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Concert Report
Canton Symphony Chamber Players (January 29)
by Tom Wachunas
Modernism in much of 20th century orchestral music can often be identified in terms of its very deliberate explorations of atonality, astringent harmonies (if indeed there are harmonies in the traditional, Western sense), and daring rhythmic structures. Some works display a steely detachment from emotional content, rendering them fairly inaccessible to listeners ill-disposed to such intellectualism. Other “modern” works, though, while certainly challenging in their innovation, nonetheless deliver an edifying, even soaring lyricism. Such was the case in the latest chamber music program by members of the Canton Symphony Orchestra (CSO) in the third of this season’s Casual Friday concerts on January 29.First on the program was Ravel’s 'Sonata for Violin and Cello'. Marie-Thais Levesque Oliver, CSO principal cellist, introduced the work by reminding the audience that it marked a distinct turning point in Ravel’s career, adding that she was particularly fond of the work. Watching her perform it, I could see why, if for no other reason than that it showcased her formidable mastery in not only sheer technical skill, but her ability to draw out the music’s emotional subtleties as well.
No easy task, to be sure. For Ravel, this work was a fairly complex and austere departure from both traditional four-part sonata formats, and also from the impressionistic sensualities of his earlier compositions. Forsaking expansive harmonies in favor of an emphasis on melody, Ravel’s structure in this work is more linear – an ongoing, contrapuntal dialogue between cello and violin. Joining Oliver here in her interpretive reverie, with equally skilled poeticism, was violinist Nathan Olson, CSO Concertmaster. For all of the music’s separated music lines, they played with one mind, sounding out remarkable tonal unity with seamless, fluid energy.
In the second movement, Tres vif, Ravel’s eschewing of conventional harmony was more evident than in the first, as melodies were played simultaneously in different keys. But the effect was not as heavy or off-putting as one might expect from such experimentation, largely due to the performers’ delightfully executed synchronicity of pizzicato passages. The third movement has a distinctly more lyrical sensibility, initiated by a mournful cello song. The melodies quicken as the violin joins, and together the instruments here were singing with an ascending, emotive urgency. It was an urgency made all the more poignant by the resonant exuberance of the finale. In the end, it’s fair to say the work and its exhilarating performance was warmly received by the audience, and was an effective primer for what was to come.
In introducing the evening’s second selection, Messiaen’s 'Quartet for the End of Time', CSO Principal Clarinetist Randy Klein explained that in World War II, Messiaen (pictured above) was interned at a German prison camp when he composed the quartet for the unusual (but there, the only available) combination of violin, cello, clarinet and piano, premiering it in 1941 before an assembly of 5,000 prisoners. Klein added that he hoped the audience would enjoy the work, while acknowledging that some might find it “uncomfortable.” Aside from the war-time atrocities one might associate with the era, the work does embody some of the aforementioned modernist musical astringencies. But arguably more than any other work of its day, it is unapologetic in its emotional thrust. Messiaen’s own program notes for the work’s eight movements, wisely provided on this occasion, attest to as much.
Beyond the work’s inspiration from the Book of Revelation, in which the “seventh angel” sounds the end of time, Messiaen’s employment of unorthodox rhythmic systems signaled an “end” to metered time as usually expressed in Western classical music. In that regard it is a notably challenging work to perform, and certainly more ethereal, or mystical than traditional in structure. Here, like Messiaen’s metaphorical descriptions of imminent eternity, the musicians rose to the spirit of the music with alternately apocalyptic power and gentle, inspiring grace.
Among the most impressive elements in this performance was the astonishing range of volume, tonal effects, and textures achieved by the musicians. Guest pianist Alicja Basinska played with both the force of angels wresting thunder from the clouds, and the delicacy of birds negotiating the thinnest of perches. Clarinetist Klein was particularly compelling in his third movement solo, executing several astounding feats of controlled breathing wherein excruciatingly slow crescendos rise from utter quiet into long, siren-like wails. Oliver’s cello in the fifth movement exuded plaintive love and melancholic calm without being overly ponderous. And Olson’s shimmering violin in the concluding moments of the last movement seemed to soar ever higher into stratospheric pitches that hovered, then dispersed, finally, into an achingly sweet silence. Like breeching the gates of Heaven.
