Cleveland Classical Guitar Society: Vladmir Gorbach

Llobet: Variaciones Sobre
Scarlatti: Sonatas K. 239, K.87 and K.27
Bach: Suite BVW 997
Aguado: Andane and Rondo No. 3
Piazzolla: Cuatro Estaciones Portenas
Gianastera: Sonata Op. 47
At Herr Chapel, Plymouth Church UCC, Shaker Heights

Rachel and I are back from Paris, and I'm just back from a trip to Orlando and I'm delighted to see that Spring is finally arriving in Cleveland. With the beginnings of spring, comes the last concert of Cleveland Classical Guitar Society's final concert of the 14-15 Intentional Series. Tonight's concert rook place in Herr Chapel, a more intimate venue than the main sanctuary that has hosted the previous concerts.

The first piece on the program, Variacones Sobre, was also one of my favorites with a light and soothing air where I just closed my eyes for the majority of the piece and let the notes settle on my ears, perfect as the daylight faded. Following were three sonatas  composed b Scarlatti; the first reminded me of a busy European street scene, while the later seemed more somber and lonely. The Bach Suite, the last before intermission, though musically interesting, unlike the earlier pieces was more abstract and difficult for me to relate to specific emotions.

Following intermission, Aguado's Adante and Rondo No. 3 was inspired by the musical themes of the day in the early 19th century, but like the piece that preceded it, I had a hard time forming a specific relationship to it.

The next piece though, Cuator Estaciones Portenas with four movements and originally for a five piece band, was delightful and relatable, though somewhat muddy early in the piece, it took on a marching, almost militant feeling in the middle and a lively feeling with a good beat at the end of the piece.

The last piece on the published program, Ginastera's Sonata Op. 47, featured what seemed to be a quite a bit of unusual technique and skill, but didn't really captivate me.

The encore, on the other hand, "Carillon" (I didn't catch the Italian composer's name) had a heartbeat combined with amazing subtlety, and Rachel commented that the sound reminded her of a hammered dulcimer.

Lincoln

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.

Lincoln

Cleveland Classical Guitar Society Concert 3: Cavatina (Spain/Bosnia) A Cleveland Debut

Bach: Sonata in C Major for flute and continuo (BVW 1033)
Piazzolla: Adios Nonino
Assad: Three Balkan Pieces
Takrmitsu: Towards The Sea
Thomas: Out of Africa
Sor: Variations on "O Cara Armonia" from Mozart's The Magic Flute
Piazolla: Oblivion (encore)
Eugenia Moliner, flute; Dennis Azabagic, guitar. At Plymouth Church UCC, Shaker Heights.


Winter has most definitely arrived in Northeast Ohio, making the warm and simple feeling evoked by the first piece on the program -- J.S. Bach's Sonata in C -- of listening the the piece while sitting in front of a medieval castle's roaring fireplace. Interestingly, the couple noted that the authorship is somewhat questioned based on departures from Bach's typical stylem including ending on a Menuet movement.

An emotional farewell to father (Adios Nonino) took the second slot on the program with an interesting "squeaky" technique and sound from the guitar. Initially chipper, it concluded on a combination of somber and soaring tones. Ms. Moliner commented that it was an emotionally difficult piece to play based on the recent loss of her father.

Incidentally, the couple's -- yes, they are married -- onstage banter and needling added an extra texture and enjoyment to the concert.

The third "piece" on the program was actually a collection of three Balkan pieces -- the first, Kalajdzijsko Oro (traditional Macedonian) provided a fluttering flute punctuated by a guitar -- almost as if a soaring bird was punctuated by updrafts of wind. The second, also traditional Macedonian, Ajde slusajm slusaj  was soothing and relaxing, and the third, traditional Bulgarian, Ratchenitsa was more upbeat and carried a very different sound than the first two pieces.

Following intermission, Toward the Sea, commissioned by Greenpeace for its Save the Whale Campaign was captivating in its use of both the alto flute and its use of not only music but periods of silence to mimmic the sounds and communication of whales -- the imagery was unmistakable,

Out of Africa, also a thematic piece -- who's five movements covered the span of a single day in Africa, from the Call at Sunrise, Morning Dance to the mid-day Zenith, and the evening and night Evening Dance and Cradle Song was soothing and engaging with a clear arc in the tone from the bright morning to the slowing evenings. Both amusingly (and somewhat diffracting) the piece also covered the arc of consciousness of a very visible Hawken student -- with large yawns in the "morning", falling horizontal with one knee in the air at the zenith, and finally achieving a completely horizontal position through the evening and conclusion of the piece (and published program)

The last piece on the published program, variations on O Cara Armonia from Mozart's The Magic Flute was lively but not particularly evocative of particular emotion or imagery.

The Next Cleveland Classical Guitar Society International Series concert Gaelle (France) on February 28th.

