Heights Arts Close Encounters : Bach, Bartok, Beatles

Bach; Air from Orchestral Suite #3, BWW 1068
Poetry Reading: Kathleen Cerveny: Mended Dreams, a pantoum
The Beatles: Blackbird (arr. Steven Laven)
Bartok: String Quartet #6 (1939) Mvt. 3 Mesto
Bach: Oh Sacred Head Now Wounded Chorale from St. Matthew Passion, BVW 244
The Beatles: Yesterday (arr. Larry More)
Bach: Brandenburg Concerto #5 in D, BVW 1050, Mvt. 1 (arr. Merle Isaac)
Bartok: String Quartet #6 (1939) Mvt. 3 Burletta 
Bach: Sonata in C-Major for Violin Solo, VBW 1005, Mvt. 3 and 4 (Isabel Trautwein, solo violin)
Bach: Art of Fugue, Contrapunctus I
Poetry Reading: Cerveny: Fire and Frost, a villanelle
The Beatles: And I Love Her (arr. Laven)
Bach: From Depths of Woe I Cry to Thee Chorale from cantata BVW 38
Bartok: Dance from Maramos (#32)
Poetry Reading: Stafford: You Reading This Be Ready
Lennon: Imagine (arr. Laven)
Kathrine Bormann and Isabel Trautwein, violin; Sonia Bratten Molloy, viola; Tanya Ell, cello (all members of The Cleveland Orchestra)
At Kalman and Pabst Photo Group's Studio, Midtown Cleveland.


I've been in love with Kalman and Pabst Photo Group's midtown studio space since the first time I wandered in several years ago and I've always wondered how it would sound as a live music space. This season stars aligned in a major way -- not only did the talented crew from KP generously donate their talents to produce the beautiful imagery used to promote this season's concerts but they also graciously hosted us in their studio this afternoon for the second concert of this season.

Today's sold out concert was a unique journey matching three eras of music -- starting with J.S. Bach, skipping forward to Bela Bartok and finishing with the music of The Beatles arranged for string quartet grouped intelligently as musical tastings and with poetry readings interspersed.

Aside from highlighting the versatility of these fantastic musicians through the diverse musical selections, with insightful commentary linking each set of pieces and musical theory and execution -- particularly humorous was when Ms. Bormann related her experience digging behind the music while learning Debussy under the direction of a Russian instructor.

Though the music was as delightful as a whole -- and I don't really consider myself a fan of the Beatles -- I did particularly enjoy this group's performance those pieces reminding me, conceptually of Vitamin String Quartet, a rotating quartet that records string arrangements of popular music.

Lincoln

Heights Arts: Factory Seconds Trio - "Second to None"

Bardin: Sonatine en Trio (1982)
Leonin: Viderund omnes
Hovhaness: Fantasy No. 1 (1967)
Flothius: Sonatine (1946)
Hidas: Triga (1992)
Bassett: Trio for Brass Instruments (1953)
Needham: Mobiles (2013)
Frackenphol: Brass Trio (1966)
Jack Sutte; trumpet, Jesse McCormick, french horn; Rick Stout, trombone, with poetry readings by Kathleen Cerveny. At the home of Mark and Sue Hollingsworth, Shaker Heights

If The Cleveland Orchestra is the five-star fine dining of Classical music in Cleveland, Heights Arts is the gourmet food truck -- serving up delicacies for smaller audiences in slightly less predictable and more nomadic fashion. Indeed, aside from the fantastic music performed by amazing musicians, I like the experience if seeing inside some of the beautiful and unique homes on the East side -- and today's concert in the beautiful Hollingsworth residence was no exception.

What was unusual were the instruments -- a trio of brass players taking the name "Factory Seconds" in homage to their roles as the second for their instruments in The Cleveland Orchestra. I was a little nervous going in to today's program that brass, let alone a trio of brass, would overwhelm the small spaces and intimate audiences of the typical Heights Arts concert. That fear was misplaced.

I found that I enjoyed the first half of the program slightly more than the second half with Bardin's Sonatine en Trio, the opening piece on the program, setting an excellent mood with the spirited but playful marchesque first movement, the subdued evening walk of a second movement and the lively third movement.

The second an third pieces on the program were offered as a sandwich with a piece of poetry in the middle -- while I enjoyed Viderunt Omnes, said to be the beginning of Western music, I think I spent too much mentally time trying to connect Fantasy No. 1 to that piece and the poetry to enjoy it musically.

Flothius's Sonatine's four movements blended into a single fluid work and right around the time I had decided I was enjoying the quick pace of the first movement (which at the beginning I related to a festive almost circus-like feeling) I realized the piece had ended. Finishing out the first half of the program, Hidas' Triga offered a slightly more burnished fanfare.

The program following intermission, though notable for featuring all living American composers didn't capture my interest in the same way or to the same degree -- I had a hard time formulating a reaction to Bassett's Trio for Brass Instruments. Needham's Mobiles Started out with a subdued, dreamy nighttime walk on a quiet alley, met and crossed a busy thoroughfare, before returning to the shadows.

Lincoln

Heights Arts Close Encounters: Tro TaPASi - In Twos and Threes

Schubert: Arpeggione (Tanya Ell, cello; Patti Wolf, piano)
Brahms: G major Sonata (Isabel Trautwein, violin; Patti Wolf, piano)
Mendelssohn: Trio in C minor (Isabel Trautwein, violin; Tanya Ell, cello; Patti Wolf, piano)
At the home of Charlie Cowap and Rachel Rawson, Shaker Heights. 

While last night's season closing performance at the Cleveland Orchestra was delivered forcefully by a massive orchestra, today's season ending performance for Heights Arts' Close Encounters house concert series was no less impactful in an intimate setting with three extraordinarily talented musicians (two of whom --- Ms. Trautwein and Ms. Ell -- are also Cleveland Orchestra members)

All thiree pieces on the program were musically stunning and a pure delight to listen to, although they didn't evoke strong imagery in my mind, which makes describing it challenging -- for many of the movements I found myself just closing my eyes and enjoying the feeling of the notes -- particularly the cello through its end pin -- resonate up through my legs while simultaneously hitting my chest and ears. On the flip side, Ms. Trautwein's violin -- particularly in the third piece -- was less than a yard from my face and the precise dancing across the fingerboard provided a captivating visual.

The comment was made that Schubert's Arpeggione was composed not for the cello but for a "smaller instrument with more strings" -- however from the adept playing you would not have suspected (from Wikipedia it appears Arpeggione was the actual name of that instrument -- and it appears that instrument is essntially a "bowed guitar" -- and this piece had a very warm and tender air between Ms. Ell and Ms. Wolf

The second piece, featuring Ms. Trautwein and Ms. Wolf seemed a little bit more somber and delicate than the first. The third and final piece, Mendelssohn's Trio united all three musicians for a tour-de-force, and a wonderful end to what turned out to be one of my favorite Heights Arts programs.

Lincoln

Heights Arts Close Encounters: Amici Quartet - Beethoven's Famous Last Quartets

Beethoven: String Quartet No. 14 in C sharp minor, Op. 131
Beethoven: String Quartet No. 16 in F major, Op. 135
[The Amici Quartet: Jung-Min Amy Lee substituting for Takako Masame, violin; Miho Hashiume, violin; Lynn Ramsey, viola; Ralph Curry, cello]
At the Barrie Carriage House, Cleveland Heights. 

