with the permission of Oberlin Conservatory

Throughout his decades of playing chamber music, Emanuel Ax has kept his friends close. “ It’s wonderful to have people on stage that you like,” the pianist says. “I’m pretty gregarious as a person, so I like being with someone, especially old friends.”

Now in his 70s, the esteemed musician has performed with many of the same collaborators for decades, including cellist Yo-Yo Ma and violinists Issac Stern and Leonidas Kavakos. But his next recital tour brings him together with someone new: clarinetist Anthony McGill.

The duo’s upcoming performances feature a program of wide-ranging music, and their travels include a stop at Finney Chapel. That concert, on February 4 at 7:30 pm, will be presented as part of Oberlin’s Artist Recital Series. [Read more…]

Cooper International Violin Competition Moves from Summer to January

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By Mike Telin

Now that the new calendar year is upon us, it’s interesting to see which of the area’s classical music organizations are going to be leading the way into 2025.

When it comes to competitions, that honor goes to Oberlin’s Thomas and Evon Cooper International Competition, which alternates annually between piano and violin.

Usually held in August, due to construction at the Conservatory this year’s violin competition needed to find an alternative time period. “We wanted the competition to happen so we moved it to January as a one-time thing,” competition director and jury chair Sibbi Bernhardsson said during a telephone conversation.

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Oberlin Conservatory convincingly tells Omar’s story (Dec. 8)

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by Stephanie Manning

The Cleveland premiere of Rhiannon Giddens’ and Michael Abels’ Pultizer Prize-winning opera Omar on December 8 at the Maltz Performing Arts Center proved that concert productions of opera can succeed without sets, elaborate costumes and extensive staging. Indeed, the Oberlin Conservatory presentation offered more than enough to keep the audience in the crowded house enthralled.

The Opera, which was also presented at Oberlin’s Finney Chapel two days earlier, is based on the 1831 autobiography of Muslim scholar Omar ibn Said, the only such work written by an enslaved person during their enslavement, and the only such document written in Arabic.

Rhiannon Giddens’ brilliant libretto chronicles the life of ibn Said, beginning in present-day Senegal and following him through his capture, journey via the Middle Passage, and enslavement in North and South Carolina. [Read more…]

Oberlin to present Rhiannon Giddens’ and Michael Ables’ Pulitzer Prize-winning opera Omar

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by Mike Telin

“What makes that document so remarkable is that it is a window into a world that we don’t talk about and that we don’t teach about, and it’s just miraculous that it survived,” composer Rhiannon Giddens told Martha Teichner during a Spoleto Conversations interview. “We have so few of these documents and each one holds multitudes in it. We have so little and it’s a miracle that we have it at all.”

The document that Giddens is referring to is the 1831 autobiography of Omar ibn Said, the only known autobiography written by an enslaved person during their enslavement, and the only document written in Arabic by an enslaved person.

During that same interview, composer Michael Ables noted that the document was written at a time when it was illegal to teach enslaved people to read and write. “And why is that? Because they knew that knowledge is power, and Omar’s power to speak to us today is expressed through the fact that he was educated.”

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