The Cleveland Orchestra: All-French - Ravel's Bolero

Ravel: Le Tombeau de Couperin, op. 35
Saint-Saens: Cello concerto no. 1 in A minor, op. 33 (Gautier Capucon, cello)
Schmitt: La Tragedie de Salome symphonic suite.
Ravel: Bolero.
Lionel Bringuler, conductor.

As you may have noted, I've become far more selective with my Cleveland Orchestra attendance -- and bank account has certainly reaped the rewards but the side effect is it felt a little weird coming back to Severance tonight.

As of intermission, though, I was quite satisfied with my choice, and this was the most enjoyable Cleveland Orchestra concert from recent memory. On the beginning of this Ravel-sandwich of a program, his Le Tombeau de Couperin (Memorial to Couperin) was pure delight from the first movement that evoked the energy of an bustling European city with an art deco lens, while the second and third movements captured a more suburban spring feeling, perhaps with the stereotypical 50s housewife and children, before the festive and insistent final movement.

The clear imagery of the first piece on the program was countered by the second - Saint-Saens first cello concerto. While it was musically unobjectionable (and for the first time I found myself thinking, "Wow, this piece sounds French" [after having forgotten the "All French" title attached to the program) it didn't make a strong connection with me as far as emotion or imagery.

Likewise, Schmitt's symphonic suite from La Tragedie de Salome struck me as distinctly French and and a nice energy to it but didn't really connect with me.

As we reached the bottom of the Ravel sandwich the impossible-not-to-love Bolero closed out the program and as much as I tried to sit still I couldn't help tapping my fingers or toes (once I stopped one, I involuntarily started doing the other before finally admitting defeat and letting go to the musical pulse.

Lincoln

Cleveland Orchestra: Beethoven's Seventh Symphony

Francescone: Cobalt, Scarlet: Two colors of dawn
Liszt: Piano Concerto No. 2 in A major (in one movement) (Jean-Yves Thibaudet, piano)
Beethoven: Symphony No. 7 in A major, Op. 92
Fabio Luisi, Conductor

As a programming note, starting Thursday Rachel and I will be in Paris (or as Hilton refers to it "Paris, Paris, France") to celebrate our fourth anniversary of dating. If anyone has any suggestions for "off the beaten path" sites to see, things to do, or even people to meet -- please send me an email at L at LincolnInCleveland.com (Also, if you happen to know a cheap way to upgrade our transatlantic flights on United to BusinessFirst...that would also be greatly appreciated)

I have to admit that I was less than excited about the modern piece that opened the program -- Francescone's Cobalt Scarlet -- especially when given the rousing "not as bad as it could have been" from someone who heard Thursday's performance of the piece. But while the slow passages started as interesting and ephemeral (despite some of the nuance being lost in the noise of a shuffling and rustling audience that was still getting settled as the first notes were played) and became more tiresome and lumbering, the fast passages were fascinating and as exciting as a cinematic chase.

Liszt's Piano Concerto as a single movement was lyrical and mournful in general -- full of technique but not really engaging my ear, though passages with a solo cello were heavenly -- I think I could have listened to just that portion of the piece for hours on end, and I had a similar reaction to the fluttering flute later in the piece

Lincoln

Cleveland Orchestra: Tchaiovsy's Fifth Symphony

Sibelius: Pohjola's Daughter, Op. 49
Prokofiev: Violin Concerto No. 2 in G minor, Op. 63 (Vadim Gluzman, violin)
Unannounced encore for solo violin (Vadim Gluzman, violin)
Tchaikovsky: Symphony No. 5 in E minor, Op. 64.
Hannu Lintu, conductor.

Approaching the box office this evening -- a full 90 minutes prior to the concert start time -- I was a little surprised to find a completely full house -- not even a single standing room ticket to spare. Luckily, I already had a ticket though far from my "usual" (low-numbered) boxes. I was in Box 22, Seat F for tonight's concert, on the right side of the house, practically on stage [only one box sits closer].

I was a little apprehensive because the sound in Severance Hall changes dramatically based on where you are in the hall and while I've never been in Box 22, I'm not fond of the way the orchestra sounds when heard from boxes 16 or 18 and I feared the effect would be worse. That was most certainly not the case with tonight's concert where the orchestra sparkled with a resonance I can't recall from recent performances.

