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by Daniel Hathaway

Oberlin Cooper Competition Finalists

L-R: Xiaoyu Liu, Leonardo Colafelice, and Micah McLaurin. Photo: Roger Mastroianni.

The prize money for the three top winners in the Oberlin Cooper Competition is impressive, but the opportunity for teenaged pianists to play full concertos with The Cleveland Orchestra has to be, as the credit card commercial put it, priceless. They had that opportunity during the Final Round of the competition on Friday evening, July 27, in Severance Hall, in front of a live audience, radio and Internet listeners over WCLV and a panel of distinguished judges.

During a grueling week’s worth of semifinal, concerto and recital rounds at the Oberlin Conservatory of Music, the original draw of competitors had been gradually winnowed down from thirty-three to sixteen, then to ten, to six and to three. Earlier in the week, it seemed statistically possible that the final round might include three performances of Rachmaninov’s second concerto, but that didn’t happen. The final three, 17-year-old Micah McLaurin (right) from Charleston, S.C., 15-year-old Xiaoyu Liu (left) from Montréal, and 16-year-old Leonardo Colafelice (center) from Bari, Italy, would play one Chopin and two different Rachmaninov’s for the panel of judges to determine the ranking of their prizes.
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Oberlin, OH — Tuesday, July 24

by Daniel Hathaway

The evening session of the Concerto Round brought the final five performers to the Warner Concert Hall stage along with the opportunity of hearing three more performances of Rachmaninov #2 and two versions of Chopin #2. Remember those “compare and contrast” exam questions? We’ll try to treat each repeat performance as if we were hearing it for the first time.

Micah McLaurin, 17, from Charleston, NC went first with Chopin’s second concerto. Sitting ramrod straight and barely changing his expression, Mr. McLaurin established a ruminative, poetic mood matched by an agreeably elastic tempo. His feathery touch produced beautiful, well-organized runs with shape and a sense of destination. But as the piece flowed on, Mr. McLaurin seemed largely to be playing on the surface of the music rather than digging into its underlying layers. Alicja Basinska was the attentive and supportive second pianist.
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Oberlin, OH — Tuesday, July 24

by Daniel Hathaway

There was a lot of impressive teen-aged piano prowess on display this afternoon in Warner Concert Hall as the Oberlin Cooper International Piano Competition went into the first of two concerto rounds and five of the ten competitors left in the draw played whole concertos by Beethoven, Rachmaninov and Schumann with a second piano filling in for the orchestra. (The three who are left at the end will get to play concertos for real with The Cleveland Orchestra in Severance Hall on Friday evening).

15-year old Rachel Breen from Oakland, CA set the bar high with an assured performance of Beethoven’s fourth concerto that adroitly pointed up both its exquisite seriousness and its sudden bursts of playfulness. She knew the piece thoroughly and communicated with her “orchestra” (pianist Yu Sakamoto) as though they were playing chamber music together (at the beginning of the second movement, hands in lap, she mimed playing along with the orchestra). Ms. Breen dispatched sequences of runs with sensitivity and clarity and made lovely transitions between sections. Read the rest of this entry »

TitanicThis came up at lunch today. There were five musicians who played on the sinking ship until the waters came up to their knees. We think one of the songs was the hymn “Nearer my God to thee” (English tune) but does anybody know any of the other titles? And did that provide any comfort to the passengers? Please comment!

By Daniel Hathaway

Oberlin, OH — January 24, 2012. At a Sunday morning ceremony in Klonick Hall of the Oberlin Conservatory of Music on January 22, Dean David Stull and donor Stephen Rubin announced the winners of the grand prize and public prize in the first bi-annual Rubin Institute for Music Criticism, which began on January 18.

Rubin Winner

The $10,000 prize went to Jacob Street (above, with Rubin and Stull), a master’s candidate in historical performance from North Reading, MA. In a surprise development, the panel awarded honorable mention to Megan Emberton, a senior piano major from Chelsea, MI, along with a cash award of $2,500. Read the rest of this entry »

by Daniel Hathaway

Alban Gerhardt at Dave's

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 Daniel Hathway

Kosower & OhThe 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.
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Cleveland, OH, August 2, 2010

Cooper Competition Awards

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.