Concert Report
St. Olaf Choir at Severance Hall (February 1)
by Daniel Hathaway
A thousand choral music devotees turned out to hear St. Olaf Choir at Severance Hall on Monday evening (February 1). The 75-member chorus was joined by a chamber orchestra of fourteen winds and strings for a program ranging from a Bach Motet to Moses Hogan's arrangements of spirituals, with a variety of other works in between, all conducted with loving care and devotion by Anton Armstrong. Only the fourth conductor in the 98 year history of the ensemble, Armstrong has set himself the task of continuing the original mission of the Choir, founded by Norwegian Lutheran immigrants in 1912, while bringing variety and new repertory to its programs.As well as existing for its own good purposes, the St. Olaf Choir serves as ambassador and recruiting device for St. Olaf College, one of the great Lutheran educational institutions in the upper midwest. This year its midwinter tour puts the young singers and instrumentalists through a demanding schedule of sixteen concerts in seventeen days (they have one Saturday off) and takes the Choir to some other distinguished concert halls including Mechanics Hall in Worcester, MA, Carnegie Hall, the Kimmel Center in Philadelphia and Heinz Hall in Pittsburgh. And did we mention that they sing every one of their programs from memory?
Having never heard St. Olaf Choir live before, we were eager to see if it lived up to its stellar reputation. Quite simply put, it's one of the best choral ensembles we've heard in the United States. The Choir's beautiful, clear tone, perfect diction, excellent intonation and fine blend held our interest all evening in a 2-hour program completely devoted to religious music, or at least music with spiritual messages.
Male voices (and strings) were the first to be heard as they intoned the beginning of Handel's 'With the Voice of Praise', one of the anthems written for the Earl of Chandos. Handel segued directly into Thomas Tallis' famous 'If ye love me', a little Reformation motet that broke completely from Tallis' earlier, superpolyphonic style and gave the Choir the perfect vehicle for showing its ability to sing with perfect blend and refinement.
More instrumentalists took the stage and the choir rearranged itself into double choir format for Bach's funeral motet Fürchte dich nicht, neatly negotiating its complex textures and tempo changes. Here we first noticed one of St. Olaf Choir's idiosyncracies: the robed, long-sleeved singers hold hands while singing and now and again something that looks like a subtle, choral version of 'The Wave' goes through the ensemble or its individual rows. We hear that Armstrong introduced this as a unifying technique. It's odd to watch.
Anton Armstrong introduced the next set, entitled 'Global Expressions of Praise', during which the Choir showed themselves to be fluent in five languages. Robert Schumann's wonderful double choir 'Talismane' on a German text by Goethe (who was reading Suni poetry at the time) meandered charmingly into strange tonalities, always returning to a pristine C Major. Louis Lewandowski's 'Enos', which sets parts of Psalm 103 beginning with a long prelude for strings, was quasi-Schubertian with Jewish-Polish inflections.
The stunner in this set was St. Olaf Choir alumna Abbie Betinnis' 'Bar xizam' (Upward I rise). This wonderfully conceived piece began with three soloists chanting their way out of a choral miasma and continued with a series of astonishing choral effects in its setting of a 14th century Sufi poem by Shams Hafez-e Shirazi. Also astonishing was the Choir's ability to find and lock into chords after tonally disorienting swoops and glissandi. Argentine composer Roberto Caamaño's liturgical-sounding setting of 'Dilexi, quoniam exaudiet Dominus' began with the lovely effect of sopranos chanting over choral humming, then set the first nine verses of Psalm 116 in agreeably harmonized homophonic textures. Finally, founder F. Melius Christiansen's setting of the chorale 'Praise to the Lord' had members of the audience humming the 'Lobet den Herrn' tune (lots of Lutherans there tonight!) This was a lovely example of the type of choral 'orchestration' in vogue among a cappella choirs when the St. Olaf group was founded, and it continues to sound fresh in 2010.
After intermission, the third segment of the program began with a fresh and glowing performance of English composer Gerald Finzi's setting of William Austin's 'Chanticleer' and continued with four contemporary, socially conscious works by composers related to St. Olaf Choir or to Anton Armstrong. Ola Gjeilo's 'Ubi Caritas' was a pleasant homophonic setting of a Maundy Thursday antiphon famously set by Maurice Duruflé. Ralph M. Johnson's 'This House of Peace' juxtaposed words of patients and family members at a new medical facility in Oregon (the piece was commissioned for its inauguration) with an old Gaelic house blessing. Charles Forsberg turned to the familiar prayer attributed to Francis of Assisi, and Jeffrey Ames arranged a collage of texts having to do with the injustices and inequities of the world, separated by Latin quotations and decked out with a solo viola obliggato in his 'For the Sake of our Children'. Perhaps more successful as social commentary than as riveting pieces of music, the third set underlined one of the elements in the Choir's mission, "sharing choral music that stirs the souls of listeners". Beyond the Finzi, there were few challenges in this set for a choir of this stature.
