You are currently browsing the category archive for the ‘Cleveland’ category.
by Mike Telin
Cleveland composer Margi Griebling-Haigh has written a new piece on commission from Cleveland Orchestra assistant principal bassoonist Barrick Stees. Sortilège will have its premiere on Mr. Stees concert, “Instrument of Enchantment: the Supernatural Bassoon” in Tucker Hall of St. Paul’s Episcopal Church in Cleveland Heights on Friday, May 6 at 7:30 pm.
Ms. Griebling-Haigh comes from a family which boasts three generations of composers, including her father, her mother, her sister and her daughter.
A native of Akron, she began music study with her parents and before graduating from high school, had already won awards for her compositions from BMI and the National Federation of Music Clubs. An oboist, she took her Bachelor’s degree from Eastman, studying with Robert Sprenkle, and Master’s degree from the San Francisco Conservatory, studying with Marc Lifschey.
In addition to the commission from Barrick Stees, she has been asked to compose for other Cleveland Orchestra soloists, including principal hornist Richard King and the late principal oboist, John Mack. Other commissions have come from organist Karel Paukert, the Schenectady Symphony, the Greater Akron Music Association and the Cleveland area chamber ensemble Panorámicos.
Her daughter Gabrielle (Gabby) is following in the tradition. Currently training to be a classicist at Clare College, Cambridge, where she sings soprano in the Chapel Choir, her Symphony No. 1 was premiered recently by the Monterey Symphony Orchestra.
We spoke with Margi Griebling-Haigh by telephone to talk about her career as a composer, her remarkable family and about the new work she has written for Barrick Stees.
by Brittany Brahn
Brittany Brahn is an Oberlin student who participated in the Winter Term course in Digital Musical Journalism co-sponsored by ClevelandClassical.
The tradition of the Cleveland Orchestra performing at Oberlin College is a long and well-loved one, which began in 1919 only six months after the orchestra was first formed. Since that initial concert, the Cleveland Orchestra has performed at Oberlin 209 times through the college’s Artist Recital Series, which is incidentally one of the oldest continuing concert series in the United States. In addition to the Cleveland Orchestra, the Artist Recital Series has also brought musicians such as Joshua Bell, Yo-Yo Ma, Denyce Graves and Juan Diego Flóres to the campus, much to the delight of the students and residents of Oberlin.
The Cleveland Orchestra’s latest return to Oberlin was on the evening of Friday, February 25th in Finney Chapel under the direction of Russian conductor Andrey Boreyko. The program, Boreyko’s debut with the Cleveland Orchestra, showcased a refreshing array of Eastern European works that complemented each other well, including Stravinsky’s Divertimento from the ballet Le Baiser de la fée, Peteris Vasks’s English horn Concerto, and Prokofiev’s Symphony No. 5 in B-flat Major. The sweetness of the Divertimento provided an enjoyable juxtaposition to the full-bodied, fiery drama of the Symphony.
Vasks is a Latvian composer who is less familiar to Western audiences than Stravinsky or Prokofiev, yet his English horn concerto proved to be an ambitious and highly successful addition to the repertoire. By the time Vasks had written the piece in 1989, he had spent the majority of his compositional life overshadowed by the rigid policies of the Soviet Union. Two years prior to Latvia’s independence, the English horn concerto was commissioned by the American musician Thomas Stacy and the Stamford Chamber Orchestra. Read the rest of this entry »
by Mike Telin
To read Cleveland Orchestra solo English horn player Robert Walter’s resume, one could easily assume that he has not had a lot of time for anything other than music. Prior to joining the Orchestra in 2004, he served as solo English horn and oboe player with the Metropolitan Opera Orchestra and the Cincinnati Symphony Orchestra. Prior to those positions, Mr. Walters performed with the Philadelphia Orchestra, the Orchestra of St. Luke’s, the Orpheus Chamber Orchestra, the American Ballet Theatre, the American Symphony Orchestra, the Brooklyn Philharmonic, and the Chamber Music Society of Lincoln Center. He also was a frequent performer with James Levine and the MET Chamber Ensemble at Carnegie Hall. As a soloist, Mr. Walters has appeared with the Chicago Symphony Orchestra, the Cincinnati Symphony Orchestra, the Orpheus Chamber Orchestra, the Beijing Radio Symphony, the New York Chamber Soloists, and the Concerto Soloists of Philadelphia.
The passing down of musical traditions to young players is something that brings him great joy. He is a faculty member at the Aspen Music Festival as well as professor of oboe and English horn at the Oberlin Conservatory. But when we telephoned Mr. Walters last week to talk about his upcoming performance of Latvian composer Peteris Vasks’ English horn concerto with The Cleveland Orchestra under the direction of Andrey Boreyko, we discovered that his artistic interests and talents extend far beyond the concert stage.