Cleveland Heights poet laureate Kathleen Cerveny opened this spring afternoon concert with readings of poetry from E.E. Cummings and Ohio poet Mary Oliver before turning the stage over to the "Amaci Quartet Minus One, Plus One" as cellist Ralph Curry introduced the ensemble -- with Cleveland Orchestra associate concertmaster Jung-Min Amy Lee substituting for injured-on-tour quartet member Takako Masame.

The program took a longer form than may normally be expected, starting with Beethoven's seven movement 41-minute String Quartet -- though  despite the longer-than-typical running time and twice as many movements as the typical piece, time seemed to fly, though the piece was generally somber, particularly in the earlier movements and the pained searching opening notes, though as the piece progressed the mood improved to an energetic, almost galloping passage that seemed a bit like trying to catch a wild animal. This was certainly a piece where I found myself just closing my eyes and enjoying the sounds of the impassioned playing of professional musicians.

It was particularly interesting to me as I don't believe I've heard Ms. Ramsey or Mr. Curry play in such an intimate setting before, and I always relish the opportunity to hear fine musicians, and particularly the members of The Cleveland Orchestra, in a more intimate setting.

Following intermission, the shorter but still substantial String Quartet No. 16 concluded the afternoon's performance. In his remarks before the piece, Mr. Curry indicated that despite being a stressful time in Beethoven's life -- including a major illness and serving as guardian for his incorrigible nephew -- this piece had a sunnier disposition generally. On whole, though, the piece struck me as only slightly brighter than the prior quartet, with much of that energy in the second movement (vivace). The third movement (Lento assai, cantante e tranquillo) though had a almost mass-like mourning hymn, and the fourth movement -- featuring a "question" and "answer" in the notations, and with increasing intensity of discourse between the violins and lower strings.

Lincoln

Heights Arts Close Encounters: Mary Lynch - Strings Attached

Britten: Phantasy Quartet for Oboe and Strings, Op. 2^
Mozart:  Oboe Quartet in F Major, K. 370 *
Bolcom: Serenata Notturna (2005) ^*
(All pieces with Mary Lynch, oboe; Joanna Patterson, viola; Tanya Ell. cello. ^- Jung-Min Amy Lee, violin. *-Alicia Koelz, violin).
At the Dunham Tavern Museum, Cleveland.

This evening's concert was an interesting one -- featuring a new artist (Ms. Mary Lynch) playing an instrument that is somewhat rare in the "house concert" (or "close encounters concert") format -- the oboe. Today also started with three readings from Cleveland Heights's Poet Laureate Kathleen Cerveny, believed to be the only muncipal poet laureate in Ohio.

The musical portion of the program was fascinating representing eras as diverse as the late 1700s, early-mid 1900s and the early part of this millennium. Benjamin Britten's Phasntasy Quartet for Oboe and Strings, from 1932, was a single movement that had hints of a Pink Panther-esque "sneaking" along with liberal pizzicato in the strings and a bit of a militaristic march, particularly in Ms. Ell's cello.

Taking a step back in time, the second piece on the program was Mozart's 1781, Oboe Quartet, described by Rachel, with my concurrence, as "light" and "airy". THe third movement (Rondo-Allegro) was particularly spirited and lively, while the first was spirited.

After intermission, Ms. Lynch gave a short but extremely interesting presentation on the art of reed making -- including passing around some samples of completed reeds and the various steps involved, and graciously answering questions from the audience.

The final piece on the program was also the newest -- from 2005, thought described by the composer as "Mozartian Blues" -- and I think had the year not been attached to the piece I would have assumed it was much older. The third movement in particular (Scherzo di medianotte) struck me as a lively discussion between friends.

As always, this concert provided an excellent and intimate opportunity to hear some of Cleveland's tallented musicians preforming works that the musicians themselves selected. (For the sake of completeness, ChamberFext Cleveland's annual benefit was also this evening; were it not for impending travel and Rachel feeling a bit under the weather we would have also attended that concert.)

Lincoln

Heights Arts: Schubertiade (House Concert/Close Encounters)

Schubert: Sonata in D Major for violin and piano, D.384^*
Schubert: Sonata in G Minor for violin and piano, D.408^%
Schubert: Der Hirt auf Felsen (The Shepherd on the Rock)^¹²
Schubert: String Quartet in G Majorª
At the Koelz Residence, Cleveland Heights
^- Rafael Sorka, piano; *- Isabel Trautwein, violin; %- Alicia Koelz, violin; ¹- Jung Oh, soprano; ²-Robert Woolfrey, clarinet; ª- The Omni Quartet (Jung-Min Amy Lee, Alicia Kolez, violins; Joanna Patterson, viola; Tanya Ell, cello)

It would be horribly neglectful to not note that tonight's concert -- the last of the Heights Arts 2012-13 Close Encounters house concert season -- also marks the last for Heights Arts founding Executive Director Peggy Spaeth before she retires July 2nd after 13 years of dedicated service. (And just to reiterate my standard disclosure: I do serve on the Heights Arts board)

Tonight's concert was our first expedition to the beautiful home of Ms. Kolez and her husband. While not Ms. Koelz's first performance with Height Arts, I believe the first time the host of a concert has also performed.

An all-Schubert event featuring six members of The Cleveland Orchestra alongside two other very talented musicians the music and company was even more delightful than expected -- and that bar is high. All four pieces on the program were passionately played and a joy to hear, although I didn't really attach strong imagery to any of the pieces -- the way I most effectively communicate about music.

Thus, I cannot say that I enjoyed any of the pieces any more or less than any other on the program. The first two pieces -- both violin-and-piano  sonatas -- were lovely and left me to just close my eyes and enjoy the beauty of music for a large swath of both pieces. The inner movement of the Sonata in D was lovely, while the first movement reminded me of the emotional release of crying.

Der Hirt auf dem Felsen with singer Jung Oh and clarinetist Robert Woolfrey joining Rafael Sorka changed things up with Ms. Oh and Mr. Woolfrey's playing faithfully echoing the sentiments of the lyrics -- from the brighter beginning to the sadness and grief-stricken middle.

After an intermission, gears shifted completely with the String Quartet in G Major, D.877 where despite an extended tuning necessitated from Cleveland's indecisive Is-it-Summer-or-Winter weather (I'm glad it's not just me) the passionate playing made it a memorable piece with finely textured drops into darkness and emergences into brightness. Adding interest to the piece were rapid-fire tremors of notes executed with precision.

Clevelanders are incredibly lucky to have access to this level of musicianship in these incredibly intimate settings

I'm already looking forward to the next season...

Lincoln

Heights Arts Close Encounters: Salute to the Cleveland Quartet

Bartok: Selections from 44 Duos for Two Violins, Sz. 98, BB 104¹²
Dvorak: Piano Quartet in E-flat Major, Op. 87³ª°^
Brahms: Sextet for 2 Violins, 2 Violas, and 2 Cellos in G-Major, Op. 87¹*ª°`
¹-Donald Weilerstein, violin; ²-Peter Salaff, violin; ³-Mari Sato, violin; ª-Kirsten Docter, viola; °-Merry Peckham, cello; ^-Vivian Weilerstein, Piano; *- Isabel Trautwein, violin; `- Tanya Ell, cello.
At the Dunham Tavern Museum Barn, Cleveland.