The concert ended with a new work, three spirituals and an encore. Stanford Scriven, a current junior and baritone in the Choir, contributed his completely lovely new setting of 'Jesus Christ the Apple Tree', an anonymous poem from an 18th century New Hampshire commonplace book. Mark Butler's arrangement of 'Glory Hallelujah to the New Born king' and the late Moses Hogan's versions of "We shall walk through the valley" and "Ride on King Jesus" brought the evening to a festive conclusion with fine contributions from choir soloists and pianist. One encore was forthcoming, F. Melius Christiansen's signature setting of 'Beautiful Savior'.
Though a collegiate organization, St. Olaf Choir looks and sounds like anything but a group of amateurs. The Choir is managed and supported by a highly organized staff who brought this evening's performance off with total professionalism. The elegant 26-page souvenir program book reflects the central role music plays in the life of St. Olaf College (eight choruses, thirteen instrumental groups of all sizes and 64 full or part time faculty). Impressive. We hope that St. Olaf Choir will come back to Severance again very soon.
Concert Report
Northeast Ohio turns out for Joshua Bell & Jeremy Denk in Akron & Oberlin (February 2 & 3)
by Daniel Hathaway with Mike Telin
Photo: Roger Mastroianni courtesy of Oberlin College
Headline: Violin recital causes major traffic tie-up in Akron. Even as daily requiems are being chanted for the future of classical music, the Tuesday Musical Association managed to pack a 2,900 seat hall with an enthusiastic audience of all ages for a violin and piano recital on Tuesday evening (February 2). In fact, E.J. Thomas Hall opened its 'flying balcony' for the second time in a week to accommodate the crowd that turned out to hear Joshua Bell and Jeremy Denk -- an audience so large that it caused a concert-delaying traffic jam outside and program books needed to be rationed.
The next evening, Wednesday, February 3, Bell and Denk played the same program to a sold-out Finney Chapel at Oberlin (1,900 seats).
It doesn't hurt that both artists enjoy celebrity status on the concert circuit, but TMA is to be congratulated for savvy ticketing initiatives that attracted a great company of students to one of the best concerts they'll ever be likely to hear. Likewise, we're sure that Oberlin's Artist Recital Series is grinning from ear to ear at their own capacity crowd. A big ovation to both presenters for cooperating with one another and allowing Northeast Ohio listeners two opportunities to hear these performers -- opportunities the public obviously seized upon. For ClevelandClassical.com, here was the unique opportunity for two of our staff to hear the same concert on two adjacent evenings. In comparing notes, our impressions were unanimous.
Messrs. Bell & Denk began with an exquisitely nuanced performance of J.S. Bach's 'Sonata No. 4 in c'. Proving once again that Bach's music belongs to all musicians, the duo created a perfectly balanced, clear-textured interpretation of a very complicated contrapuntal work. But the music always won here as violinist and pianist sought out its expressive qualities, pointed up a myriad of lovely details and celebrated important harmonic arrivals. The third movement was remarkable for its dynamic contrasts, and Joshua Bell, always gently in motion when he plays, danced his way physically as well as virtually through the finale. Jeremy Denk showed a complete control over touch and color which allowed him to keep the piano lid open all evening.
The shortage of programs in Akron offered Joshua Bell the opportunity to make charming announcements before each piece ("I can remember when there were too many programs left at the end of the evening", he quipped). He introduced Saint-Saëns' first sonata by telling the crowd that "there are four movements that kind of run into each other, but believe me, you'll know when this piece ends!" Bell & Denk then partnered on a passionate voyage through a tuneful, dramatic showpiece remarkable for its intensity, concentration and tight ensemble. Joshua Bell displayed cooly nimble fingerwork in the 'perpetual motion' finale, finally bringing the piece to a bravura and unmistakable ending. The crowd loved this -- the duo received a standing ovation before intermission.
Schumann's first sonata gets right down to business with a nervously lyrical opening melody that provides most of the thematic material for the rest of the movement. The second finds Schumann in a poetic mood verging on the sentimental. The vigorous finale has Turkish overtones. Throughout, Bell and Denk were again perfect partners, reacting to the smallest nuances of expression and creating a palpable chemical reaction between them.
The evening came to a fine conclusion with Ravel's lean-textured, jazz inspired 'Sonata' (the second movement is called 'Blues'). Conceived as a work where violin and piano come together while still preserving their individual characters, the players share material -- or sometimes not. Beginning with a minimalist single line in the piano answered later by the violin, the first movement dallies in the pentatonic and requires some very high registers from the violin, played here with flawless intonation. Underlining the individual personalities of the instruments, the second movement is bitonal -- written in two keys at once -- featuring banjo-like plucking on the violin and ending with a bluesy seventh. The second 'perpetual motion' movement of the evening found Bell and Denk adroitly tossing phrases back and forth, though the violin has the most to do. Again, a fantastic partnership was in evidence throughout the piece.
