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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 »
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 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?
Cleveland, OH, July 30, 2010
The order of performance for tonight’s finals with Jahja Ling and the Cleveland Orchestra:
George Li — Chopin’s Concerto No. 1
Kate Liu — Prokofiev’s Concerto No. 3
Intermission
John Chen — Tchaikovsky’s Concerto No. 1
The concert will be broadcast live at 8:00 pm EDT over WCLV, 104.9 FM and streamed via the Internet at wclv.com.
We invited our readers to submit outstanding performances of the 2009-2010 season (September through June). Here are the submissions we received.
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I’d like to nominate Akron Baroque for Cleveland Classical’s Best of the Season highlights. I’m so proud of the growth of this little orchestra in such a short period of time. Not only has our audience quadrupled since Akron Baroque’s birth in 2006, but this May’s concert introduced our new Akron Baroque Chamber Chorus to an overwhelmingly warm community response. It’s truly the realization of a dream.
Amy Barlowe – June 2
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Akron Symphony: Mahler 9 at Severance Hall.
Akron Symphony: Opera Exerpts November 2009 at E.J. Thomas Hall
Richard A. Dee – June 2 Read the rest of this entry »
With over 1,500 concerts to choose from, it’s not easy to make a short list of performances that really stood out head and shoulders above the others — most of which were of very high quality themselves. So here’s a medium-short list: twenty-five outstanding performances I covered for ClevelandClassical.com with a few quotes from concert reports about each event. I’ll put them in chronological order. If you have a highlight to nominate that’s not on this list, please leave a comment below!
Chanticleer’s High School Choral Festival in Akron (October 7). In conjunction with the male chorus’ appearance on the Tuesday Musical Series, the singers coached six local choirs all day and joined them for an evening concert culminatng in a 250-voice massed choir. “This was an impressively organized day that must have made a lasting impression on all participants. It left us feeling quite happy about the future of choral music. It’s in good hands in the Akron area!”
Organist Olivier Latry (Notre-Dame, Paris) at Holy Trinity, Akron (October 9). “This was everything an organ concert should be – astonishing yet completely tasteful playing, great repertory and sometimes just plain fun”.
The Rose Ensemble at St. Stanislaus in ‘Il Poverello: the life and deeds of St. Francis of Assisi’ (October 11). “In an era accustomed to sensory overload, when stage productions are hard put to compete with the technological wizardry available to film makers, it’s refreshing to spend a couple of hours in a vivid world created simply through the interaction of words and music.”
Jennifer Koh on the Oberlin Artist Recital Series (October 29): “…as close to perfect violin playing as one is likely to hear. Jennifer Koh drew a capacity audience into the special world of solo violin music on Thursday evening with her gracious stage presence, gorgeous tone, flawless intonation, right on interpretations and virtuosity deployed only in service to the music. One left Finney Chapel knowing that this had not been an everyday experience”. Read the rest of this entry »
When we at ClevelandClassical.com first discussed writing about our “standouts” of the 2009-2010 concert season, I thought it was a great idea. What could possibly be difficult about this task? However when I really began to think about the 65 concerts that I attended between September 2009 and the first week of June 2010, the simple task quickly became daunting. For me, there are so many reasons for one to enjoy, or not to enjoy a concert. These reasons accompanied by the fact that each organization and or ensemble have their own missions guiding how they choose to fill a role in Northeast Ohio’s vibrant classical music scene, too often led me to feel that I was comparing apples to oranges. Therefore I have chosen to write about my own “standouts” in two distinct sections. First, is an overview of concerts that I feel deserve a big hand of applause, and second, my own picks of complete performances by an artist or ensemble that for one reason or another are still engraved in my musical memory.
I begin by giving hearty congratulations to James Feddek and the Cleveland Orchestra Youth Orchestra, Liza Grossman and the Contemporary Youth Orchestra, Christopher James Lees and the Akron Youth Symphony, and Joanne Erwin and the Northern Ohio Youth Orchestras. I thoroughly enjoyed hearing the performances of these young musicians. They are our future performers and more importantly our future audiences. These ensembles also have a lot to say musically. Read the rest of this entry »
Tom Welsh is assistant director for music at the Cleveland Museum of Art. Here are his highlights from the series at the Museum last season.
Thanks for letting me indulge in some delightful recollections of our last season, it was another exciting and diverse year of music. Here are a handful of personal highlights, in chronological order:
Garth Knox performing solo and duo (with cellist Lauren Radnofsky) on viola and viola d’amore, blending very old with very new – from Marin Marais to Salvatore Sciarrino. [8 November 2009 @ Plymouth Church of Shaker Square]
NYC-based composer/sound artist Marina Rosenfeld led her Sheer Frost Orchestra, an ensemble of 15 floor-bound electric guitars, as part of the CIA student exhibition in the museum and the special event called “After Hours” (and the electro-duo Eats Tapes were great, too.) [13 November 2009 @ CMA]
On the heels of the successful debut of his opera “A House in Bali,” about Colin McPhee, composer/performer Evan Ziporyn brought his Gamelan Galak Tika to town for a fascinating east-meets-west program. [8 January 2010 @ Cleveland Museum of Natural History] Read the rest of this entry »
Composers Connect, the last event in the Cleveland Orchestra’s current season on Saturday, June 6, features the music of four of the orchestra’s former Daniel R. Lewis Young Composer Fellows, Marc-Andre Dalbavie (1998-2000), Matthias Pintscher, who will also be on the podium for the concert (2000-2002), Susan Botti, a Cleveland native who will also assume singing duties (2003-2005), and Johannes Maria Staud (2007-2009).
We reached Susan Botti last week by phone to ask how she became a Daniel R. Lewis fellow and how that experience has helped to advance her career.
Mike Telin: You are a Clevelander?
Susan Botti: Yes, I was not born here but transplanted at about six weeks.
MT: What part of the city did you live in?
SB: Cleveland Heights. I was schooled through the Catholic School system and I went to Beaumont High School. My father was the head of cardiology at University Hospital.
MT: You have such an interesting background, singing, composing and you have also embraced so many musical styles; does this or at least part of it come from the fact that you were raised in a city like Cleveland?
SB: Yes in many ways it was, because music is something that is kind of hard to escape here. We have the Rock and Roll Hall of Fame to our credit and the R&B scene was good. It was like it just sort of came to me, it wasn’t even going out and getting it. I am also the 6th of 7 children, so I had 5 personalities older then me that went through all kinds of musical events. So I absorbed all of them, whatever they were going through. I have vivid memories of the Beatles from my oldest sister, and I remember when Miles Davis, “Man with the Horn”, came into the house with one of my older brothers. There were a lot of musical styles. My oldest sister was also trained as a ballerina, so that music was probably my very earliest classical music memory. Then, of course there was the Cleveland Orchestra, so yes, there were a lot of different styles. Read the rest of this entry »