This afternoon's concert was special -- bringing back together the Peter Salaff and Donald Weilerstein, the original violinists of the renown Cleveland Quartet, along with members of protégé the Cavani Quartet and other students. Even I, generally blissfully unaware of "names", was aware of the duo's significance.

The concert opened with Messers Weilierstein and Salaff providing an appetizer plate of fourteen of Bartok's 44 Duos for Two Violins, each bite-size and relatively fast, and each one had a very different feeling. While the two musicians have been separated for many years, they played as if they have never parted ways. The only downside to having so many short pieces was that you couldn't really fully immerse yourself in a piece before it was over and on to the next piece.

Dvorak's Piano Quartet was next on the program, and the body heat from a sold-out barn combined with the relaxing and faultless music made closing ones eyes to just enjoy the sounds a potentially dangerous endeavor. I'm generally a fan of Dvorak, and though this piece didn't, to me, have the texture to the extremes as say his From the New World, it was still very enjoyable, with Rachel noting that the second movement gave her goosebumps, and generally both of us very much appreciating Ms. Weilerstein's work at the piano.

The third, final, an most substantial piece on the program was Brahms's Sextet, once again impeccably executed. Rachel and I both noted the "front and center" nature of the cellos which, while anchoring the piece and giving it a full body, and not merely lurking as the foundation for the other instruments. Throughout the piece the musicians were clearly enjoying their playing, and I think the relaxed-but-precise feeling, the opposite of the tense/restrained feeling I got from last night's Orchestra concert, though the fourth movement was my favorite by a narrow margin.

As we were walking out Rachel mentioned "I think this was the best one yet" -- and as a matter of fact, I think she may be right.

The next an last concert in this season, Schubertiade with the Omni Quartet is on Saturday, May 11th at 8pm -- for tickets call 216.371.3457 or visit http://www.heightsarts.org/music.php.

Lincoln
(Disclosure: I serve on the board of Heights Arts)

Heights Arts Close Encounters: Bach to Piccolo House Concert

Bach: Sonata II for Violin Solo in A minor, BVW 1003*
Villa-Lobos: Assobio A Jato ("The Jet Whistle") %^
Dick: Fire's Bird%
Prokofieff: Sonata for Two Violins, Op. 56&#
(*- Isabel Trautwein, violin; %- Mary Kay Fink, picolo and flute; ^- Tanya Ell, cello; &- Katherine Bormann, violin; Ying Fu, violin)
At the Barrie Residence, Cleveland Heights.

[Disclosure: I have served on the Heights Arts board since November, however my opinions are my own]

The third installment in a weekend full of music lead us to a Heights Arts house concert at the Barrie's beautiful home in Cleveland Heights for a varied program featuring Cleveland Orchestra musicians in a particularly intimate and informal setting.

Opening the program, Isabel Trautwein gave a thoroughly interesting introduction to Bach's Sonata II, including examples of some of the building blocks used, and a copy of a thoroughly terrifying page from the sonata's autograph. As terrifying as the score may appear, Ms. Trautwein's performance was anything but, certainly ranking among my favorite from the Heights Arts series*. I kept my eyes closed for most of the piece and just enjoyed the sounds; I occasionally had to open my eyes just to convince myself that only a single musician and instrument were at play; my ears were saying otherwise, particularly in the inner two movements.

Heiter Villa-Lobos' Assobio A Jato introduced a newcomer to Heights Arts concerts: Mary Kay Fink on an impressive flute with Tanya Ell's wonderful cello to bring a little bit of the warmth of Brazil to Cleveland Heights in January. While Ms. Fink offered a sense of airy weightlessness from her flute, Ms. Ell's cello anchored the piece; particularly in the second movement it was easy to imagine lying on a verdant hillside on a warm day staring up at clouds floating by in the blue sky. The piece's title -- translated as The Jet Whistle -- refers to a sound late in the piece that Mr. Villa-Lobos said reminded him of a jet engine.

Our new guest added a new instrument with the third piece on the program -- a piece that Ms. Fink commissioned from a mentor, an for solo open-hole piccolo. Ms. Fink gave a very interesting introduction to the piece as well as a quick lesson in circular breathing, but it was hard not to notice the width of the score behind her -- "Like many modern composers [Dick] doesn't do page turning" and "If you don't like this kind of music at least it's not very long" -- this is the first time I've measured a score as three and one-half music stands. The piece featured impressive technique but there was a weird harmonic at times, almost like notes were reflecting off the back of my ear and bouncing around in the ear canal, and the effect was disconcerting, almost like being under water and hearing someone talk. It was unique, if a bit atonal.

The last piece on the program featured Ms. Bormann and Mr. Fu -- two Cleveland Orchestra musicians recently granted tenure (congratulations!) playing Prokofiev's Sonata for Two Violins. Although the sonata checks in with four movements it seemed to be over in the blink of an eye with a slow-fast-slow-fast arrangement. From the relaxing andante cantabile, to the energetic allegro with a feeling a bit like the hard metals of the industrial revolution, back again to slow with commodo (quasi Allegretto) was more tender and transitory. In the final movement, as with those that preceded it,  the two musicians virtually functioned as one, delivering a final burst of energy to conclude the afternoon's performances.

Lincoln

*- [Footnote intentionally omitted]

Heights Arts Close Encounters: Trout Playing In American

Schubert: Four Art Songs (Im Haine, Der Jungling an der Quelle, Ellens Gesang II, Die Forelle)
Schumann: Piano Quartet in E flat Major, Op. 47
Schumann: Four Art Songs (Widmung, Der Nussbaum, Heiss mich nicht reden, Kennst du das Land)
Schubert: Piano Quintet in A Major, D. 667 ("Trout")
Jung Oh, soprano; Sonja Braaten Molloy, violin; Mark Jackobs, viola; Charles Bernard, cello; Charles Carleton, bass; Christina Dahl, piano.
At the Rawson Cowap Residence, Shaker Heights.

Had everything gone as planned, I would have missed this afternoon's wonderful concert -- instead I would have been on a flight back from a week in New York. Though it is one of the more interesting travel stories of my career (involving a one-way flight and a one-way rental car), I'll save that for now, but needless to say -- I made it and was able to attend with  Rachel.

The musicians featured on tonight's program -- the string players all Cleveland Orchestra members -- were all new to the Heights Arts Close Encounters (House Concert) series, and it was interesting to see and hear more top musicians at the in an individual and more intimate setting than the concert hall.

The program was also an interesting mix of art songs (with soprano Jung Oh accompanied by Christina Dahl) and instrumental pieces. The concert stated with Ms Oh singing Schubert -- two love songs, a lullaby, and a cautionary tale about a trout. Rachel leaned over at the conclusion of the set noting that Ms. Oh made German sound less harsh -- and indeed, the entire set sounded sweet and rounded, unlike the harsh angular edges typically associated with German. Ms. Oh also sounded wonderfully warm and her voice amply filled the room.

The Piano Quartet covered a range of musical feelings -- from the galloping/driving feeling of the second movement scherzo to the loving and delicate andante cantabile third movement to a somewhat angry and more agitated vivace third movement.

The program concluded with the technically difficult and beautifully executed Schubert "Trout" piano quintet. I've heard the quintet before -- at a CIM recital -- but in the context of a private residence it takes on a much more intimate feeling between quintet and musicians [Without looking through my notes, I'm fairly certain this is the first time I've heard an upright bass in a house concert even if it wasn't the first time, it was a rare treat and pushed the entire ensemble even closer to the very appreciative audience.