Called back to the stage in Akron for the second time (the last time he brought his violin), Joshua Bell told the multitude that he would play one encore for them: "my fingers are getting tired", but at five minutes in length, it would be a substantial one. And a perfect choice, as Bell and Denk brought the evening to a lovely conclusion with Fritz Kreisler's 'Slavonic Fantasy" on music by Dvorak. For their encore in Oberlin, Bell and Denk chose the slow movement of the Grieg sonata, bringing an unforgettable concert to a satisfying close.
Concert Report
Berlin Philharmonic Wind Quintet at Fairmount Temple (February 2)
by Mike Telin
Anyone who holds the preconceived notion that woodwind quintet concerts offer little more then a light hearted listening experience, needs only to attend a performance by the Berlin Philharmonic Wind Quintet, an ensemble whose attention to musical detail and blending rivals the best sting quartets.The Quintet, currently in the middle of a 12-concert tour in North America, returned to town this past Tuesday (February 2) for a performance presented by the Cleveland Chamber Music Society at Fairmount Temple. The well-chosen program consisted of works all dating from the 20th century. It was a treat to hear a concert consisting of original pieces written for this combination. No transcriptions on this program.
Due to an airport security issue, clarinetist Walter Seyfarth was forbidden to bring his e-flat clarinet on the plane, so the originally scheduled ‘Quintet’ of Pavel Haas, was replaced by the ‘Serenade’ of Karl Pilss. Written for the Vienna Philharmonic Wind Quintet, the serenade invokes both serene and argumentative conversational lines between the players, as well as some well-crafted, quasi-demonic waltzes, which were played with agility by the five musicians.
Written in 1945 when the composer was 20 years old, Gunther Schuller’s three movement ‘Suite’ lasts a mere 5 minutes. Both in the Blues inspired second movement and the in the third, which quotes themes from Stravinsky’s Petrouchka, the quintet demonstrated their ability to blend as well as producing sharp attacks with clarity.
Closing out the first half was Transylvanian composer Gyorgy Orban’s three-movement quintet from 1985, “an evocative and raucous work infused with a kind of sardonic circus music found in Fellini films.” (From program notes by the Imani Winds) Throughout the piece the musicians played with complete individual and ensemble control as they moved effortlessly through marches to lyric singing, and nimbly passing off fast passages to one another with ease. It was joy to hear this work.
For the second half, the Quintet chose two staples of the repertoire, Samuel Barber’s ‘Summer Music’, op.31, from 1931 and Carl Nielsen’s ‘Quintet’, op. 43 from 1922. Hearing the players from Berlin perform Barber’s quintet with such ease and fluidity, quickly jumping with ease from long singing lines to sharp, syncopated rhythmic motives and back again, one would never know exactly how difficult this piece really is. But isn’t making it sound easy the point? Bravo.
The performance of the Nielsen Quintet was pure listening enjoyment. The composer wrote the piece for five of his friends, and indeed, these five players performed as though they were friends, sounding as one when necessary, and always supporting the instrument with the solo line. The group’s individual and collective musicianship shone brightly in the prelude and variations, and they produced a full, organ like tone in the ending chorale.
Choosing to honor the repeat in the first movement of the final work, one could ask, don’t they ever get tired? I guess not since they performed two encores, first the very humorous American Folk Suite by Kazimierz Machala and ending the evening with a tango by Julio Medaglia.
Members of the Berlin Philharmonic Wind Quintet are Michael Hasel, flute, Andreas Wittmann, oboe, Walter Seyfarth, clarinet, Fergus McWilliam, horn, & Marion Reinhard, bassoon.
Concert Report
CityMusic Cleveland at Fairmount Presbyterian (February 3)
by Daniel Hathaway
What do you call a sold out house when no tickets are being sold? In the case of CityMusic Cleveland at Fairmount Presbyterian on Wednesday evening (February 3), let's just settle for A Big Success. There was not a seat to be had by the time the first note was played at 7:40 pm, and that's good news for an organization that's in the business of bringing free orchestral concerts to different communities in the metro area.Wednesday's concert, to be repeated four more times this week, was led by Danial Rachev, music director of the Eugene Symphony and assistant conductor in Philadelphia, with Matt Haimovitz as solo cellist. The orchestra's thirty-three players, including local musicians as well as guests who come in for each of CityMusic's concert weeks, presented a program of engaging works by Schubert (arranged by Anton Webern), Shostakovich (the first cello concerto) and Mozart (Symphony 40_.