Lincoln

Cleveland Classical Guitar Society: David Russell

Giuliano: Rossiniana No. 3
Scarlatti: Sonatas K.490, K.491
Granados: Valses Poeticos
J.S. Bach: Partita I, BVW 1002
Albeniz: Capricho Catalan
Albeniz: Granada
Albeniz: Asturias

Two encores, unannounced.
David Russell, guitar
At Plymouth Church UCC, Shaker Heights.

Tonight's concert marks the last in Cleveland Classical Guitar Society's fifth season. Despite less than favorable weather and the possible competition for audience  from a Cleveland Orchestra concert a few miles away -- Grammy-winning guitarist David Russell played a wonderful concert to a nearly sold-out audience. 

Inspired by the arias of Mauro Giuliani's Rossiniana No. 3 opened the concert with crisp sounds and despite some drama the result was soothing and tranquil. Mr. Russell introduced the second piece by noting that the inspiration was a Spanish practice around Easter of processing a statute of the Virgin Mary through the village -- and Domenico Scarlatti's Sonatas had the feeling of a respectful procession with occasional hints of tributes. Closing out the first half of the program, Enrique Granados's Valses Poeticos -- said to be inspired by unknown poetry and consists of 8 waltzes -- while delightful to listen to, I can't say that I really heard waltzes. 

Following intermission, Mr. Russell's transcription of Bach's Partita I, with doubles captivated the audience -- and again was delightfully relaxing to listen to, I didn't find the music to particularly evoke the feeling of dance. 

The final pieces on the program wee composed by Issac Albeniz and brought a brighter feeling and a bit more lively mood than those preceding. Capricho Catalan had a slightly haunting air and made me think about wandering through unknown neighborhoods after dark. Granada, on the other hand, made me think of having drinks with friends in a neighborhood bar -- very even-keeled but with occasional surprises and exclamations, and meandering through the stories of friends. Finally, Asturias was fast and lively with musical exclamation points. 

The concert concluded with two unannounced encores dedicated to his Producers, Sound Engineer, and Editor for his CDs. 

Season tickets for Cleveland Classical Guitar Society's 6th season are available now. 

Lincoln

Cleveland Classical Guitar Society: Ancient Melodies, Modern Echos

Dowland: In Darkness Let Me Dwell
Britten: Songs from the Chinese, Op. 58 Mvts. I and II
Dowland: If my Complaints Could Passions Move
Britten: Songs from the Chinese, Op. 58 Mvts. III and IV
Dowland: All Ye, Whom Love or Fortune
Shaw: Come Again (again)
Dowland: Come Again
Britten: Songs from the Chinese, Op. 58 Mvts. V and VI
Dowland: Shall I Strive With Words to Move
Britten: Nocturnal After John Dowland, Op. 70
(Esteli Gomez, soprano; Colin Davin, guitar. At the Plymouth Congregational Church, Shaker Heights)

Tonight Rachel and I took the short jaunt from my home up Coventry to the Plymouth Congregational Church in Shaker Heights, home to Cleveland Classical Guitar Society's International Series. Tonight's concert was a bit different than the others we've attended in that the evening's guitarist Colin Davin was accompanied by soprano vocalist Estili Gomez.

The arrangement of the program -- interleaving John Dowland (1563-1626) principally with works by Benjamin Britten (1913-1976) and compared with Caroline Shaw's (b. 1982) Come Again (again) certainly gave weight to the program title of Ancient Melodies, Modern Echos.

Opening with In Darkness Let Me Dwell, I was struck by ethereal if melancholy vocals and relatively simple music, and the first two movements from Britten's Songs from the Chinese (The Big Chariot and The Old Lute) contrasted withe a bit lighter mood and, especially The Old Lute a hint of playfulness. While I've had mixed feelings about Britten, I thought it was most interesting listening to tonight's program that from the sounds of the music and lyrics alone I don't know that I could tell you that roughly 350 years separated the two composers.

While neither Rachel nor I had strong reactions to the melancholy if not outright depressed If my Complaints Could Passions Move, the accompanying movements from Britten held my interest -- The Autumn Wind was both lighter in spirit and faster in tempo than the preceding movements; and The Herd Boy seeming to take the guitar technique up a notch. All Ye, Whom Love or Fortune may cement the modern listener's impression that John Dowland suffered from depression -- all of his works, at least all of the works on tonight's program were at best melancholy.

The last piece on the first part of the program, composer Caroline Shaw's Come Again (again) was programmed before the work that it was homaged to and had a number of interesting facets particularly the horizontal playing position for the introduction of the work,  and the use of a tonebar to achieve dramatic changes in pitch and -- I could have sworn -- at one point a flute-like sound.