Lincoln

Heights Arts: Academy of Bluegrass in the Field (a Benefit)

I've been eagerly awaiting the Cleveland Orchestra's return to Severance Hall for a new seson -- for me, that's tomorrow night. Tonight, though, we were treated to several members of the Cleveland Orchestra plying their trade in a different genere as a benefit for Height's Arts Close Encounters series of intimate cocncerts.

Incidentally, both individual and series tickets for the 2012-13 Close Encounters series are on sale now via Height's Arts web  site.

For a concert of bluegrass music, the Dunham Tavern Museum was the ideal Cleveland venue. Although all of the musicians on the program are members of Cleveland Orchestra, Derek Zadinsky was the only musician playing his "normal" instrument. Mark Dumm, Cleveland Orchestra first violn aptly weaved from banjo to fiddle to mandolin. Trina Bourne, best known as the Orchestra's principal harp, showed off her skills with a much smaller instrument -- the fiddle. Jeffrey Zehngut, orchestra 2nd violin donned a mandolin, guitar, and soprano sax. Orchestra bassists Henrey Preureburne spent the night with a guitar, while Derek Zadinsky nimbly navigated the largest instrument before us. If they were at all out of their comfort zone, their playing gave no indication.

The program was not published (though my attempt at capturing the pieces announced from the stage follows this post) but was a fantastic mix of bluegrass music running the gamut from slow and soulful to bubbly and pure fun.

Starting with the rousing Orange Blossom Special, the ensemble seamlessly transitioned through Ole Joe Clarke to Ashokan Farewell, a piece I heard arranged for orchestra at the beginning of the summer when The Cleveland Orchestra shared the Blossom stage with Time For Three. While I loved both versions, tonight's version had a much more tender and intimate feeling. Takin a piece originally written for Double Bass, Cello, and Mandolin and substituting a saxophone for the cello, the light Butterfly's Day Out took on a delightful urban, almost jazzy feel. Taking things in a different direction, The Cannon was an almost lullaby with the sounds of the bass and violin, which Rachel felt was more evocative of the flight of the butterfly.

Taking things in a completely different direction, we had the pleasure of hearing Bach's Gigue in G minor played by a leading violinist -- but instead of violin and bow, we heard it with the sweet sounds of the mandolin. Rounding out the first half of the program, Mr. Zehngut demonstrated his vocal ability with I'm a Man of Constant Sorrows  from Oh Brother Where Art Thou.

After intermission, a lively interpretation of dueling banjos with a banjo and mandolin pitted against a good natured guitar, F.C.'s Jig for violin and cello played by fidle and bass -- and Mr. Zadinsky covered every inch of his much larger bass substituting for a cello.

12th Street Rag gave me visions of a barn dance in the Dunham Tavern Museum's barn and I harbored visions of spinning Rachel around while (attempting) swing dancing in the back of the barn. Luckily for the audience (and Rachel) I did not attempt such a feat.

One of the great things abut a concert like tonight's is that the musicians' individual personalities can really shine through in a relaxed environment, and nothing showed that more than the next piece on the program -- while I didn't catch a title, it was a musical look at the less-glamorous side of orchestral touring following an introduction wherein we learned one member of the orchestra is particularly unlucky at finding the bus in one particular European city.

Attempting to cut the concert short by at least one banjo piece, Mark Dumm announced that he only had one banjo thumb pick and it was on its last legs. Before he could get much further, a new pick had mysteriously appeared from the back of the room -- now who happens to have an extra banjo thumb pick on them. In Cleveland. In September? Anyway, replacement pick in hand, the concert continued with Pinkin and Grinnin (punctuated with jokes -- and a touch of self-deprecation) and Foggy Mount Breakdown from Bonnie and Clyde. And the cherry on top of the concert, the encore was I Don't Love Nobody.

It was such a fantastic concert for a great cause and it is always an extreme pleasure to see Orchestra musicians out in the wild, and in this case playing music that may be a little off of the norm. Plus it highlights low lucky Cleveland is to have such a broad and deep pool of committed world-class talent.

I can't wait for the next one!

Lincoln

Heights Arts: Close Encounters: Amaricana, a house concert

Barber: String Quartet Op. 11 (Composed 1938)
Riley: Half Wolf Dances Mad In Moonlight from Salome Dances for Peace for String Quartet
Gershwin: Summertime from Porgy and Bess  (Jung Oh, Soprano)
Dvorak: "American" Quartet in F major, Op. 96
Katherine Bormann, Isabel Trautwein, violins; Tanya Ell, cello; Eleisha Nelson, viola.
At the Dunham Tavern Museum Barn, Cleveland.

There are concerts where I struggle to find a piece I liked; then there are concerts where I like just about everything but I have a clear favorite. Rarely -- very rarely -- there is a concert where I love everything and to attempt to name a favorite is as pointless as trying to name a favorite finger. This was one of those concerts.

All of the instrumentalists on tonight's program are members of The Cleveland Orchestra: Familiar faces in Isabel Trautwein and Tanya Ell, and new to the Heights Arts stage, Katherine Bormann and Eleisha Nelson, viola.

The concert opened with Samuel Barber's String Quartet, opus 11 -- with its second movement being perhaps best known as the basis for the orchestral Adagio for Strings. Though the second movement, with the feeling of a tender caress of a loved one, upstages the neighboring movements, all four of the movements in this piece were gripping. After the deeply touching second movement, the third had a bit of an emotional struggle between Ms. Trautwein's violin and Ms. Nelson's beautiful viola. The fourth and final moment, seemed a bit animated and flighty by contrast.

Ms. Nelson introduced the second piece on the program, as eight minutes from Terry Riley's two and a half hour quartet, Salome Dances for Peace for String Quartet in five movements. Tonight we were treated to the last part of the first movement Haalf Wolf Dances Mad in Moonlight which Ms. Nelson promised would have some "crazy rhythms" but, she added, would be all together. And together they were. And crazy they were. Though the piece was full of repeating patterns the evolution of the sounds in the piece gave an air of suspense and mystery that became more and less imperative as if a passing shadow. It's worth noting that I think this may be the first piece from a living composer has appeared on a Heights Arts program.

Following intermission, Soprano and Heights Arts Board Member Jung Oh joined the Cleveland Orchestra members to voice Gershwin's Summertime from Porgy and Bess. From "Summertime and the living is easy..." the Ms. Oh's songbird-like rendition had me spellbound.

The program wrapped to a close with Dvorak's "American" Quartet which was positively delightful. Dvorak's Symphony 9 ("From the New World") is unquestionably one of my favorite works for full orchestra, so I had high expectations. Those expectations were met with the American Quartet, composed at roughly the same time and in Spillville, Iowa. Like From the New World there's something about the quartet that gives a distinctly American feel to the piece, but I can't quite put my finger on what gives it that sound, unlike, perhaps what may be expected from "big city" America, the American Quartet seems more introspective and thoughtful than its sibling symphony.

There was absolutely nothing not to love about this concert; it was clear that the chemistry between musicians was at full strength.