When six of Schubert's little German dances for piano emerged from a private collection in 1930, Universal Edition invited Anton Webern to recast them for small orchestra. Not to worry, gentle listeners -- Webern took pains to preserve their classical look and feel, almost to the point where his personal idiom is nearly inaudible. These made for a charming opening, though it was difficult to keep track of the individual pieces due to segues and recapitulations. CityMusic played them with rich tone and fine blend and distinguished solos came forth from principal clarinet, flute, oboe and horn.
You can hear Matt Haimovitz perform in some very unusual places. His appearance tonight with a wandering chamber orchestra in the first of a series of churches may not be as exotic as some, but it's still a bit unusual to hear Shostakovich's alternately intense and lyrical piece sitting in pews with hymnals in front of you. In his first concerto, the composer took great care with his orchestration not to overwhelm the cello. On Wednesday night, that task was made easier by CityMusic's size and ratio of winds to strings -- balances were good and textures clear throughout, and the entrance of the contrabassoon became a real event.
Haimovitz was in complete command of his part and particularly shone in the wild cadenza. The orchestra was a fine companion, providing cheeky contrasting colors in the first movement and setting up the second with a lush string introduction. In the course of the work, the horn soloist did yeoman service, celesta and solo cello harmonics created beguilingly ethereal effects, and toward the end, the piccolo sailed over the top of the ensemble like a beacon. On the whole, we wished that the first movement might have been drier and wittier and the finale more brightly paced, but the audience was enthralled and gave Haimovitz an ovation.
CityMusic likes to hold an audience reception at intermission, creating something of a bottleneck tonight at Fairmount as the big crowd was funneled through a narrow passageway. Half an hour later, CityMusic was tuning up once again.
The evening ended with Mozart's next to last symphony, no. 40 in g minor. This well-known and magical work contains such forward thrust that it nearly plays itself, and the CityMusic orchestra did a fine job of putting its charms across in a version that combined Mozart's first and second thoughts (he later added clarinets and rewrote oboe parts). Rachev conducted a straightforward performance, but decided to turn the menuet into a scherzo and detach it functionally from its trio by making the second part into a mini slow movement. More dynamic contrast might have added variety to the famous opening movement and a slightly faster tempo further enlivened the finale, but these are personal preferences which didn't affect the whole impact of the performance. The point is that a full church of happy listeners turned out on a Wednesday evening for a classical orchestra concert. May this happen again four more times this week.
Concert Report
DBR on Fuze! series at the Akron Art Museum (February 4)
by Daniel Hathaway & Mike Telin
Violinist-composer Daniel Bernard Roumain (aka DBR) brought his amplified six-stringed fiddle, his trademark dreadlocks and a whole lot of electronics to open the 2010 Fuze! series at the Akron Art Museum last Thursday evening, February 4. Joined by turntablist and laptopist Elan Vytal (aka DJ Scientific) and keyboardist Yayoi Ikawa, DBR played a 70-minute set named after his 2007 CD, "etudes4violin&electronix".
Co-sponsored by the Art Museum and Tuesday musical Association, Fuze! presents "cutting edge performances by classically trained musicians who are fusing together standard repertory with works by contemporary composers". Performances take place in the Museum's agreeably intimate, 160-seat theater at the attractive drivetime hour of 6:30 pm.
Roumain is an engaging and self-effacing entertainer who created an immediate rapport with his audience by inviting them into his world. He continued the dialogue throughout his 70-minute set, quoting "my Haitian mother", giving his compositions letter grades and inviting the audience to do the same, while creating a fascinating web of sounds with the help of his colleagues and about a dozen of the little foot-operated, sound altering boxes usually used by club guitarists.
DJ Scientific added a subtle overlay of exotic sounds to the mix, and Yayoi Ikawa put her steady hands to the task of realizing DBR's minimalist keyboard parts as DBR gave the good sized crowd a taste of his compositional oeuvre. The series of attractive pieces we heard demonstrate his background in classical music as well as his many other musical interests, including but not limited to funk, rock and hiphop. A perfect opening act for this series, DBR blends the musical sophistication of the holder of a doctoral degree from the University of Michigan with the edginess of pop culture, and he had the audience eating out of the palm of his hand.
The performance was especially riveting for several young people who inhabited the front row and hung on his every word and note.
This is a must-attend series of "up-close classical concerts for the adventurous", as the brochure puts it. The Akron Art Museum, which re-opened in 2007 after major renovations and new construction, is a stunning space bedecked both with modern art and collections dating back to 1850. Your ticket price includes a post-concert meet & greet reception in the lobby (cash bar), and you'll either be on your way home by eight or browsing the galleries before they close at nine (gallery admission free with your admission ticket).