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Cleveland, OH, August 1, 2010

Reinberger Chamber Music Hall

Reinberger Hall at Severance Hall

by Daniel Hathaway

Sixteen young pianists who didn’t advance to the finals in the Cooper International Competition this week were invited by the jury to play one standout work in their repertory in Reinberger Chamber Hall at Severance Hall on Friday afternoon, July 30, for an audience of family, friends and the general public. In format, the event looked something like the periodic recitals everyone’s childhood piano teacher put together, but John Thompson’s Fourth Grade Book was nowhere to be seen; the repertory was world class and most of the playing was on the level you’d expect from the 18-30 crowd at an international contest.

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Oberlin, OH, July 29, 2010

John Chen

Solo finalist John Chen takes a bow (photo: Roger Mastroianni)

by Daniel Hathaway

My first introduction to the 2010 Cooper Competitors was during the concerto rounds — mere 15 or 20 minute encounters with eleven young pianists playing single movements of their concerto repertory, which gave only a limited glimpse at their individual musical personalities.

Wednesday evening’s solo finals presented each of the six remaining competitors with a 30-minute opportunity to strut their pianistic stuff not only to the jury and the live audience in Warner Concert Hall at the Oberlin Conservatory, but to a wider audience listening in on WCLV, 104.9 FM or via the station’s Internet feed. The long evening started at 8:00 straight up, and the last note was played as midnight approached.

This particular trial by fire required a lot of mental strength as well as keyboard stamina. The program listed five or six pieces for each performer, but the judges would decide which excerpts or whole works would be played and in what order — and the competitors would receive their instructions only moments before taking the stage. Talk about the need to be prepared!

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Oberlin, OH, July 27, 2010

by Daniel Hathaway

The plan was to advance ten young pianists into the concerto round of the Cooper Competition, but apparently the judges found the talent pool so deep that eleven players were actually scheduled into today’s pair of sessions in Warner Concert Hall at the Oberlin Conservatory. Good thing Warner Hall isn’t a cruise ship — it would have been listing seriously to the port side as nearly the whole audience of contestants, parents, friends and onlookers clustered on the keyboard side of the hall to get a good look at the twenty-two hands that would be performing today.

Afternoon Session

Considering only the five who performed during the 2:30 slot, there’s no lack of digital prowess among the 13-18 year old set. Concerto movements by Tchaikovsky, Chopin, Ravel, Mozart and Rachmaninoff received masterful performances by ten young performers with “orchestral” support ably supplied by second pianists James Howsmon, Yury Shadrin and Chien-Lin Lu. Read the rest of this entry »

by Daniel Hathaway

Oberlin Winners

An earlier group of winners

This Thursday afternoon, more than forty young pianists from seven countries will arrive in Oberlin to compete in a new and much enhanced version of the Oberlin International Piano Competition. Launched in 1995 by Oberlin Conservatory piano professor Robert Shannon, that competition for 13-18 year old pianists continued annually through 2008, when Warner Concert Hall was closed for renovations.

Reborn in 2010 as the Thomas and Evon Cooper International Competition, the contest will now alternate each year between pianists and violinists, with pianists up in 2010 and violinists in 2011. Cash prizes of more than $20,000 and Oberlin scholarships will be distributed among the winners, and the first prize winner will have the opportunity to perform with professional orchestras in Beijing and Shanghai. And in another big leap forward for its inaugural year, the Competition has made arrangements for the three finalists to play their concertos in Severance Hall with the Cleveland Orchestra under Jahja Ling.

We spoke with Robert Shannon by phone in his office at the Oberlin Conservatory to ask how this all came about.