Lincoln

Heights Arts House Concert: 3Bs - Beethoven, Brahms, Bartok

Beethoven: String Quartet in G Major, Op. 18 No. 2
Bartok: Thrid String Quartet (1927)
Brahms: Clarinet Quintet in B minor, Op. 115
The Omni Quartet (Jung-Min Amy Lee, Alicia Koelz, violins; Joana Patterson, viola, Tanya Ell, cello) with Robert Woolfrey, clarinet)
At the Maron Penthouse, Downtown Cleveland.

The first Heights Arts house concert I attended was in the Maron's spectacular downtown Cleveland penthouse and it was a real treat to be back (this time also having the privilege of Ms. Maron showing Rachel and I through their beautiful home prior to the concert).

Having received some unfortunate financial news earlier today -- there may or may not be a separate post on that down the road -- I wasn't in the highest of spirits going in to this evening's concert but nonetheless, this concert, performed entirely by members of the Cleveland Orchestra (some of whom had played a concert at Severance earlier today) was the most enjoyable of recent memory.


The Beethoven String Quartet kicked the concert off to a lively start as the sun started to descend over the beautiful Cleveland skyline behind the musicians. The second movement turned more introspective with in the second movement before hitting a minor but unified celebration. Near the end of the piece I had the vision of the orchestra as a band of fellows kicking a rock down a dusty road as the same general motif bounced from instrument to instrument.

Taking a dramatic change of period, the second piece on the program was Bela Bartok's Third String Quartet which Ms. Ell provided a very engaging introduction for highlighting some of the things to listen for in the fifteen minute piece whos movements were played without pause. Starting with something bleak, and almost depressingly lonely (Ms. Ell related it to the Cleveland winter, but it seemed even more desolate and lonely than that to me) with a bit of anger before coming in to a eerie folksong with some eerie undertones -- perhaps indicative of angry spirits. The piece also featured some unusual instructions including col lengo -- where the stick [wood] of the bow is used to hit the strings rather than the bowhair.

Brahms Clarinet Quintet was passionately sweet with Mr. Woolfrey's clarinet seeming to take the place of a longing lover while the ensemble seemed to the the hero or heroine moments away from taking his or her own life. The second movement continued this impression with an compellingly anguished sound, while the third movement -- lead by the clarinet -- was more moving and showed a restoral of hope while the piece concluded with a passionate, longing and almost remorseful fourth movement.

But neither Rachel nor I had any remorse about attending this evening's concert.

Lincoln

Heights Arts House Concert: El Gar!

Beethoven: String Trio in c-minor, Op. 9, No. 3¹²³
Poulenc: Sonate for Violin and Piano "A la memorie de Frederico Garcia Lorca"ª°
Elgar: Piano Qunitet op. 84¹²³ª°
¹-Tanya Ell, cello; ²-Mari Sato, violin; ³-Kristen Docter, viola; ª-Isabel Trautwein, violin; °-Vivian Weilerstein, piano.
At the Rawson Cowap Residence, Shaker Heights

On the heels of two orchestral concerts in the past week, and feeling a little lacking in the Chamber Music department, it was delightful to return to the Cowap+Rawson residence for three varied pieces intimate of chamber music, featuring Cleveland Orchestra violinist Isabel Trautwein, orchestra cellist Tanya Ell, Cavani Quartet members Kristen Docter and Mari Sato, along with visiting pianist Vivian Weilerstein [If you recognize the last name, yes, they are related]

Opening the program was Beethoven's Opus 9 Number 3 string trio with an introduction by Ms. Ell in which she commented on Beethoven's lack of success in the field of opera -- despite fantastic results in every other category -- and mentioned that themes in the piece sounded to her like operatic characters evolving throughout the piece and thought it didn't always strike me clearly there were certainly parts where I heard what she was referring to. Regardless, it was a delightfully relaxing beginning to the concert.

Next up, Francis Poulenc's Sonate for Violin and Piano dedicated to Frederico Garcia Lorca, a Spanish poet killed at the beginning of the Spanish Civil War. In introducing the piece, Ms. Trautwein quoted Lorca (via Poulenic) with "The guitar makes dreams weep" and mentioned Poulenc revised the finale after the violinist who had premiered the piece was killed in an airplane accident.

The piece started with a an explosive bang from both piano and violin and continued with a tumultuous sense of violence passionately played and invoking the spirit of war through instruments that are typically so serene. The same was largely true of the final movement until it tapered to a lonely series of notes at the conclusion of the piece. The intermezzo that was bookended by those movements, however was tender, sad, and introspective with the hint of grief and the pointlessness of war.

Concluding the program and unting all five of the performers we had the pleasure of hearing tonight, Edward Elgar's Opus 84 Piano Quintet, introduced by Mari Sato. Throughout the three movements of the piece the slightly muted color gave me a somewhat surreal nostalgic sense that reminded me of the feeling I had watching the film Big Fish -- not a direct musical quotation, but just the general feeling. The first movement started with an insistent statement that turned mysterious then impassioned. The sound from the ensemble seemed to fill every available available molecule of air in the Cowap's dining room.

The second moment kept the nostalgic and muted color feeling but turned a bit more tender and was passionately expressive, where the final movement was festive and gave me a bit of a feeling of riding on a carousel in that surreal soundscape.

All in all it was a delightful concert and a bit of a unique program given that two of the three pieces were composed within the past 70 years.

Lincoln

Isabel Trautwein: Bach Ciaccona (In My Living Room)

Bach: Ciaccona (from Partita for Violin No.2)
Isabel Trautwein, violin.
At my home, Cleveland Heights.

Last year Heights Arts' 10th anniversary party had a silent auction where I bid on and won a performance by Cleveland Orchestra cellist Tanya Ell in my living room. This year, at one of the Heights Arts House Concerts, a similar silent auction included Cleveland Orchestra violinist Isabel Trautwein offering her services.

Based how much fun I had the first time I couldn't help but to aggressively bid again. With the privilege of placing the winning bid, tonight a small group of friends and acquaintances assembled in my living room to hear Ms. Trautwein play Bach's Ciaccona, the final movement from his Partita for Violin No. 2.

Before playing, Heights Arts Executive Director Peggy Spaeth provided background for the organization that ultimately made the event possible, and Ms. Trautwein provided a deliciously detailed background not only on the piece but on Bach's family (a line of well-respected church musicians) his life (as one to organize and save his family's music, and as one who travelled with his patron) and on the piece. It is said that Bach was traveling with his patron for six weeks and and upon his return he found that not only had his wife died in his absence, she was already buried. This clearly had a profound effect on the composer.

When the playing began it was almost overwhelming. The Ciaccona, to quote from Wikipedia, "This ciaccona is considered a pinnacle of the solo violin repertoire in that it covers every aspect of violin-playing known during Bach's time and thus it is among the most difficult pieces to play for that instrument." And Johannes Brahms is said to have written that "[o]n one stave, for a small instrument, the man writes a whole world of the deepest thoughts and most powerful feelings. If I imagined that I could have created, even conceived the piece, I am quite certain that the excess of excitement and earth-shattering experience would have driven me out of my mind."

The Ciaccona runs 15 minutes, 256 measures, exceeding the combined running time of the preceeding movements in the partita.

After the music concluded there was a moment of brief, but absolute, silence before a guest exhaled a "Wow" and the applause erupted. In that 15 minutes of musical passion the rest of the world seemed to stop and when my conscious reappeared it is impossible not to acknowledge this as fantastic benefit to living in Cleveland: Not only do we have a world-class orchestra (and museum and performing arts and...) but the talented individuals that compose those institutions are passionate, engaged, and sociable.