Clevelanders should also take profit of a quick trip to downtown Akron. You can leave work at five and be at the Museum in plenty of time for the concert (garage parking across the street cost us $1), and there are plenty of fine restaurants nearby for post-concert dining.
The next concert in the series features the string quartet Brooklyn Rider on March 11, with clarinetist David Krakauer scheduled for April 22.
Concert Report
Apollo's Fire at Fairmount Presbyterian (February 5)
by Daniel Hathaway
In Apollo's Fire's most recent theme program, 'Bach Family Fireworks', Jeannette Sorrell leads a dozen string players of the orchestra through an illuminating program of music by Papa Johann Sebastian Bach (born in 1685) and three of his sons, Wilhelm Friedmann (1710), Carl Phillip Emmanuel (1714), and Johann Christoph Friederich (1732). Johann Christian (1735), the last and youngest, who decamped for England and had some influence on Mozart, didn't make the playlist.It's well known that Bach's sons wrote in markedly different styles from their illustrious father, who stood at the culmination of an era when musical style was about to veer off in several new directions. Ms. Sorrell has dramatized this musical tension with the assistance of two actors. George Roth convincingly plays Johann Sebastian Bach and Tom White the three sons (he changes coats accordingly). Not only is the topic the conflict of old vs. new musical styles (Papa is the old fuddy-duddy, the sons are cool and modern in their tastes) but in the course of the evening we learn about some of the shortcomings of the younger generation (W.F. can't hold a job, takes to drink and sells J.S.'s manuscripts to support his decadent lifestyle; C.P.E. called dad "the old powdered wig").
The script was amusing (including pointed references to impending orchestra strikes) and gave a secondary structure to an evening that could probably make its point on the music alone. The program begins with the first movement and ends with the second and third of Bach's Concerto for Three Violins, reconstructed from its later arrangement for three harpsichords for use at one of Bach's Leipzig coffeehouse concerts. The brilliant soloists were Olivier Brault, Johanna Novom & Adriane Post.
In between, we heard the stormy d minor 'Sinfonia' by J.C.F. Bach, the emotional 'Symphony No. 5 in b minor' by C.P.E. Bach, and the little inchoate keyboard 'Fantasia in d minor' by W.F. Bach, alongside Papa Bach's music, including the 'Allemande' from the 6th unaccompanied cello suite (soulfully played by René Schiffer), the last movement of the keyboard arrangement of the d minor violin sonata and the violin concerto in a minor, featuring Julie Andrijeski as the accomplished soloist.
The musical cards were stacked in Papa Bach's favor in this program -- as they always seem to be from our later vantage point. A lot of the experiments of the younger generation fizzled out or were appropriated and improved upon by composers like Haydn and Mozart. As for old J.S. Bach, composers have continued learning from his exalted contrapuntal music up to the present day.
But it was particularly fun to hear all of these styles in a single program. Apollo's Fire transitioned seamlessly from the high baroque to the pre-classical and Fairmount Presbyterian, a new venue for the ensemble, proved very agreeable acoustically.
In her program notes, Jeannette Sorrell refers to the important role Anna Maria Magdalena Bach played in keeping the Bach household organized and hopes that "this tribute to her motherhood and the family she raised does her the honor she deserves". Next time around, perhaps A.M.M.B. should be worked into the script. After all, who knows more about what's going on with her sons than Mom!
Concert Report
Aimard with Boulez & the Cleveland Orchestra at Severance (February 6)
by Daniel Hathaway
How does he do it? Pierre Boulez being the 'he', and 'it' being the simultaneous achievement of such clarity, transparency, substance, spaciousness and color in French orchestral music -- and all with his bare hands?However he accomplishes this miracle, Boulez did it again at Severance Hall on Saturday evening (February 6) with a bit of help from the three hands of Pierre-Laurent Aimard and the brilliance of The Cleveland Orchestra, whose propensity for playing chamber music in groups of a hundred or so is well known and really paid off on this occasion.
The program began with Olivier Messiaen's early symphonic meditations on the Ascension of Christ, a piece well known to organists in its later transcription (though the third movements are completely different). The work begins with winds and brass alone ("Majesty of Christ asking glory from his Father") and ends with strings alone ("Christ's prayer ascending to his father"), with two "Alleluia" movements in between. The first of these, "Serene Alleluias" is a subtly colored impressionistic canvas onto which a variety of solos paint themselves. The second, "Hallelujah on the Trumpet, Hallelujah on the Cymbal" is a more eventful, festive movement with fanfares and lively rhythms interrupted by a slow section followed by a fugue.
