by Daniel Hathaway
Of Johann Sebastian Bach’s two extant Passion settings, the St. John is the more dramatic, an excursion in a speedboat compared to the ocean liner-like progress of the St. Matthew.
This weekend, music director Franz Welser-Möst will lead The Cleveland Orchestra and Chamber Chorus in three performances of Bach’s St. John Passion, with tenor Maximilian Schmitt as the Evangelist, bass-baritone Andrew Foster-Williams as Christus, and soprano Lauren Snouffer, countertenor Iestyn Davies, tenor Nicholas Phan, and bass-baritone Michael Sumuel as soloists.
As part of Bach’s plan to establish a “well-regulated church music” after his arrival in Leipzig in 1723, he initiated a five-year cycle of weekly cantatas, and planned an elaborate setting of the Passion according to the Gospel of John for performance on Good Friday afternoon of 1724. [Read more…]
String players sometimes say that instruments can “remember their past” — that one can tell the quality of the previous owner by listening to the violin’s tone. Played for years by a mediocre player, the violin settles into mediocrity; played by the best, the violin becomes the best. The violins played in last week’s community concert at Severance Hall have a long and heavy past. Now, restored to life, they seem to remember the tragedy and the hope of the Holocaust, a memory that can remind us of the worst and the best in human life. 
What may be the largest group of Cleveland cultural institutions ever to circle their wagons around a single project will come into play this fall when Case Western Reserve University, the Cleveland Institute of Music, The Cleveland Orchestra, Facing History and Ourselves, Ideastream, the Jewish Federation of Cleveland, and the Maltz Museum of Jewish Heritage join together to present Violins of Hope Cleveland.