A brief question and answer followed before we adjourned for a variety of foods (many deliciously prepared by Rachel), cheeses, an deserts -- not to mention wines flown in from Temecula, my hometown in Southern California -- and conversation lasting late in to the night.

It was a delightful evening and I hope to host another musical gathering  in the not too distant future.

Lincoln

Heights Arts House Concert: Welcome Bach Tudor Arms

Leclair: Sonata III for two violins, Op. 3, No. 3.
Kurtag: Hommage a Mihaly Andras (12 Microludes for String Quartet (1978))
Bach: So schau' dies holden Tages Licht (Aria from Kanata, BVW 1073)

Bach: Hilf, Gott, dass es uns gelingt (Aria from Kantata BVW 194)
Bach: Ruhig und in sich zu frieden (Aria from Kantata BVW 204)
Bach: Ich bin vergnugt in meinem Leiden (Aria from Kantata BVW 58)
Tartini: Concerto for Violin and String Orchestra, D. 80
Tessrini: Concerto in A-major for Violin and String Orchestra, Op. 1, No. 12
(Jung Oh, soprano; Peter Otto, Miho Hashizume, Isabel Trautwein, violin; James Larson, viola; Daniel Pereira, cello)

Heights Arts' series of house concerts is a highlight of my concert-going season: You get to hear magnificent musicians in unusual locations in a more relaxed atmosphere. In addition, with the small ensembles you are treated to music that was chosen by the musicians playing it are even more deeply invested.

Tonight's concert brought together talented members of the Cleveland Orchestra along with CIM Faculty was my first glimpse into the Tudor Arms Hotel (a DoubleTree hotel*) on Carnegie Avenue since it's recently completed renovation-and reopening (before being returned to hotel use, the building served as Case student housing and social services offices). The 2nd floor ballrooms -- this concert was in the mirrored Crystal Ballroom -- certainly exude the feeling of an era gone by, though the new murals on the walls were as vibrant as the music we were about to hear.

The program was a interesting mix of composer well known along with composers lesser known. Opening the program, Leclair's wonderfully sweet Sonata III for two violins, played by Orchestra members Isabel Trautwein and Miho Hashizume provided a delightfully sweet opening to the concert.

Following that piece, Cellist and CIM faculty member Daniel Pereira provided an interesting comparison between Kurtag and Bach's works, most succinctly that Bach was composing in a highly regimented time with rules inviolate, where Kurtag composing in a much later era was essentially free from rules. In that context the pieces were alternated -- three movements of Kurtag to each Bach Aria. The contrast was interesting, but not as jarring as you might expect given the 200-year spread between the composers. The color and texture of the mostly short Microludes was interesting and varied -- calm and lethargic, agitated, fog-like, swampy, stormy, and startled were all feelings that I could associate with various movements, while Ms. Oh's wonderful voice added elegance to the Bach arias. (At one point in Ruhg und in sich zu frieden, a note was sustained for what felt like hours, yet by looking at Ms. Oh's face you would not suspect she required any more effort than a casual conversation). Rachel noted that while German is a harsh language, from Ms. Oh's singing it was only at the end that you got a sense of the guttural harshness.

Following intermission, Cleveland Orchestra First Associate Concertmaster Peter Otto joined the ensemble and quite a bit of levity. On talking about the difficulty of the instrument, he noted "If you don't start by 10, you're always going to sound like you're torturing baby animals" (I take exception to that -- two years in, I sound like I'm torturing adult animals). Mr. Otto noted that historically the violin concerto form had been considered an aberration, in poor taste, and lacking complexity. After listing to the two pieces that followed, that is hard to reconcile.

Tartini's Concerto for Violin and String Orchestra offered (with improvised cadenzas by Mr. Otto) two sweet movements concluded by a lively allegro assi third movement. Interestingly, the participation of the cello and viola were quite limited throughout all three movements, leaving a piece virtually for three violins. Mr. Otto's improvised cadenzas blended beautifully with the score, and I simply closed my eyes and let the beautiful notes play off my ears for much of the piece.

Closing out the concert and my unquestionable favorite, Tessarini's Concerto for Violin and String Orchestra (Op. 1, No. 12) with three gripping movements: The first movement (allegro) was lively, and the third movement (vivace, allegro) was my favorite with a galloping pace and a tsunami of notes springing from Mr. Otto's instrument, while the second movement (largo) provided a refreshing, but well-paced respite between the two.

The concert concluded with a standing ovation; I think the first for a Heights Arts house concert, while the silent auction ended a few minutes after and I found myself the winner of a performance with Ms. Trautwein, which I am quite looking forward to--a welcome encore to last year's experience with cellist Ms. Tanya Ell.

Lincoln
*- I have a Hilton HHonors free night certificate I've been saving for the reopening of this hotel... I need to check if it's still valid and book a stay soon to check it out!

Heights Arts: Haydn, Janacek, and Brahms (House Concert Series)

Haydn: String Quartet in F Minor, Op. 20, No. 5
Janacek: String Quartet No. 1 ("Kreutzer Sonata")
Brahms: String Sextet No. 1 in B-flat Major, Op. 18*
The Omni String Quartet (Amy Lee, Alicia Kolez, violins; Joanna Patterson, viola; Tanya Ell, cello)
* - With Roxanna Patterson, viola; Mark Kosower, cello
Tanya Ell, guest artistic director.
At the Dunham Tavern Museum Barn, Cleveland.

During tonight's concert -- featuring five members of the The Cleveland Orchestra and one orchestra member's parent by special appearance -- once again I was struck by how fortunate Clevelanders are. The barn, yes, the barn -- a slightly rustic space tucked in an often overlooked corner on Euclid Avenue, next to the hulking skeleton of a long-abandoned factory building, and behind the oldest building in Cleveland still on its original foundation -- hosted those musicians and an enthusiastic audience with countless Orchestra members mixed among newcomers and regulars alike. Amongst those orchestra members in the audience was the orchestra's newest violinist, Ms. Katherine Bormann. It's thrilling to see musicians dedicated to their craft and who clearly don't view their orchestra playing as just a job -- and it shows what good hands the musical reputation of the orchestra is in.

In the front row at tonight's concert I found myself mere inches away from these performers, mesmerized at fingers navigating their fingerboards with the grace and speed of a hummingbird. The final piece on the evening's program with two musicians added to the front of the room, Brahms' Sextet, brought violinist Ms. Lee even closer -- "I'm afraid I'm going to hit you" she quietly cautioned the patron next to me. With the enthusiasm with which that piece was played there were moments where I was afraid to exhale, both for fear of breaking the amazing emotion of the music and for fear of disrupting the arc of Ms. Lee's bow. (The de regur theme park admonishment to "please keep all arms and legs inside the vehicle at all times..." ran through my head each time I contemplated shifting in my seat).

That level of intimacy exposes details that simply can't be captured in the traditional concert setting and makes for an absolutely spellbinding evening. Mr. Kosower, still a relative newcomer as the Cleveland Orchestra's principal cello and Ms. Roxana Patterson, mother of Joanna and in Cleveland on a trip from her Seattle home for this concert, were both delightful additions to the program and left no doubt as to musical talent.