Two of the three hands of Pierre-Laurent Aimard were deployed in Ravel's G major piano concerto, a sophisticated, jazzy work whose first movement frequently seems to want to morph into Gershwin. Aimard made skillful and relaxed work out of Ravel's complicated piano part in the outer movements, bringing a variety of keyboard techniques to the task. In the slow movement, Messiaen-like, he seemed to make time stop as he spun out the beautifully simple theme, later joined by solo winds and finally taken up with gorgeous expression by English hornist Robert Walters. Other remarkable and fleeting solo and section moments: Michael Sachs' flawless trumpet calls; John Clouser and the amazing bassoon section; Daniel McKelway's thoroughly agreeable E-flat clarinet shrieks -- but there were really too many highlights to list without the risk of leaving someone out.
Aimard's third hand was pressed into service after intermission in Ravel's 'Concerto for the Left Hand', in a rare event where both of the composer's piano concertos were heard on the same program. Cast in one movement (or more precisely, in two sections performed without pause) that begins with growls from low strings and a difficult contrabassoon solo finely shaped by Jonathan Sherwin, this concerto is bizzare enough to have been conceived in an Absinthe dream. As it moves through strangely gripping bolero and march rhythms, the pianist is given a part so skillfully deployed over the keyboard that there's very little sense that anything is missing. Aimard played with the same efficiency after intermission as before, bringing off a stunning performance with one hand tied behind his back (well, actually resting sometimes on his knee, sometimes on the key cheek of the piano).Having recorded Debussy's 'Iberia' with the Cleveland Orchestra both in 1967 and 1991 and having won Grammy's on both occasions, Pierre Boulez is no stranger to this three movement work that offers musical impressions of three scenes of life in Spain. Throughout the work, soloists came to the fore briefly like fish leaping out of a lake. In the second movement, "Fragrances of the Night", magical effects issued from the super-divided strings and celesta. Night turned into day without pause -- a festival day -- as half of the fiddles put down their bows and plunked guitar-like on their instruments, creating a folk scene which ultimetely built to a huge ending. Having lost count of the movements, the big audience in Severance Hall almost forgot to applaud, then did so tentatively until Boulez gestured that they could continue. Then smiles and accolades all around. An excellent evening!
Concert Report
Logan Skelton on the Tri-C Classical Piano Series (February 7)
by Daniel Hathaway
Sometimes brilliance of programming and execution come together and spark extraordinarily memorable concert experiences. A small audience, probably diminished by the impending Super Bowl, was treated to such an afternoon on Sunday (February 7) at First Baptist Church in Shaker Heights when University of Michigan professor Logan Skelton visited the Tri-C Classical Piano Series.Beginning with Bartok's eight 'Improvisations' (op. 20), Skelton established himself as a pianist of quietly expressed but formidable technique, always used at the service of thoughtful interpretation of the music at hand. Not your usual concert opener, the Bartok allowed him to explore a range of moods from the melancholy to the playful to the intensely dramatic and a tonal palette from the dissonant to the suddenly and surprisingly consonant.
The second set was devoted to music about or by Richard Wagner composed or arranged by Franz Liszt, with the sub theme of death. Liszt's arrangements of 'O du mein holder Abendstern' (Tannhäuser) and 'Isolde's Liebestod' (Tristan und Isolde) prefigured or coincided with that ultimate event. 'La Lugubre Gondola I' (there are more?) was a darkly dreamy vision of Wagner's Venetian funeral procession by water. The stark fragments entitled 'Am Grabe Richard Wagners', which Liszt effectively abandoned, were frozen in time as incomplete tributes after death. The set, beautifully paced, performed without pause -- and uninterrupted by applause -- made a stunning effect.
"Now for something completely different", the recitalist said, and delivered on that promise with three movements from William Bolcom's ragtime version of the creation of the world according to Genesis. Only Bolcom could have pulled this off. 'Old Adam' seemed to have all the vigor of youth. 'The Eternal Feminine' (a reference to the ''Ewigweibliche' in Goethe's 'Faust') was a softer rag in the style of Scott Joplin. 'The Serpent's Kiss' was a barn burner, beginning like 'Erlkönig: the Rag' and turning appropriately slimy and seductive, pausing for a tap dance (Skelton tapping on the music rack and making rhythmic mouth sounds) and ending in a great crescendo and a cataclysmic climax that cleared to reveal a chord (piano harmonics) followed by whistling from the pianist. All of this must have demanded a great deal of energy, but Mr. Skelton looked perfectly cool and composed at the end. Wow.