“Before 1995, we had had a summer piano festival that had no age requirements and no focus at all. You’d come and you’d take some lessons, and you’d go to a lecture or two. We had lawyers from San Francisco who had never played the piano before! We wanted to upgrade this, and establish an age group of 13-18 — which is of course the group of people we either want to get excited about Oberlin or recruit from. There are many youth competitions now, but in 1995 that wasn’t really true. We thought we could combine having a competition with more educational programs so people would come here for a about a week and nobody would really lose because they could all learn something while they were here. That’s always been my dream”.
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Bruce Dickeyby Daniel Hathaway

Bruce Dickey has been largely responsible for the modern revival of one of the most fascinating instruments in the Renaissance and Baroque instrumentarium. Now living in Bologna, where he is a member of the modern incarnation of the Renaissance wind band Concerto Palatino, he returns to Northeast Ohio this month to teach at Oberlin’s Baroque Performance Institute and play in Monteverdi’s ‘Vespers of 1610’. We interviewed him over coffee last December when he was in Cleveland to play the Praetorius Christmas Vespers with Apollo’s Fire.

Daniel Hathaway: What was your first encounter with the cornetto?

Bruce Dickey: I was an undergraduate at Indiana University when I discovered the recorder and I discovered a group there that was playing recorders, shawms, krummhorns. One of the other players in the group was Michael Lynn, who’s now at Oberlin — we were two members of the wind component of that ensemble, and we were sitting one day in the rehearsal room with all the instruments hanging in a cupboard, and he pointed at the cornetto and said “that’s your instrument”. And I said, “No, no, no.” I was a trumpet student at the time and I looked at that mouthpiece and said, “I don’t want to do that”. It took a couple of years before I came around. I did play a few pieces on the cornetto. I shudder to think that there are probably still tapes lurking in the music library there. And then I went off to Basel to study the recorder and I ordered a plastic cornetto from Christopher Monk and took it with me to Basel and started to take some lessons from Edward Tarr.
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We invited our readers to submit outstanding performances of the 2009-2010 season (September through June). Here are the submissions we received.

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

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 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 »

by Daniel Hathaway

Baritone Jordan Shanahan is in town to sing the role of Enrico in Opera Cleveland’s upcoming production of Lucia di Lammermoor on May 20, 22 & 23. He recently sang Horatio in the Metropolitan Opera’s production of Ambrose Thomas’ Hamlet and has been featured in Opera News’ column “One to Watch”. We had the opportunity to interview Jordan at Opera Cleveland’s offices earlier this month.

Daniel Hathaway: Is this your first time in Cleveland?

Jordan Shanahan: It is. I’ve driven through it, passing back through between New York and Chicago but this is the first time I’ve spent time.

DH: We’re kind of in the way between New York and Chicago. But you’re Hawaiian by birth, right?

JS: I am! I grew up in Hawaii — on Oahu — and was there until I was 21.

DH: It must be a hard place to leave.

JS: Oh, you have no idea! Sometimes when I have two weeks off I go home to Chicago and it’s ten degrees! The weather in Hawaii is always nice, the atmosphere is good with the ocean breezes, people are friendly. It’s a great place.

DH: So you started your career as a trombonist?

JS: Actually I started as a tuba player for a year, then I switched over to trombone. I was pretty good at it. I got a scholarship to go to the university. My trombone teacher said, “you should take some voice lessons”, which led to my doing a couple of choruses with Hawaii Opera, and a couple of musicals. I enjoyed it. Read the rest of this entry »

by Daniel Hathaway

Margaret Brouwer’s Path at Sunrise, Masses of Flowers, was premiered by the Cleveland Women’s Orchestra under Robert L. Cronquist on Sunday, April 11 during its 75th anniversary concert at Severance Hall. The piece was made possible by a Commissioning Music USA award from Meet the Composer. Margaret Brouwer retired in 2008 from her position as professor of composition at the Cleveland Institute of Music. We spoke with her by phone at her home in Cleveland.

Daniel Hathaway: I assume you’ve had a bit more time to compose since you retired from teaching.