Following a brief intermission, Dowling's Come Again offered a vocal clarity as well as a sense of hopefulness; Britten's compliments came from Movements V and VI (Depression and Dance Song) which included a sustained vocal and a return to the unusual playing position and use of the tone bar seein in the introduction of Come Again (again)

The program concluded with Britten's Nocturnal after Dowland, completely instrumental with the exception of the last movement and enough sonic textures to satisfy all tastes throughout. I was particularly struck by the sound, about midway through the work, that sounded much like the felt heads of the hammers on a piano striking.

Lincoln

Cleveland Classical Guitar Society: Carlos Perez

(Spanish and Latin American Music of the Romantic Era)
Jimenez Manjon: Dos Maxurkas
Jimenez Manjon: Arie Vasco
Pujol: Cubana
Pujol: Schottish Madrileno
Damas: Fandango Variado
Barros: Preludo opus 5
Barros: Maxixa
Sagreras: Estilo Criollo
Sagreras: La Ideal (Romanza sin palabras)
Sagreras: La Guella
Nazareth: Mariazinha sentada na pedra (tr. Perez)
Nazareth: Eponina (Valsa) (tr. Perez)
Nazareth: Vem ca branquinha (tr. Perez)
Carlos Perez, guitar
At the Plymouth Church UCC, Shaker Heights

On a blustery winter evening Rachel and I returned to the Plymouth Church, this weekend for the Cleveland Classical Guitar Society's presentation of Carlos Perez playing Spanish and Latin American Music of the Romantic Era. While the weather outside wasn't quite frightful, the music inside was quite delightful*

The first half of the program was given over to composers from Spain -- though Antonio Jimenez Manjon emigrated to South America early in his life -- his Dos Maxurkas was a warm and inviting beginning to the concert with a tranquil Una Flor and the slightly more lively and lyrical Lirica.

Pujol's Cubana had a more casual and "Cuban" flavor -- as may be implied by the title -- the Schottish Madrileno that Rachel and I had imputed as "Scottish" didn't really harken Scottish imagery. While rounding out the first half of the program, Tomas Damas's Fandango variado  featured interesting sounds including a using the body of the guitar for a drum beat.

The second half of the program moved Southwest to Latin America where the mood was generally lighter and the tempo seemingly faster; Augistin Barrios's Preludio opus 5 bringing a faster tempo and thae same composer's Maxixa bringing more festive color into the music. Julio Sagrearass's Estilo Criollo was the opposite with a deep and introspective feeling.

The program concluded with works by Ernesto Nazareth transcribed by guitar by Carlos Perez, where the bubbly Mariazinha sentada na pedra gave way to the more candle-lit-dinner romantic but sad Eponina (Valsa) [I'm not sure what it was about this piece, but I seemed spontaneously on the edge of tears], and finally a rousing Vem ca branquinha to end the warm music and return us to the reality of winter outside of the hall.

Cleveland Classical Guitar Society will be presenting a special event in conjunction with MOCA on Thursday, December 12th.

Lincoln

*(sorry, I really couldn't resist the first opportunity of the season to use that pun)

Cleveland Classical Guitar Society: Paul Galbrath In Concert

Bach: Cello Suite No. 6 in D Major, BVW 1012
Hindemith: Harp Sonata (1939)
Traditional Catalian: El Testament d'Amelia
Ponce: 20 Variations and Fugue on "Las Folias de Espana"
Torroba: Burgalesa
Paul Galbrath, Eight-Stringed Guitar (all pieces arranged by the artist)
at Plymouth Congregational Church, Shaker Heights.

The guitar is an often overlooked member of the classical world. Fortunately, Cleveland has an outlet specifically for this corner. I know people who have spoken highly of the Cleveland Classical Guitar Society, but until tonight's concert I had not experienced one of their concerts myself.

I have a feeling that even had I experienced a CCGS concert prior to this evening's, tonight still would have been a very unique presentation -- Paul Galbrath plays an eight-stringed guitar, more striking, however is the playing position: Upright with a tail piece resting on a resonance box, much like the modern cello (two of the eight strings extend the full length of the instrument). That is where the similarities to the cello -- at least to this writers eyes and ears end.

After a long day -- capping off a longer week -- I found the sound throughout the concert to be invitingly warm and very conducive to relaxing meditation. While it's a state that's very conducive to preserving what little is left of my sanity, it is not conducive to noting specific emotional responses to specific pieces. Needless to say, though, Rachel and I thoroughly enjoyed ourselves.

Even when the music took a turn for the louder, faster, and generally more energetic, the sense of an inner calm persisted through Mr. Galbrath's playing. Aurally, I was also struck by how harp-like, more than any other instrument, much of the program sounded. On the other hand, visually, for as big and room-filling as every piece sounded, Mr. Galbrath's movements were small and precise, sometimes verging on barely noticeable.

The next Cleveland Classical Guitar Society concert is on Friday, November 16th and features Edel Munoz (More information here)

Lincoln