ClevelandClassical.com Header
Ad
Ad
Ad

Soprano Katherine Jolly, BlueWater Chamber Orchestra, and Cleveland Chamber Choir unite for “I Believe!”

by

by Stephanie Manning

Since joining the Oberlin Conservatory voice faculty in 2019, soprano Katherine Jolly has kept up with her performing career. But doing so usually takes her outside of Northeast Ohio.

“ I travel a lot for my outside engagements,” she said in a recent interview. So, being the featured soloist on a program with both the BlueWater Chamber Orchestra and Cleveland Chamber Choir “is pretty special.”

On Saturday, May 17 at 7:30 pm, the two local ensembles will collaborate to present “I Believe! Knitted Voices of Justice and Faith.” The concert at Cleveland’s Trinity Cathedral concludes both groups’ anniversary seasons: the 15th for BlueWater and the 10th for the Chamber Choir. Pay-what-you-wish tickets are available online, and the event will also be live streamed. [Read more…]

“Meditations and Mysticism” opens Cleveland Chamber Choir season (Oct. 26)

by

by Kevin McLaughlin

It somehow seemed wrong to clap and cheer at the end of Cleveland Chamber Choir’s “Meditations and Mysticism” program on October 26. Less a concert than an administering of musical healing, the event left us feeling more like sitting quietly and sipping measured breaths to prolong our newfound tranquil state.

In a program of ten carefully conceived and sequenced musical episodes, artistic director Gregory Ristow brought a politically weary crowd some much-needed spiritual succor and peace through music. [Read more…]

Boar’s Head and Yule Log Festival at Trinity Cathedral (Dec. 30)

by

by Kevin McLaughlin

Goats and donkeys and camels — oh my. Add Elizabethan music, costumes, the noble company of Beefeaters and attendants processing under the magnificent arches of Trinity Cathedral, and you have yourself a merry little Christmas pageant.

A celebration that dates to the Roman Empire and Norman times in England, the Boar’s Head and Yule Log Festival has been a Cleveland tradition since 1960. The festival is typically held on December 30th, as it was this year, with shows at 2:00 and 4:30 pm — I saw the latter —  and the promise of a ham-and-mincemeat feast after the second performance.

The principal task of the volunteer cast of troubadours, shepherds, and sprites, besides singing, parading, and cavorting, was to present the titular giant boar’s head and lighting of the yule log — offering symbolic import for the Christian, and theatrical whimsy for everyone. Soloists, choirs, and audience sing-alongs were accompanied by Todd Wilson at the organ.

[Read more…]

Cleveland Chamber Choir & Lakewood High singers: Considering Matthew Shepard at Trinity Cathedral (Oct. 22)

by

by Daniel Hathaway

Young Matthew Shepard’s iconic suffering and death in Wyoming 25 years ago have inspired a number of social, political, and artistic initiatives, including Craig Hella Johnson’s “passion oratorio” Considering Matthew Shepard, which was first performed in 2016.

In 2023, some 40 organizations will have performed the nearly two-hour work, among them Gregory Ristow’s Cleveland Chamber Choir, who were joined by the Lakewood High School Symphonic Mixed Choir and an instrumental ensemble from the Local 4 Music Fund in an affecting Sunday afternoon concert at Trinity Cathedral on October 22. (An earlier performance was given the day before in Avon Lake).

[Read more…]

Organist Monica Berney to play solo recital at Trinity Cathedral November 6

by

by Daniel Hathaway

“I try to design programs for non-organists,” Monica Berney said in a telephone interview from Washington, D.C. earlier this week. “The idea that everyone wants to hear the old warhorses they learned in college is just not that interesting to me. I want to play programs for people.”

At Trinity Cathedral on Monday, November 6 at 7:30 pm, Berney will make use of both the Cathedral’s 1977 Flentrop organ and its 2022 Skinner / Aeolian-Skinner / Mueller instrument in a program largely devoted to transcriptions of works originally written for other musical media.

I caught up with the Curtis Institute and Rice University graduate on her cell phone during a busy week at her job at St. Paul’s, K Street that included a music gala and extra services for All Saints and All Souls Days. I led off with some questions about her Cleveland program.

Daniel Hathaway: You’ve put together a very entertaining program for Cleveland. It includes three of Brahms’ Opus 118 Sechs Stücke für Klavier, which are originally piano works. Organists who lament that the composer didn’t leave us more works for their instrument should be very interested to hear these pieces. [Read more…]

Harpist Parker Ramsay brings the Goldberg Variations to Trinity Cathedral

by

by Mike Telin

Johann Sebastian Bach’s Aria with Thirty Variations — nicknamed (not by the composer) after Johann Gottlieb Goldberg, the harpsichordist who was retained to play them on command for an insomniac patron — have been adapted by performers for many other instruments, most notably for the piano and most famously by Glenn Gould.