With the extreme intimacy -- being practically on stage -- I found myself with a view of the conductor's face and facial expressions (in profile) while shaping the sound of the orchestra that I've not been able to see from the more traditional seating locations, and honing in on the movements and indeed sounds of individual musicians. My only problem with tonight's concert was entirely my fault, to borrow a cliche "I couldn't hear the orchestra for the musicians".

To that end, the resplendent pizzicato of the second movement of the violin concerto and the delicious entirety of the unannounced encore played by Mr. Gluzman were certainly highlights.

Lincoln

Cleveland Orchestra: Franz Welser-Most Conducts Mozart and Ravel

Mozart: Symphony No. 41 ("Jupiter") in C major, K.551
Ravel; Daphnis and Chloe: Choreographic Symphony In Three Parts (with the Cleveland Orchestra Chorus, Robert Porco, director)
Franz Welser-Most, conductor.

Bleh.

2015 will be the year where I become far more opportunistic regarding which Cleveland Orchestra concerts I choose to attend, primarily due to a number of unfortunate changes artistically and administratively -- the most unfortunate of which being the extension of Franz Welser-Most's contract with the Orchestra -- as well as a number of resignations and retirements from within the artistic and administrative staffs, and a increasingly demanding professional workload -- I no longer feel the level of engagement with the orchestra that I once did.

Tonight's performance of Mozart's Symphony No. 41 left me sitting thinking of all of the things that I could have been doing with the time I had set aside to attend the concert, not to mention the money used to purchase the ticket. Running down I think any of them -- including changing the oil on my car -- would have been a better use of my time. Mr. Welser-Most's rendition was un-engaging and dispassionate that rather than taking me to a different world, as a great concert will do, I had to struggle to keep my attention on the piece rather than, say, the laundry I could be doing.

I've often said that the reason I enjoy live classical and detest listening to recorded classical is the dynamic range and exchange of energy that you get from the live orchestra -- I got neither of those tonight.

During intermission I pondered my predicament -- I generally like Ravel whereas I tend to lean indifferent to Mozart -- I decided with how miserable I was feeling toward the first piece and despite the investment in the ticket, I would be far better off just heading home to do laundry. And I feel good about that decision.

I think the lesson learned from tonight, and in the spirit of being more opportunistic (with the side benefit of saving some money for our trip to Paris in March) I will not be attending next week's concert -- nor, do I expect, other concerts conducted by Mr. Welser-Most in the near future. I am optimistic about the concert on January 24th (including Pictures at and Exhibition) 


Lincoln

Cleveland Orchestra: Weilerstein Plays Elgar

Part: Cantus in Memory of Benjamin Britten
Elgar: Cello Concerto (Alisa Weilerstein, cello)
Unannounced encore for solo cello (Alisa Weilerstein, cello)
Adams: Harmonielehre
Giancarlo Guerrero, conductor

"Meh." Leaving at intermission, I found myself so completely uninspired that I contemplated skipping text for this entry. The first half of the program was well played but entirely too depressing and funereal in tone only slightly captivating and not at all inspiring.

Combined with word that a beloved orchestra staffer has resigning (no, not Gary Hanson) in addition to another recently announced departure, and a lingering day-long headache, I saw no point in--let alone being in the proper mood for-- sticking around for Adams. The minor traffic jam in the parking garage suggests I was not alone in reaching that conclusion.

Lincoln

Cleveland Orchestra: Bach Brahms, and Mendelssohn

Bach: Cantata No. 199, BVW 199 (Yulia Van Doren, soprano)
Brahms: Song of Destiny [Schichsalslied], Op. 54 (Cleveland Orchestra Chorus, Robert Porco, director)
Mendelssohn: Symphony No. 5 ("Reformation") in D major, Op. 107
James Gaffigan, Conductor.

[I should note that next Saturday, BlueWater Chamber Orchestra is offering a promising concert at Plymouth Church including Robert Conrad narrating a string interpretation of  Washington Irving’s story “The Headless Horseman of Sleepy Hollow”]

While it was quite disappointing to hear not only Hillary Hahn had withdrawn from this weekends performances but that, in the words of another patron "they really  couldn't find another violinist!?! In Cleveland?" I have to say I enjoyed the replacement.

While someone who knows me well remarked "I wasn't expecting to see you-- there's more singing than you usually care for" and I, honestly, wasn't expecting to like Bach's Cantata No. 199, Ms. Van Doren and the predominantly string chamber orchestra delivered a well-balanced passionate piece that was delightful to listen to.