For the second piece on the program Ms. Ell introduced Janacek's Kreutzer Sonata (String Quartet No. 1) based on a censored novel by Russian author Leo Tolstoy, proving some exceedingly helpful background information as well as a few measures each of several themes that can be heard in the piece and her interpretation of their relation to events in the novel.

The Sonata, much like Cleveland Weather, changed moods frequently -- from the use of moving notes that impressioned a train ride, to the romance and illicit affair between married student and teacher, the angst and jealousy of the husband upon discovering the affair, the explosion of murder, and the smooth return to sanity. While it was thrilling to hear all of the musicians play, the sound of angst rising from Ms. Patterson's viola and Ms. Kolez's violin was unmistakable, and unlike anything I've heard from those instruments before.

Ms. Ell, my favorite cellist and one of my favorite musicians. She plays with enviable musical expression that's unmistakable to anyone within earshot, but she also plays with physical expression such that this author can be caught with a slack-jawed stare. The Janacek piece was particularly expressive. I suppose it has to be seen to be understood but in watching her facial expressions there is no lack of confidence nor can the observer have any doubt as to her understanding of the mood of the music.

Preceding these two amazing works, I didn't feel as strong a connection to Haydn's String Quartet as I did the other pieces. In considering it, I have to say that I felt almost exactly the same about his Symphony No. 96 on last night's Orchestra program.

But where else can you find 6 world-class musicians playing in a barn?

Lincoln

Heights Arts House Concert: Bruch, Cohen, Trautwein, De Falla, Wolf, and Prokofiev

de Falla: Suite Popular Espanola for Violin and Piano
Ysaye: Obsession (first movement from the second sonata for Violin Solo, op. 27, 2)
Bruch: Movements II, V, VI from Eight Pieces for Clarinet, Viola and Piano, op. 83 no. 6
Prokofiev: Sonata Op. 94 (trans. for Clarinet by Kent Kennan)
Franklin Cohen, clarinet
Isabel Trautwein, violin and viola
Patti Wolf, piano
at the Rawson/Cowap Residence, Shaker Heights.

The fact that this was my second house concert in three days may be a hint that I love the format. As with Fridays event in my living room, today's concert in Shaker Heights featured two Cleveland Orchestra musicians whom I have a deep respect for, along with the Heights Arts introduction of pianist Patti Wolf, a temporary import from St. Louis who is a long-time friend of Ms. Trautwein.

Aside from the given of great music by fantastic musicians in an intimate environment, both of this weekend's concerts also displayed how refreshingly normal and humble the talented musicians who call Cleveland (Heights) home truly are. The music of this afternoon's concert was punctuated by a a brief demonstration Ms. Trautwein of teaching music through Venezuela's El Sistema which included vocalization from the audience and 5 plastic cups, and Mr. Cohen making several jokes at his own expense.

Both Ms. Trautwein and Mr. Cohen had turns at page turning for Ms. Wolf, making a tie for what was quite possibly the most overqualified person to fulfill that role.

The music, of course, suffered nothing from the relaxed atmosphere.

The program opened with the six movements of de Falla's Suite Popular, which was delightfully unlike anything I can recall hearing at a house concert before: A distinctly Spanish sound and two flamenco dances (Polo and Jota) were particularly lively [and difficult to resist toe tapping to].

Next was the aptly titled Obsession for solo violin which was just entirely wonderful. Before playing, Ms. Trautwein commented that it borrowed from some very well known Bach in the beginning: Indeed, it was so well known (and so well played) that even I, with admittedly little solid knowledge of the classical canon, was able to identify the source as the first movement from Bach's Partita No. 3 In E*. It is, of course, impressive that something that moves so quickly can be played with such clarity.

Following wine and dessert at intermission, Ms. Trautwein traded her violin for viola and the audiences was treated to three wonderful movements from Max Bruch's Eight Pieces for Clarinet, Viola, and Piano. I think the second selection, the fifth movement (Rumanian Melody, andante) was my favorite from the evening; and when I allowed my eyes to close the blending of the three instruments was so fine as to be not nearly seamless, but seamless without qualification.

Closing out the program was Prokofiev's Sonata op. 94, originally for piano and flute but transcribed for clarinet by Kent Kennan, and it received a wonderful introduction by Mr. Cohen on Prokofiev's background and run-ins with authority. Prokofiev apparently had the type of personality that enjoyed a terrible review. Mr. Cohen noted that he's received terrible reviews and doesn't particularly enjoy receiving them, though with performances like those this afternoon it's hard to imagine. The second and fourth movements were particularly wonderful to listen to.

And again, anyone who wants to try my living room: Email L at LincolnInCleveland dot com.

Lincoln
* Confession: Part of the reason I was so quick to make the connection was I'm a fan of Vanessa Mae's Bach Street Prelude, a slightly modern take on the same material -- but it's so much more captivating live.

Tanya Ell, Bach Cello Suite No. 4 (In my Living Room)

Bach: Cello Suite No. 4 in E-flat major, Bvw 1010
Tanya Ell, cello.
at My Living Room, Cleveland Heights.

In October, Heights Arts celebrated their 10th anniversary on 10/10/10. A silent auction offered a variety of local arts with the proceeds of the auction to benefit Heights Arts. Tanya Ell, a member of the Cleveland Orchestra, a fantastic cellist, and long one of my favorite musicians, offered herself playing one of Bach's Cello Suites in your home.

I couldn't resist the urge to start the bidding, knowing full well that I would not be the ultimate winner. As the auction progressed a mutual acquaintance snuck up behind me and asked "So, how high are you going to bid on Tanya?" "Like all great artists, the true value is higher than I can afford" was my answer at the time. Ultimately I was the second highest bidder; Ms. Ell was generous enough to offer a second performance. I wasn't passing that opportunity up.

That gets us to tonight: I've been interested in entertaining for a while but there's high inertia: When? Why? and most dauntingly: How?

With wine from my trip home over the holidays (and some supplemental bottles), food from Clyde's Bistro and Barroom just down the street (Thanks to Vivian, the general manager, for an excellent spread and advice that went far beyond catering), some chairs and serving wear borrowed from a friend, the conversation was easy and long lasting -- both before and after Ms. Ell's recital.

And what a recital. Tanya always has a beautiful sound. This was the first time I've heard her play solo and her sound was as intoxicating as any wine; as sweet as any desert. The vibrations resonated as soundly through the feet, up the legs and into the soul as they did off the walls and into the ear. Though Wikipedia notes that "Suite No. 4 is one of the most technically demanding of the suites since E-flat is an uncomfortable key to intonate on the cello and requires many extended left hand positions" one would not get this sense from Ms. Ell's effortless playing. The warm sound warmed the body on a blustery winter night, and in short, this was one of those rare performances that left me tingling.

Between movements and well after the music had finished Tanya shared a wealth of information about the music and fielded questions from the small audience displaying a wonderful knowledge not just of the music on the page but the theory behind the music. As an unexpected bonus, she also played a well-known movement from Bach's First Cello Suite, practically on demand and again seemingly without requiring any effort on her part.

And the true value was much higher than the my winning bid. It was, indeed, priceless.

I can honestly say that my living room has never sounded better.

I had feared that the group would scatter rapidly after the music had finished, but good conversation--matched with the balance of the food and wine--continued for quite a while after the music had stopped.

The words to aptly describe the evening are failing me at the moment, so I shall stop trying now.

I'd say my first foray into entertaining was a success, in no small part to Ms. Ell's generosity and the help and support of everyone who played a part in keeping me sane this week.

