Saturday, February 28, 2015

Cleveland Classical Guitar Society: Gaelle Solal

Bach: Partita No. 2 BWV 1004
Traditional Turkish: Drama Koprusu 
Traditional Turkish: For the yellow flowers (added)
Albieniz: Piezas Caracteristicas, Op. 92, No 12: Torre Bermeja, Serenata
Gismonti: Palhaco
Nazareth: Brejeiro
Gismonti: Agua E Vinho
Sadinha: Lamentos Do Moro
Two encores, titles unannounced.
Gaelle Solal, guitar.
At the Plymouth Church, UCC

Before tonight's concert began, Rachel thought she spotted an idol in the audience -- and she may be sitting next to me  rereading one of his collections next to me as I'm writing this -- but she was too respectful to see if she was correct -- but I had the distinct honor of seeing her (normally ultra reserved) go uber fan girl -- hitting some octaves I didn't think she was physically capable of before this evening.

Anyway, getting on to the main event, the guitar has a wonderful ability to bring immediate warmth to a room -- and on yet another chilly Cleveland evening, where it was 17 degrees when we left the house -- spiritual warmth is always appreciated. Ms. Solal also gave particularly informative and elucidatiory introductions to the pieces she so adeptly played.

The first half of the program consisted entirely of the five movements of Bach's Partita No. 2 -- which through their different tones (warm and sedated then sprinting, a Sarabanda that seemed to capture the loss of a close friend, to the lighter Giga and 64 variations in a Ciccona) made me think of this as a musical answer to the stages of grief.

Following intermission, two traditional turkish pieces (one on the program, one added) brought a distinctly Eastern European tone to the hall, and was one of my favorites from the program.

Albeniz's Torre Bermeja was more mellow, and Girmonti's Palhaco was moe metitative. Nazareth's Brejeiro brought more energy and was a bit of chirpy, jaunting fun -- also one of my favorites from tonight's program. For as light and happy as Brejeiro was, Gismonti's Agua E Vinho was almost depressingly sad. As a counterpoint, Sardinha's Lamentos Do Morro had more (at the beginning, pulsing) energy than any other lamentation I can recall hearing.

Ms. Solal presented two encores, titles unannounced but with wonderful dedications -- the first to the musical outreach program, and the second to her Cleveland hosts.


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