Likewise, while it seems a waste of the Chorus for only 15 minutes the initially meditative turning explosive Sing of Destiny had me bolt upright with attention. Mr. Gaffigan's expressive conducting, particularly in the third movement with hair flying despite very sharp conducting was the theatrical cherry on the top -- and the delta between the restrained and respectful first and second sections and the fierce and bold third was delicious.

Following intermission Mendelssohn's Symphony No. 5 was the piece I had most looked forward to on tonight's program -- and while it was as enjoyable to listen to as the other pieces on the program, something felt not quite right, or the piece didn't seem to quite fit with the rest of the program -- I couldn't put my finger on it.

Lincoln

Cleveland Orchestra:Lang Lang Plays Chopin and Strauss

Pintscher: Idyll (for orchestra) (World Premiere performances)
Chopin: Andante Spianato & Grand Polonaise brillante in E-flat major, Op. 22 (for piano and orchestra) (Lang Lang, piano)
Strauss: Burleske (for piano and orchestra) (Lang Lang, piano)
Strauss: Till Eulenspiegel's Merry Pranks, Op. 28
Franz Welser-Most, conductor.

Ok, so on one hand I was very excited to return to Severance for a new season, on the other hand that excitement was tempered -- almost quenched -- by the news that Mr. Welser-Most's contract was renewed. I was really hoping for a change, and the news out of Austria had gotten my hopes up.

Anyway, this afternoon's concert opened with a half hour of tedium in the form of Matthias Pintscher's Idyll. While not as jarring and painful as most "new" classical at 25 minutes plus it was entirely too long and uninteresting -- sure there were parts that had a tenuous hold of my attention, early on a section reminded me of playful nymphs; later the atmosphere approaching a murder scene in a classic film, but on the whole I would have preferred to do without.

Lang Lang brought Chopin's Andante spianato & Grand Polonaise brilliante to life beginning with a sound I would liken to a delightfully fluffy and delicious pastry for the ears to wash out the foul taste of the prior composition -- although the orchestra was a bit stiff under Welser-Most's baton, it was certainly preferable to the Pintscher. 

Following intermission was like an entirely new concert and could have been cleaved from the first half for a much more enjoyable program on its own. Chopin's Burleske, once again with the piano part played by Lang Lang was sparkling with a bold orchestra embracing in a familiar dance with the piano, while towards the end of the piece brought arguments from the orchestra that puncutated otherwise flowing music. 

Finally the program closed with Strauss's Till Eulenspeigel's Merry Pranks was enjoyable in a fun and lyrical way but I didn't find it particularly memorable

Lincoln

Ben Folds and the Contemporary Youth Orchestra (#FoldsCYO)

Zak and Sarah (arr. Iain Grandage)

Smoke (arr. Michael Pigneguy)

Jesusland (arr. Michael Pigneguy)

Concerto for Piano and Orchestra (Ohio Premiere; orchestrated by Joachim Horsley and Ben Folds)

Landed (arr. Paul Buckmaster)

Fred Jones Part 2 (arr. Iain Grandage)

Steven's Last Night (arr. Graeme Lyall)

Effington (arr. Paul Buckmaster)

Cologne (arr. Jim Gray)

Annie Waits (are. James Ledger)

+Rock This Hall (aka Rock This B**ch) 

The Luckiest (arr. Paul Buckmaster)

Not the Same (arr. Paul Buckmaster)

Brick (arr. Paul Buck master)

One Angry Dwarf and 200 Solemn Faces (arr. Iain Grandage)

Narcolepsy (are. James Ledger)

Plus encores. 

All songs by Ben Folds

Liza Grossman,  conductor; Ben Folds, piano. 

Last time I attended a CYO show the headliner was someone I had never heard of (Jon Anderson) and it was thoroughly enjoyable -- so when I heard this season was featuring a an artist I not only had heard of, but liked, I knew I had to buy tickets. So after a day in the office (my first in the past two weeks and my last for this week, but that's another story) Rachel and I headed to Severance Hall and once again I found myself perched in the front of Box 3. 

The first three pieces on the program were good, but not quite great -- I think the orchestra and Mr. Folds were struggling to find the right balance and the result was a little muddy (Rachel thoughtTh that Mr. Folds voice hadn't quite warmed up). The fourth piece on the program, a concerto for piano and orchestra was well delivered and interesting but its length seemed a little ouof place for a program otherwise overflowing with shorter pieces. 