Mike Telin: How did you discover the Vasks concerto?
Robert Walters: Actually it was through Andrey Boreyko, who is conducting the concert. I was playing in Aspen a few summers ago where he was conducting. He asked me if I knew this concerto, at which point I didn’t. I heard some of it on the radio once, and I remember thinking that it was intriguing, so with his prompting, I did some research, and discovered that it has been recorded twice — which is interesting for an English horn concerto — but even more interesting is that it was recorded by the same person. Read the rest of this entry »
by Mike Telin
Monica Houghton’s Songs Without Words will be one of the featured works on Sunday, February 20, 2011 at 3:00 pm, when the Cleveland Composers Guild teams up with the Cleveland Classical Guitar Society for “Guitar Plus” (music for guitar and other instruments) at Christ Episcopal Church in Shaker Heights. We spoke with Monica Houghton by telephone.
Mike Telin: Is this your first work for “Guitar Plus”?
Monica Houghton: I have never written for the combination of guitar and flute before. I have written some pieces specifically for the guitarist Don Better, who I met in graduate school at CIM, and he is a colleague of mine now. I wrote some songs for soprano and guitar, as well as a solo piece for Don, which he has played quite a few times.
MT: How did Songs without Words come about?
MH. Don asked me to write a piece for him and a friend who played five string electric bass, but that project didn’t work out so well because the bassist did not read music. So we got in to this sort of never never land. I kept thinking that I would just play through the part and he could get it, but it just doesn’t work that way crossing between the classical world and the jazz world. It can be an interesting experience for both sides I would imagine. Anyway, I really liked the music, and the piece was based on a poem from the Chinese Tung Dynasty poet TuFu. He is one of the greatest poets of all time. So this was a poem that I liked called “New Moon”, and that was what I had based the piece on, I thought I didn’t want to let the piece go, so when this concert opportunity came up, I thought ‘oh well, I wonder if I just took the bass part and put it above the guitar part and messaged the music a little bit, I could make this a piece for flute and guitar?’, because for some reason, the sound of flute and guitar seemed to fit the poem. It is odd to think that you could turn a piece for electric bass and guitar into a piece for flute and guitar, that you could perform that translation without having major damage. But it seemed quite natural, and I was surprised. So I went with that, but then I saw the piece was a little short so I wrote two other pieces to go with it, which are also sort of riffs on TuFu poems. Read the rest of this entry »
The community of Cleveland freelance musicians and advocates for new music lost a treasured colleague and friend on Friday, November 19, 2010 when harpist Jocelyn Chang passed away at the age of 59.
Jocelyn performed in many contexts with her husband, flutist and composer Michael Leese, and was a longtime member of the Cleveland Chamber Symphony. An obituary by Donald Rosenberg was published in the Cleveland Plain Dealer on November 24. A memorial concert will be held in Waetjen Auditorium at Cleveland State University on Sunday, January 23, 2011 at 2:00 pm.
We invite Jocelyn’s many colleagues and friends to post a memory or a tribute by leaving a comment here (click on the link above). At Michael Leese’s request, memorial donations may be made to the Cleveland Chamber Symphony, c/o The Music Settlement, 11125 Magnolia Drive, Cleveland, OH 44106.
The following images were provided by Steve Eva from a photo shoot with the Chagrin Studio Orchestra at Christmas, 2008. The organizers of the memorial concert are creating a slideshow. If you would like to contribute an image, please see the comment below for details.
by Daniel Hathaway
Alban Gerhardt at Dave's (photo: Dave's Supermarket)
41-year old German cellist Alban Gerhardt is in town to perform Matthias Pintscher’s Cello Concerto with the Cleveland Orchestra, but he made his first public appearance on Wednesday evening in the fruit and vegetable section of Dave’s Supermarket in Ohio City, playing Bach unaccompanied cello suites for a group of onlookers and listeners that swelled to about a hundred adults and children during his 5:30, hour-long performance.
Alban got the idea of doing impromptu solo performances in unexpected places from his experience last July playing all six of Bach’s solo suites in the Radialsystem, an experimental venue in Berlin. As he writes in his blog, “I thought the Bach suites were a bit too complex and not exciting enough for an ‘untrained listener’”, but “a friend of mine attended the concert together with a gentleman who had never listened to classical music in concert before and who was so taken by the beauty of Bach’s music that he didn’t mind sitting relatively still for almost three hours”.
Mental wheels began turning, and Alban and his friend imagined other ways of delivering this music to people who didn’t know it belonged to them. They recalled an MTV experiment in the 90′s in which pop groups would appear in the morning on German radio stations and reveal their intentions to perform that night, asking the audience to suggest places where the concert could take place.
