Richard Davy Archives - Cleveland Classical

CD Review
Quire Cleveland — Richard Davy: St. Matthew Passion (QC 107)

December 13, 2017 by Daniel Hathaway

by Daniel Hathaway

Recorded live at performances in April of 2017, Ross W. Duffin’s reconstruction of Richard Davy’s St. Matthew Passion was three decades in the making. The original work, the earliest polyphonic passion setting by a known composer, is uniquely but only partially preserved at the end of the early 15th-century Eton Choirbook. Duffin supplied music for eleven missing movements at the beginning of the work, as well as the missing voices for the next dozen movements for which only alto and bass parts survive. [Read more…]

Quire Cleveland to sing reconstruction of Richard Davy’s Matthew Passion

April 3, 2017 by Daniel Hathaway

by Daniel Hathaway

Here’s a librarian’s nightmare: knowing what you should find between its covers, you sit down to examine one of the great sources of English pre-Reformation music, only to discover that one-third of its contents no longer exists.

It’s still a mystery why so many pages of the late 15th-century Eton Choirbook that contains Richard Davy’s Matthew Passion went missing. But this weekend, Northeast Ohio audiences can hear Quire Cleveland sing the complete work in a restoration by its artistic director, Ross W. Duffin.

Performances will take place on Saturday, April 8 at 7:30 pm at St. Bernard’s Church in Akron, and twice on Palm Sunday, April 9 — at 3:00 pm at Historic St. Peter’s in downtown Cleveland, and at 7:00 pm (note corrected time) at St. Paul’s Episcopal Church in Cleveland Heights. [Read more…]

Cleveland Orchestra’s holiday concerts return with plenty of festive cheer (Dec. 11)

by Stephanie Manning

This article was originally published on Cleveland.com

CLEVELAND, Ohio — If the twinkling lights, leafy green garlands and festive poinsettias didn’t already clue you in, the holidays have arrived at Severance Music Center. ‘Tis the season for annual traditions — including The Cleveland Orchestra’s holiday concerts, which began on Wednesday evening.

Running through December 22, the programs feature plenty of seasonal classics plus some potential new favorites. The first performance proved that this mix is a delightful recipe for festive cheer.

“Look at you all, out on a school night!” conductor Sarah Hicks proclaimed joyfully from the podium. Just as many concertgoers donned red outfits to get into the spirit, Mandel Concert Hall was also decked out with decorations and stage lighting effects.

[Read on…]

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

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 on…]

Kirill Gerstein is captivating on piano as Cleveland Orchestra recital series continues (Dec. 4)

by Daniel Hathaway

This article was originally published on Cleveland.com

CLEVELAND, Ohio — There’s no dearth of first-class piano performances to enjoy in Northeast Ohio, but Kirill Gerstein’s contribution to the collective wealth Wednesday night was extraordinary both in concept and execution.

Playing as part of the Cleveland Orchestra’s ongoing recital series at Severance Music Center, Gerstein wove an overarching narrative from the 21 little masked ball portraits in Robert Schumann’s “Carnaval.” Then he helped composer Francisco Coll blow up the idea of the waltz in two striking, brand new pieces written for Gerstein and joined Maurice Ravel in redefining that most civilized of dances in a cataclysmic performance of “La valse.”

[Read on…]

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