Joining a long list of arrangers, Parker Ramsay has transcribed the Variations for the modern pedal harp, an instrument for which he holds a master’s degree from Juilliard, in addition to a degree in history from Cambridge University, plus a master’s in historical performance (organ and harpsichord) and an artist diploma (organ) from Oberlin.

Ramsay returned to his undergraduate haunts to record the Goldbergs in Henry VI’s wonderful chapel at King’s College, Cambridge, where he was the first American to serve as organ scholar. Bach: Goldberg Variations was released in September of 2020 on King’s own label.

On Monday, March 21 at 7:30 pm, Parker Ramsay will perform his arrangement of Bach’s “Goldberg” Variations in a Bach Birthday Concert to benefit Music and Art at Trinity Cathedral. Click here for more information. [Read more…]

Trinity Cathedral resumes Wednesday Brownbag Concerts & Choral Evensongs

by

by Daniel Hathaway

Trinity Cathedral will resume its Wednesday programming on October 6, including the Noontime Brownbag Concerts and 6:00 pm Choral Evensong services, with some modifications that reflect the current state of the pandemic.

“It’s a different chapter of unusualness,” music director Todd Wilson said in a telephone conversation. Rather than offering the popular lunchtime concerts every week, Trinity will host the performances twice a month.

“We settled into the every-other-week Brownbag Concert format last year, and I’m guessing that live audiences are going to be coming back rather slowly. It seemed to make sense to continue that pattern for the foreseeable future. My hope is that a year from now we’ll be in a much more normal and easy-to-predict place,” Wilson said.

Patrons who attend the Wednesday noon programs in person will find some new protocols in place. “We’ll be doing low-key check-ins with proof of vaccination, and no lunches will be permitted. Sad stuff, but we’re not even allowed to serve coffee after church right now.” The alternative is to attend online, and all of Trinity’s programs will be live streamed. [Read more…]

Sato & Sords send off Earth & Air with Bologne & Bach

by

by Jarrett Hoffman

Earth and Air: String Orchestra is taking its final bow next week, but they won’t be going away quietly. The chamber ensemble has enlisted not one but two soloists for the occasion, more specifically two “Dueling Divas,” as violinists Andrew Sords and Mari Sato call their duo.

Another intriguing pairing is the program itself, which places J.S. Bach and his popular Concerto for two violins in d side by side with the Symphonie Concertante in G of Joseph Bologne, Chevalier de Saint-Georges, an 18th-century Black composer who is only recently receiving his due recognition both in the history books and the concert hall.

The free concert airs on YouTube on the morning of Tuesday, April 20, the fruits of a recording session held earlier this month at Trinity Cathedral and engineered by Paul Eachus, with video direction by Mathias Reed and cinematography by Robert Reiland.

“It has been a wonderful run of six years,” director David Ellis (below) wrote on the ensemble’s website. “We are so grateful to our loyal audience and patrons. We couldn’t have done this without you!” He also left the door open just a crack: “We anticipate other individual and small ensemble projects in the future on a more limited basis.”

[Read more…]

Skinner organ transplants are well underway at Trinity

by

by Daniel Hathaway

When three trucks from Croton, Ohio’s Muller Organ Company pulled up to Trinity Cathedral in downtown Cleveland on January 11, the Cathedral’s history of distinguished pipe organs opened a new chapter.

Those vehicles were delivering renovated parts of several E.M. Skinner organs, to be installed in chambers above the Cathedral chancel, where Trinity’s first instrument had been located when the building was consecrated in 1907.

“We’re very close to hearing some sounds,” Trinity music director Todd Wilson (left, among the pipes) said today in a Zoom conversation. “They’ll be doing rough tuning for several days, then start real voicing.”

That 1907 organ, Skinner’s Opus 140, served the Cathedral and its organist-choirmaster, Edwin Arthur Kraft (right), until the 1970s, when its outdated mechanism had deteriorated beyond the point of renovation.

After a long process, contracts were signed with Flentrop Orgelbouw in Zaandam, the Netherlands, for two mechanical action instruments in the Dutch 18th-century style — a moveable, two-manual Choir Organ (delivered in 1976 but later sold) and a three-manual Great Organ at the rear of the nave (pictured below, dedicated in December 1977).

The remains of the Skinner were finally removed in advance of the construction of Trinity Commons in 2002, and salvageable pipework was donated to other organ projects. [Read more…]

Mark Kosower at Trinity: Bach Suites Part Two (July 31)

by

by Nicholas Stevens

Would it matter if the best-ever performance of Bach’s Suites for solo cello took place in a cinder block closet with no one listening? The question, which one could safely and simply answer “no,” may seem like a dull retread of the classic “if a tree falls…” formula. However, it raises a question of its own: how much can the venue and framing of a performance do to elevate a musical experience?

Can we attribute some of the special glow of a concert to the room, spoken introductions, and circumstances without giving excellent musicianship short shrift? In the case of a live-streamed concert by cellist Mark Kosower this past weekend, this writer’s answer is yes — or ja, in Bach’s German.

[Read more…]

Follow ClevelandClassical.com

Contact us