Margaret Brouwer:  I have! It’s been wonderful and it’s lucky because I’ve had several big commissions and it’s been terrific to be able to just concentrate on that without trying to fit it in amongst many other things”.

DH: You just had a premiere in Dallas in January.

MB: I did — with the Dallas Symphony. It went beautifully. It really did. It was just a terrific experience. Got terrific reviews, and you know, there was actually a lot of press before the concert  and some radio coverage. And you know there’s a new music group there called Voices of Change — they’ve been around for a long time, probably 20, 35 years — they piggybacked on the Dallas Symphony bringing me down there and so the Dallas Symphony played the concert premiere on Thursday, Friday and Saturday and then they scheduled a concert on Sunday where they did several of my chamber pieces.

DH: Fabulous. They should have given you the key to the city for the weekend.

MB: I know! It was terrific and they were wonderful. A lot of people in that group are members of the Dallas Symphony, so it’s a very high-level group, and they gave two wonderful performances of several chamber pieces in addition to the new concerto for viola and orchestra. It was hard to get back and just get to work again.
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by Daniel Hathaway

David Finckel, Wu Han & Philip Setzer

The trio with no name, but made up of three eminent musicians (violinist Philip Setzer, cellist David Finckel and pianist Wu Han) plays Schubert Trios on the Cleveland Chamber Music Society series on Tuesday, March 23 at Fairmount Temple Auditorium. Finckel and Setzer play in the Emerson Quartet; Finkel and Wu Han are husband and wife, owners of the recording company ArtistLed and co-artistic directors both of Chamber Music at Lincoln Center and Music at Menlo in California. Their Schubert tour derived from an ArtistLed recording project. Due to their busy schedules, we spoke with the trio in three different conversations. We reached David Finckel in Vienna, Wu Han in New York between rehearsals, and spoke with Philip Setzer soon after he returned from Europe.


DH: I just read the interview the three of you had with Classical Archives’ artistic director Nolan Gasser in February, and you touched on every subject I could possibly think to ask you about!

DF: That was quite some interview, wasn’t it.

DH: It must have taken some time to do, but I’ll try to find some interesting questions for you. First off, congratulations on the 13th anniversary of ArtistLed. How is the company doing in the current economic climate?

DF: Fine, because our decimal point is in another place. We manage to make ends meet because we have a loyal following. We keep our costs low without having it affect quality at all and we always manage to recoup our expenses through the sales of the recordings, which I think is the golden rule. So as long as we can do that, we can just keep going ahead and making more recordings.
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In part two of my telephone interview with St. Olaf Choir director Anton Armstrong, we continued to discuss the program the choir will sing at Severance Hall on February 1.

Daniel Hathaway: The next section begins with Finzi, who is one of my favorite composers — but tell me about Ola Gjeilo.

Anton Armstrong: Ola Gjeilo is a Norwegian composer who has come to this country to do more advanced work on the east coast. He started coming to the forefront three or four years ago when Gunilla Luboff, Norman Luboff’s widow, who owned Walton Music (she’s Swedish) started publishing some of Ola’s music. My colleague Sigrid Johnson commissioned him to write a piece for our first year singers — the Manitou Singers — for Christmas two years ago. Then I stumbled across many of his compositions. He came to St. Olaf for a visit, and he has been featured in the Twin Cities. We’re always trying to find young contemporary voices, and also, as you mentioned early on, we still have very strong ties to Norway. And so it’s not just music of Grieg and Nysted and other who have been revered and highly lauded over the years, but it’s also new voices of Scandinavia and especially Norway that I’m always trying to include in some way, shape or form in our programs. And this whole section is more of the social consciousness section. Read the rest of this entry »

by Daniel Hathaway

Sue Heineman, Ben Kamins & Kathleen McLean

After the prizes were handed out, the third joint concert of the weekend on Sunday evening, January 17, brought the 2010 Meg Quigley Vivaldi Competition to a thrilling and satisfying conclusion.