Alban’s version was “a little spontanenous radio-tour with Bach in Northern Germany” which produced solo appearances in a wine cellar, in a maternity ward for a new-born baby, after a youth orchestra rehearsal, for a dozen teenaged girls before a musical theatre company rehearsal, at a gym, for a group of anti-nuclear-waste activists at an alternative coffee house and in the music salon of a Cuban cellist. Read the rest of this entry »
by Mike Telin
CityMusic Cleveland opens its 2010-2011 season next Tuesday the 28th of September with six concerts devoted to the music of Beethoven under the direction of director James Gaffigan, who returns after a year’s absence.
These concerts also mark the CityMusic debut of the exuberant violinist Chee-Yun, who told us in a phone interview, “I think I have an ‘I am a student forever’ attitude”. Her love for learning and experiencing new things in life came across as we discussed her initial reluctance to perform Beethoven’s monumental concerto, as well as how teaching has made her a better performer. We also chatted about her guest appearance on the hit sit-com, “Curb Your Enthusiasm”, a video of Piazzolla’s Oblivion that some viewers found to be a bit provocative for their tastes, and her upcoming debut with Chris Botti at New York’s legendary Jazz Club, The Blue Note.
Mike Telin: Have you worked with James Gaffigan before?
CY: No, this is my first time, but he is the main reason that my manager and I jumped at the opportunity to play with CityMusic. And the Beethoven is a piece that I want to play more, so this is a really good opportunity for me.
MT: I found an interview that you did for “All Things Strings” 10 years ago, and in it you said that you were not all that crazy about the concerto. What has changed in the past ten years?
by Daniel Hathway
The Cleveland Cello Society will begin its new season with Mark Kosower’s Cleveland debut recital. The new principal cellist of the Cleveland Orchestra made his first solo appearance with the Orchestra in Tchaikovsky’s Rococo Variations with the Joffrey Ballet at Blossom earlier in September. On Monday, September 27, Kosower will be joined by his wife, pianist Jee-Won Oh in music by J.S. Bach, Tcherepnin, Poulenc and Mendelssohn in an 8 pm performance in Harkness Chapel on the campus of Case Western Reserve University.
Mark Kosower was born into a family of cellists in Eau Claire, Wisconsin. After studying with János Starker at Indiana University and Joel Krosnick at Juilliard, he taught cello and chamber music at the San Francisco Conservatory before being named solo cellist with the Bamberg Symphony in Germany in 2006. We spoke with him by phone at his new home over Labor Day weekend.
Daniel Hathaway: First of all, I loved the Tchaikovsky Rococo Variations with the Joffrey Ballet on Saturday evening. That must have been a new experience.
Mark Kosower: Thank you. It was a new experience. I hadn’t played for a dance company before.
Read the rest of this entry »
Cleveland, OH, August 2, 2010
Dean David Stull of the Oberlin Conservatory and donor Thomas Cooper present 1st, 2nd and 3rd prizes to George Li, John Chen and Kate Liu (photo: Roger Mastroianni)
by Daniel Hathaway & Nicholas Jones
In the debut of the Thomas and Evon Cooper International Piano Competition at the Oberlin Conservatory last week, first there were forty-three contestants, then after the first round, twenty-three. Eleven were chosen for the concerto with piano round, then six for the solo finals. On Friday evening, three young pianists, one 14 and two 16 years old, competed in the final round in Severance Hall with Jahja Ling and The Cleveland Orchestra for several thousand dollars in prize money (they already had won four-year, full tuition scholarships to the Oberlin Conservatory). The top winner would go on to play engagements with professional orchestras in Beijing and Shanghai.
It must have been a heady week for the more than forty contestants, who ranged in age from 13 to 18, and who were as finely tuned up as young tennis players for this demanding week of elimination rounds, in this case in front of an international jury of distinguished judges.
Out of deference to the age and comparative inexperience of some of the younger competitors, we began our coverage of the Cooper Competition with the Tuesday concerto round, when eleven pianists made their first appearances on the Warner Hall stage at Oberlin as interactive soloists.
Opera and scale (again)
February 27, 2011 in Cleveland, Commentary, opera | Tags: Nicholas Jones, opera | by clevelandclassical | Comments closed
by Nicholas Jones
For me, coincidentally, this opera, which Gluck adapted from a little-known Greek tragedy by Euripides, came on the heels of four wonderful lectures at Oberlin by Toronto classicist Victoria Wohl, about how strange Euripides’ plays are, and how that strangeness can clue us into their political and ideological messages.
Whatever it meant there, it was not sung in a hall like the Metropolitan Opera at Lincoln Center. And that aspect of scale must have been part of what it meant.
In the Met, the singers’ voices have to be BIG. In the HD simulcasts, you get to meet the singers backstage. Here were Graham and Domingo, both obviously struggling with colds, talking to us and host Natalie Dessay, perky as always. Domingo almost sadly gestured to the microphone he was holding for the interview, and commented “we don’t get to use these onstage.” Read the rest of this entry »