After intermission, Logan Skelton returned for a thrilling and well conceived performance of the Liszt b minor sonata, probably the most coherent we've ever heard. He understands Liszt's concept of transformation of themes, and made a piece that often seems to need heavy editing actually make sense to the ear. It sounded as fresh as a masterful improvisation. Once again, Mr. Skelton was equal to everything Liszt threw at him, but he wore his virtuosity lightly. Two little Bartok children's pieces formed a perfect encore.
Concert Report
Youth Orchestras of Akron (February 7)
by Mike Telin
In our continuing effort to highlight area Youth Orchestras, Cleveland Classical continues this special coverage with a report from Akron.On Sunday afternoon (February 7) the Akron Youth Symphony and the Greater Akron Youth Philharmonic presented a joint concert on the stage of the University of Akron’s EJ Thomas Performing Arts Hall. All told, 142 young musicians took the stage to perform a charming variety of works ranging from an arrangement of two Argentine Tangos to the powerhouse of youth orchestra repertoire, the Symphony #2 (Romantic) of Howard Hanson.
First up was the Greater Akron Youth Philharmonic. This 74-member ensemble is co-sponsored by Akron Public Schools and the Akron Symphony Orchestra and is dedicated to building the technical and musical skills needed to become successful members of the Akron Youth Symphony. The ensemble’s directors, Thomas Resnick and Damon D. Conn, both of the Twinsburg City Schools, shared the podium duties. After leading the audience in ‘The ‘Star Spangled Banner’, Mr. Resnick conducted a well-paced performance of Franz von Suppe’s “Light Cavalry Overture” never pushing the tempo beyond the capabilities of the young players. Mr. Conn followed with a nice lilting rendition of Edward Grieg’s Norwegian Dances numbers 2 & 3 that included some lovely flute playing by Vincenzo Vople. Following the Grieg, Mr. Conn led the orchestra in a sweet arrangement of the traditional tune “Aura Lee. Returning to the podium, Mr. Resnick led the young players in an arrangement of two Argentine Tangos complete with swaying cellos adding visual accents to the bass line. Mr. Conn finished the GAYP’s portion of the program with five selections from Bizet’s Carmen suites. Each of the five selections challenged the orchestra to push themselves beyond familiar comfort levels, but the 74 members rose to the occasion. Good for them. Judging by this performance, the Akron Youth Symphony will have a well-trained pool of young musicians on which to draw well into the future.
Following intermission the 68 members of the Akron Youth Symphony took the stage along side a bust of Beethoven. The orchestra’s music director, Christopher James Lees opened the 2nd half with a performance of Beethoven’s Overture to 'Egmont' that was truly engaging. Mr. Lees is a conductor who is in complete command of his ensemble. Every gesture has a purpose, and the young musicians responded accordingly, producing a very clear rich sound, especially in the strings. The transition from the slower introduction into the fast section was beautifully paced, eventually reaching a brisk tempo. In addition to the lovely string sound, admirable playing in the brass and winds resulted in an enjoyable and energetic performance.
Following the overture, Mr. Lees told the audience that over the past couple of years, Beethoven had sort of become their mascot, and therefore they found it fitting for him to be on stage to enjoy his music. He went on to introduce the centerpiece of the afternoon, the 'Symphony #2 (Romantic)' by Howard Hanson. In his own engaging manner, he explained that the ritual of waiting until a multi movement piece had ended to applaud was actually a recent behavior at classical music concerts, and he encouraged people to take an active participatory role as an audience member: “If you like the movement you should applaud, and if you don’t like it, you don’t need to applaud. Sometimes people even booed”. One always wonders if talking is really necessary, but in this case, for whatever reason, the cavernous Thomas Hall all of a sudden felt a lot smaller.
Commissioned by the Boston Symphony to celebrate its 50th anniversary and premiered by that ensemble in 1930, Hanson’s 2nd symphony has gone on to become a favorite of youth orchestras especially in the United States. It is a challenging piece for young orchestras, but its challenges are within reach of a disciplined young ensemble. Throughout the three-movement work the orchestra produced beautifully sustained lines that ebbed and flowed seamlessly. Mr. Lees communicated with his musicians thoughtfully, always allowing room for the many well-played solos in the winds and brass to breathe and paying attention to the underlying pulse. All of this added up to a performance that left one humming the work’s infectious melodies all the way home. Special nods go to the horn section who really outdid themselves especially in the opening of the third movement, and a well deserved brava! to Barberton High School student and AYSO principal horn player Megan Owens who nailed every solo in the piece, and yes, there are plenty of them.
Congratulations to Christopher Lees and his players on a job well done.