Sue Heineman of the National Symphony must have been a bit breathless, having flown in only that afternoon to judge the final round and play the first segment of the final concert, but none of that showed in her performance of Bach’s Partita (originally for solo flute). Heineman has incredible lungs, chops and stamina, and played with remarkable lyricism. After the Bach, she was joined on stage by Samantha Brenner, Thomas Schneider & Nicholas Cohen for George Sakakeeny’s arrangement of the Andante from Tchaikovsky’s Second String Quartet (“we refer to it as Tchaikakeeny”). This was a beautiful little piece played with affectionate lyricism and creamy tone. Read the rest of this entry »

by Daniel Hathaway

Sunday afternoon’s final round on January 17 offered a good-sized Warner Concert Hall crowd some great bassoon playing by the five finalists — as well as a couple of white knuckle moments and one session which ended abruptly when time was called. So it goes in the heat of competition.

As the audience took their seats, a special twelve member Oberlin string orchestra was tuning up under conductor and harpsichordist Webb Wiggins. The final rounds would require contestants to play the whole of Vivaldi’s 26th Concerto from memory as well as the last movement of Libby Larsen’s Concert Piece for Bassoon and Piano and a piece of each contestant’s choice. Read the rest of this entry »

by Daniel Hathaway

For those who love to watch how the real pro’s of the musical world operate, there’s nothing more fascinating than attending a good master class. Although these sessions, where musicians play or sing for a maestro du jour, are usually devoted to special interest groups, there’s a lot to be learned about music making that’s universal for all species.

On Saturday, January 16, the second day of the Meg Quigley Vivaldi Competition at Oberlin Conservatory, we observed two bassoon master classes and heard ten players bare their musical souls to two master bassoon teachers and an audience of their peers — one of five such opportunities offered in the Symposium side of the 2010 Competition. Read the rest of this entry »

On Friday evening at 6pm, the co-founders of the competition announced the five finalists who will compete on Sunday afternoon at 3 in Warner Concert Hall at the Oberlin Conservatory:

1) Briana Lehman (Rice University)

2) Shuo Li (Oberlin Conservatory)

3) Julie Link (Cleveland Institute of Music)

4) Laura Miller (University of Texas at Austin)

5) Amanda Swain (Northwestern University)

by Daniel Hathaway

Semi-final rounds of the Meg Quigley Vivaldi Competition got underway early Friday afternoon as nine bassoonists took the stage in the Oberlin Conservatory’s Kulas Recital Hall. The nine (originally ten, but one withdrew due to injury) were chosen from a pool of 47 applicants through video submissions.

In order this afternoon, we heard Kelly Harrison (Oberlin); Laura Miller (graduate student, University of Texas at Austin); Shuo Li (Oberlin, from China); Marian Graebert (graduate student at the University of Akron), Amanda Swain (graduate student at Northwestern); Alex Zdanis (Colburn School); Briana Lehman (Rice); Julie Link (graduate student at CIM); and Micahla Cohen (graduate student at Yale).

Each contestant played three required pieces, cleverly chosen to demonstrate each individual’s technique and musicianship, interpretive skills and to measure how they projected their musical personality to an audience. Three judges would independently rank each player and cumulative scores would determine which five performers would advance to the finals on Sunday at 3pm in Warner Concert Hall.

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by Daniel Hathaway

Joel Smirnoff, CIM president, makes his Ohio conducting debut with CityMusic Cleveland

On a dark and windy night, with dire predictions of a major winter storm on its way (didn’t quite happen), what better refuge than a warm, brightly lit church and a free concert of some of Mozart’s most charming small orchestra music? Several hundred people thought so, packing Fairmount Presbyterian Church from narthex to chancel for Joel Smirnoff’s Ohio conducting debut with CityMusic Cleveland.

After a greeting from Fairmount pastor Louise Westfall, who led a charming, color coded tour through the deciduous program booklet’s coupons, surveys, concert handbills and donation forms, soloists Nathan Olson and Jessica Oudin came on with Maestro Smirnoff to give us the Sinfonia Concertante for violin, viola and orchestra, K.364.

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