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by Daniel Hathaway
Only six months after receiving a liver transplant at Cleveland Clinic, Michael Lynn gathered a group of friends to present a benefit concert for the program that gave him a new life and restored his career as a performer on the recorder and baroque flute. “A Baroque Musical Conversation” drew a good-sized audience to Gartner Auditorium at the Cleveland Museum of Art on Saturday evening, May 11 for masterful performances of concerted music by Telemann and Handel as well as cameo solo performances of works by Louis Couperin, Handel and Marais.
Lynn, who is professor of baroque flute and recorder and curator of musical instruments at the Oberlin Conservatory of Music, was forced to give up performing four years ago due to his illness. His near-miraculous recovery was immediately evident in the opening selection, the Vivace from Telemann’s Concerto in D for two flutes, violin and cello, where he was joined by flutist Kathie Stewart, violinist Julie Andrijeski and cellist René Schiffer, with Jeannette Sorrell at the harpsichord and a backup orchestra of Miho Hashizumi and Rachel Iba, violins, Cynthia Black, viola, and Sue Yelanjian, contrabass. All the performers, who donated their services, have been longtime colleagues in professional period instrument ensembles in the region. Read the rest of this entry »
by Nicholas Jones
As I write this, Ohio seems to be stuck in an endless winter of discontent. But the ungiving weather was more than a little mollified by the warm elegance and sprightly eccentricity of this weekend’s seasonal program by Les Délices. The group, founded and directed by baroque oboist Debra Nagy, is now completing its fourth season, and specializes in the music of the French Baroque.
The centerpiece of the program was a substantial cantata titled L’Hyver (Winter), one of a cycle of four cantatas on the seasons by the early-18th-century composer Joseph Bodin de Boismortier. With appropriate Baroque word-painting, Boismortier depicts winter’s horrors—bare trees, mountain storms, and frost-stricken buds—then shifts to winter’s pleasures—dances, feasts, and plays. Winter’s destructive fury turns out to be a foil to the delights of a Parisian salon, well heated and well stocked with wine and music.
The presiding muse of those delights was the masterful soprano Clara Rottsolk, who was featured on Les Délices’ recent CD, Myths and Allegories. Read the rest of this entry »
by Daniel Hathaway
Jeannette Sorrell brought the alternately dazzling and charming music of Michael Praetorius to life once again at Trinity Cathedral on Thursday evening, in her compilation program, “Christmas Vespers” — with a little help from Apollo’s Fire’s 20 instrumentalists, 27 adult singers and the 15 young vocalists who make up Apollo’s Musettes. And a near-capacity crowd of happy listeners.
Her sidespeople comprised six string players, including viola da gamba, a wind band of ten (recorders, cornetti, Trumpets, three sackbuts and percussionist) a continuo group of four (count them: three long-necked lutes or theorbos! — in addition to organ and harpsichord (Sorrell herself) and seven soloists who moved in and out of the choir during the complicated choreography that brought the right people to the right place for each variously scored piece.
Mostly drawn from the collection called Polyhymnia caduceatrix, compiled in 1619, two years before the composer’s death at the age of 50, but also using material from his Musica Sionae, Puericinium and the dance collection Terpsichore, the program ranged from the simple (chant and liturgical snippets, stark, early Lutheran chorales sung in unison and M.P.’s greatest hit, Lo, how a rose) to the fascinating polychoral complexity of works in the Venetian ceremonial style (Gloria sei Gott, and In Dulci Jubilo). Read the rest of this entry »