The program turned a bend and really picked up steam starting with Landed with a shimmering piano introduction and excellent balance. Likewise, both Fred Jones Part 2 (about a newspaperman being forced out at the beginning of the traditional journalism downturn - a "waltz, as all sad songs about someone loosing their job should be:") and Steven's Last Night (a big-band-swing-feeling piece written for a recording engineer who was leaving town -- but had had another going away party a week prior) were beautiful works of collaborative art -- and Mr, Folds's introduction to the pieces was particularly entertaining. 

After intermission the program resumed with what has become my favorite Ben Folds piece -- Effington --- and the glorious opening phrase tonight voiced by three CYO members ("If there's a God, he's laughing at us and our football team" -- which could be Cleveland's anthem right there) and the on-stage improvisation of the piece in Normal, Illinois (Effington was a actually a misrecollection of Effingham) 

Continuing in the thread of on-stage composition, Cologne was also initially improvised on stage -- with Mr. Folds under the weather and with doctor-prescribed codeine (to which he commented that falling off stage head-first with a five foot drop and performing with a concussion was more enjoyable than the codeine-affected performance) and is also a favorite piece of mine. I was initially apprehensive that the live performance wouldn't live up to my "favorite" version (the "Piano Orchestra" version, putting aside the creepy German music video) -- but those fears were quickly assuaged with a rich and full bodied performance. 

In between Annie Waits and The Luckiest was one of the most amazing things I have ever seen or heard on stage -- best titled Rock this Hall or Rock This B--ch -- Mr Folds improvised a piece leveraging all 116 musicians on the stage, bringing in one section at a time and occasionally changing his mind. I'm sure that this will wind up on YouTube within days (if it's not already there).

The rest of the program was equally enjoyable, but I have an early flight tomorrow so I will leave my commentary here. It was, to say the least, an amazingly awesome show and I am blown away by the talent of the musicians, Ms. Grossman, and Mr. Folds. 

Lincoln

The Cleveland Orchestra: Vladimir Jurowski Conducts Prokofiev's Cinderella

Stravinsky: Scherzo Fantastique, Op. 3
Britten: Violin Concerto, Op. 15 (Simone Lamsma, violin)
Prokofiev: Suite from Cinderella, Op. 87
Vladimir Jurowski, conductor.

Where has this season gone? I four d myself pondering as I watch it come to a close not far from where I heard of come to a start-- my favorite perch at the front of Box 3.

Tonights program certainly headed the advice to go out on a high note. Opening with Stravinsky's Scherzo Fantastique -- a 10-minute slightly ephemeral and fanciful appetizer perhaps especially notable for including three harps on the Severance stage.

The second piece was a bit less fanciful and quite a bit more dramatic with violinist Simone Lamsma turning in a performance that was beautifully breathtaking at times soaring over a monotonous four note drone of the orchestra and at others engaging in a subdued and intimate romantic dialog with the orchestra behind her. Equally stunning - the entire house sat in awed silence for what seemed like an eternity until maestro Jurowski completely released his tension. I cannot think of a more perfect performance in this hall this season.

Perhaps it was the terrific delivery of the first two pieces, or perhaps it was the length, but I didn't find Prokofiev's sixty minute (and fifty movement) Suite from Cinderella nearly as polished or engaging. There were points in the music where felt it the performance would have been strengthened if it had been accompanied by the visual of dance. 

Blossom, for Rachel and I, starts July 3rd. 

Lincoln

Jane Glover conducts Bach, Beethoven, and Haydn

Bach: Sinfonia no. 2 in E-flat major, Wq183.2 (Imogen Cooper, piano)
Beethoven: Piano Concerto No. 1 in C major, Op. 15
Vanhal: Sinfonia in G minor, Bg1
Haydn: Symphony No. 103 ("Drum Roll")
Jane Glover, conductor.

Tonight's program began with a little bit of baroque in the form of C.P.E. Bach's sinfonia No. 2, a quick little appetizer piece at just over 15 minutes and a sound that I can only really describe as woody and solid.

Beethoven's Piano Concerto No. 1 came second on the program with pianist Imogen Cooper tickling the keyboard. I have a difficult time describing, much less relating to music that doesn't evoke strong imagery and the first movement falls into that category. The second movement however evoked images of an elegant romance -- an intimate affair culminating in a candle lit bedroom with rose pedals for instance. The third movement took a lighter and more frolicking-down-a-garden-path-on-a-spring-day-with-your-loved-one feeling.