Anyone who wants to play a small recital in my living room... I'd be glad to have you!

Lincoln

(p.s. lest anyone have any ideas: As I told someone once, I never claim to be unbiased; I merely claim to be aware of my biases)

Heights Arts: New Years Day Brunch

For the past 10 years Tommy's on Coventry has hosted a New Years Day brunch to with all proceeds and tips benefiting Heights Arts. For the past two or three years I've been peripherally aware of the brunch but in the past that awareness didn't come until January 2nd or so.

This year I the Heights Arts newsletter in mid December and promptly marked my calendar. Despite being generally neither a morning nor breakfast person* and last night being, obviously, a late night I was awake bright and early this morning.

Not sure what to expect and with temperatures in the mid-50s and a a light rain I decided to take advantage of the wonderful day and I took the 10-minute walk to Tommy's shortly after the 10am start time... [two of the things I love about Cleveland Heights are Heights Arts and the walkability] when I arrived, I found a line that already stretched out the door and down the sidewalk with conversation buzzing up and down the line, spirits in no way diminished by the occasional droplets of water plopping down on the not-so-huddled masses.

Working that line, it was easy to spot Peggy Spaeth, Heights Arts' bubbly and tireless executive director -- this morning donning an apron and handing out numbers to those waiting. It seems groups of one weren't terribly common and the suggestion was made that I might join another Heights Arts supporter slightly further up the line who was dining also for one. Under the heading of "no harm in meeting new people", it was a suggestion I took up at once.

From that point we were seated relatively quickly -- the groups in front of us needing larger tables -- and our $10 per person admission was taken. The menu is simple: All you can eat pancakes, bacon, eggs, and sausage with coffee, orange juice or several other beverages [Tommy's trademark milkshakes were not, however, on the menu]. Service, by an entirely volunteer waitstaff, was exceedingly prompt, and the food -- my order consisting of pancakes and bacon -- was delightful.

Conversation with the random stranger I was paired with added an additional layer of interest and enjoyment to the meal; I've recently realized I enjoy learning about people and what brings them to where they are -- physically and metaphorically -- at that particular moment. In my case, the lady across the table was a recently retired school librarian and mother of two who relocated to Cleveland Heights in the mid 80s because of the great environment it offered her children, an environment she says has stayed pretty consistent over the past 25 years.

After our meal was over I caught Ms. Spaeth still working the ever-growing line of local arts supporters -- now stretching not only the length of Tommy's facade, but the entire length of Mac's Backs bookstore next next door. Mac's was also open and donating proceeds to Heights Arts, and while standing in front of that storefront my eye caught the cover of The Severances: An American Odyssey. Living in close proximity to the former Severance family estate (now Severance Town Center) and a frequent benefactor of the families philanthropy (The Cleveland Orchestra's Severance Hall home, and the Severance Purchase Fund at the Cleveland Museum of Art being the two most visible legs of that giving) I was curious, and purchased a copy

I realized walking home from that meal -- and after stopping by Phoenix Coffee for a latte to warm the hands -- that that would be a cool way to do a meal: Just get a random collection of single (not necessarily in the relationship sense -- in the sense of "not with anyone else at that particular meal") and seat them at tables of two for lunch or the like. Of course some conversations would be better than others, but it would be an interesting experiment, and better than passing a meal in silence.

Lincoln
*- When weighing the options between "more sleep" and "breakfast" sleep wins virtually every time.

Heights Arts: TENacity

A decade: A tenth anniversary is something to celebrate at any time, but in the current economy with arts organizations struggling -- and disappearing -- it's that much more rewarding to see one make it to 10.

This evening Heights Arts took 10.10.10 to celebrate just that: Their 10th anniversary. Though Heights Arts's mission covers the entirety of arts in the heights in ways that I'm having trouble fully enumerating: Public art, poetry, music, temporary installations, unique applications, local artists, a small gallery... tonight featured a rich sampling of some of the great things Height Arts contributes to the community.

Tangible Art: A silent auction offered a wealth of items and experiences from the local arts community...from beautiful jewelry and glasswear to framed art to the "experience" items yours truly won: A tour of the highlights of CMA's permanent collection with Chief Curator Griffith Mann and a in-home performance of Bach by Cleveland Orchestra Cellist Tanya Ell (as I've noted in earlier posts on the Heights Arts House Concert Series, I am quite fond of Ms. Ell's talent)

House Concert: After appetizers and light dinner a mixed group of long-time attendees and first timers assembled...
Mozart: Grand Sestetto Concertante (An 1808 arrangement of Mozart's Sinfonia Concertante in E-flat Major for Viola, Violin, and Orchestra, KV 364)
Dvorak: Quintet for 2 violins, viola, cello and piano in A major, Op. 81.
Mari Sato, Isabel Trautwein, violins; Kirsten Docter, You Jin, violas; Tanya Ell and Josue Gonzales, cellos; Carolyin Gadiel Warner, piano.
At the Rawson and Cowap Residence, Shaker Heights.

Tonight's performance was for chamber music what last night's Cleveland Orchestra concert was to orchestral performance. Mozart's Grande Sestetto Concertante was lovely: The first and third movements stuck me as light and a bit playful with each instrument being treated to a bit of time in the limelight, while the slow middle movement was dark and deep in rich color. From my seat, behind Ms. Trautwein and Ms. Docter I could not only see the intricate complexity of the notes on the page, but the musicians fingers dance across the fingerboards of their instruments from an angle not typically seen by mere mortals.

Following a brief poem (see below) was Dvorak's Quintet (Opus 81). At any given moment if you ask for a favorite composer there's a good chance I'll blurt out Dvorak's name--and a 50/50 shot that my brain will slip and I'll mispronounce his name. The two works that I'm most familiar with, Symphony 9 (From the New World) and String Quartet No. 12 (The American), have unambiguously American influences. Opus 81 -- dating from 1887, some 5 years before his stay in America, those influences are conspicuously absent taking instead a far more bohemian flair.

According to body language experts, one of the signs of an engaged listener is a forward body posture. I consciously try to remain upright, but in the case of tonight's concert I was so engaged--and leaning so far forward--as to practically be drooling on the shoulder of the patron seated in the row ahead of mine. Beautiful and energetic, opening with Ms. Ell's lyrical cello theme over beautiful piano -- a first for me in the "house concert" format -- In the third movement I had no trouble at all envisioning a folk dance, and the finale was quite spirited and light making it a perfect fit for the evening.

I almost neglected to note that Owen Lockwood, son of Mari Sato opened the concert by performing von Weber's Country Dance and Dittersdorf's German Dance with Ms. Trautwein. As a relatively newcomer to the instrument myself, this 8-year-old's skill was impressive.

Poetry: Cleveland Heights is one of the few American cities to host an official Poet Laureate -- Gail Bellamy -- who dedicated a wonderful piece to the event.

More Music: Following the concert, cake was served and the beautiful evening air outside was filled with the sounds of Mo' Mojo with a great mix of bayou music. Particularly ear catching was the electric violin -- the versatility of an instrument that minutes before was deep in the lush melodies of European composers now moving the lively beat of zydeco.

Heights Arts first 10 years have sure made an impact...I eagerly look forward to what the next 10 have in store. But first, I'm going to get some sleep.

Lincoln

(The image above is the back of my right hand)