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The Cleveland Orchestra plays Sibelius, Walton & Adès (Mar. 10)

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by Peter Feher 

The Cleveland Orchestra kept the music-making all in the family last week. Franz Welser-Möst conducted, a favorite composer stopped by, and first associate concertmaster Peter Otto played soloist, taking on a piece with its own history at Severance.

William Walton’s Violin Concerto might belong first and foremost to its original star, Jascha Heifetz, but Cleveland can also claim it. The Orchestra accompanied the famed violinist for the world premiere in December 1939, and if those are big shoes to fill in 2022, Otto and his fellow musicians were more than up for the task.

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DIARY: Tuesday, March 1, 2022

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by Jarrett Hoffman

IN THIS EDITION:

•Today’s concerts: organist Daniel Jacky at Church of the Covenant, Trio Terzetto at Holy Trinity Lutheran, an homage to Robert Casadesus at the McDonough Museum, and the Harlem Quartet with pianist/composer Aldo López-Gavilán at Tuesday Musical

•R.I.P. Megan Thompson

•A kids concert with “Miss Jody,” and auditions for the Ohio Light Opera orchestra

•Almanac: the ties between two pianist-composers (Chopin and Adés)

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Cleveland Orchestra: Gerstein plays new Adès Concerto (Oct. 11)

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by Daniel Hathaway

Pianist Kirill Gerstein brought the resplendent new concerto that Thomas Adès has written for him to Severance Hall on October 11. Debuted by the Boston Symphony earlier this year when it was led by Adès himself, the simply titled Piano Concerto formed the torso of a topsy-turvy Cleveland Orchestra program guest conducted by Alan Gilbert that began with a symphony, and ended with an overture. In 25 eventful minutes, Adès creates a sendup of the Romantic piano concerto, clothing a traditional body in the latest fashion. [Read more…]

Kirill Gerstein to give Cleveland premiere of Thomas Adès Piano Concerto

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by Mike Telin 

A new piano concerto is always an occasion, but the premiere of Thomas Adès’ Concerto, performed by pianist Kirill Gerstein and the Boston Symphony under the direction of the composer, has caused critics and audiences to sit up and take note. Following the New York premiere of the work, Anthony Tommasini of The New York Times wrote that the Concerto was

written for Gerstein, who exhilaratingly dispatched this joyous and audacious piece’s formidable solo part… This breathless, 20-minute concerto, structured in three essentially traditional movements (fast, slow, fast), comes across as zesty and accessible. But don’t be fooled. Just below the surface, the music sizzles with modernist harmonies, fractured phrases, gaggles of counterpoint and lyrical strands that keep breaking into skittish bits. The finale is a riotous, clattering, assaultive romp. I can’t wait to hear it again.

This weekend Kirill Gerstein will play the Cleveland premiere of Adès’ Piano Concerto with The Cleveland Orchestra under the direction of Alan Gilbert. The program also includes J.S. Bach’s Suite No. 3 and Brahms’ Symphony No. 3. The Severance Hall concerts take place on Friday, October 11 at 11:00 am (no Bach) and 8:00 pm, and Saturday, October 12 at 8:00 pm. Tickets are available here.

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