The third piece was by a composer who's name was new to me -- and given the fact that this is the first time the Cleveland Orchestra has performed this particular piece  from the 1760s, I suspect I am not alone. Though swiftly moving, it was a bit on the tingy-sound (I'm tempted to say baroque-ish, but this piece came slightly after the end of the traditional baroque period. Worth special note was a sweet violin solo and violin/duet.

Closing out the program was Haydn's Symphony No. 103 a;so named the "Drum Roll" for a, well, drum roll that appears twice in the first movement. The first movement begins dark, brightens up with a nice energy, and then the dark introduction is restated, much like the passing of day from dark through sunrise, daylight, sunset, and night. The second movement was delicate but necessarily firm. My mind wandered through much of the third and fourth movement snapped back to the music at the beginning of the fourth movement when a horn appears to be soliciting a response from the strings that never comes -- until it is repeated.

Lincoln

Cleveland Orchestra: Blomstedt: Conducts Dvorak and Tchaikovsky

Dvorak: Cello Concerto in B minor (op. 104) (Mark Kosower, cello)
Tchaikovsky: Symphony No. 6 ("Pathetique") in B minor Op. 74
Herbert Blomstedt, conductor.

While exchanging greetings with an usher before tonights concert she observed, regarding the weather,  "with a day like today its hard not to be in a good mood". Indeed, however, with a concert like tonight's its impossible not to be in a good mood.

While, honestly, I've had a hard time getting truly excited about the past few concerts, I was utterly euphoric about Dvorak's Cello Concerto and Mr. Kossower's fine handling off the piece -- so much so that I had to physically restrain myself from applauding at the end of the first movement.

The first movement starts with the orchestra laying a bed that sounds not at all unlike an enchanted forest, while As the piece progresses, Mr. Kosower's cello takes on the feeling of an impassioned --very impassioned -- lover calling at his target, the orchestra's window. The second movement communicates more of a contemplation of a painful decision followed by a painfully lonely walk in no-longer enchanted woods. The third and final movement was a bit more of a folksy air of an approaching march followed by a triumphant ending -- and an immediate standing ovation.

Following intermission I found it hard to focus on Tchaikovsky's Symphony No. 6 ("Pathetique") with the same level of intensity as the cello concerto, and had at best fleeting impressions -- the beginning was far more burnished and less romantic than the Dvorak -- the second movement was like a light spring day; the third was insistent and fairly happy, while the final movement was far more somber. I should also note that I have a tremendous sense of de ja vu -- I could swear that I've heard this piece in the very recent past, however, I do not have it noted.

Lincoln

Cleveland Orchestra: Yuja Wang Plays Rachmaninoff

Prokofiev: Classical Symphony, Op. 25 (Symphony No. 1)
Rachmaninoff: Piano Concerto No. 3 in D-minor, Op. 30 (Yuja Wang, piano)
Rimsky-Korsakov: Scherazade, Op. 35 (Symphonic Suite after The Thousand and One Nights) (William Preucil, solo violin)
Gincario Guerreo, conductor.

Based on how awful I found last week's program and considering the piano features prominently tonight as well, I had seriously considered saving the roughly $150 and skipping this week. I decided otherwise. By the time intermission had rolled around, there was not the slightest doubt as to if my decision.

The opening piece on the program, Prokofiev's Classical Symphony  set the tone for the evening: Swiftly moving without being rushed with a varied texture and interesting development. Mr. Guerrero's facial expressions -- when he rotated enough for them to be visible from Box 3 -- conveyed the excitement and intensity of a television chef brewing fine cuisine. Later in the program, I realized the style was much as I would expect if Julia Child were to conduct an orchestra.

Its difficult to quantify the 45 minutes of musical excitement that was Yuja Wang's performance of Prokofiev's Piano Concerto -- played as one continuous piece without pause between movements the piece flew by. I was just beginning to ponder the length of what I perceived as the first movement, when I found myself compelled to stand and join the packed house in offering applause.

The final piece on the program brought the exotic notion of the Thousand and One Nights (also known as the Arabian Nights) and once again Mr. Guerreo and the orchestra wove a compelling tapestry of musical imagery. Of particular note the delightful work of the violin (William Preucil), cello (Mark Kosower), and clarinet (Franklin Cohen) principals -- though each section was well represented.

Lincoln

Cleveland Orchestra: Mitsuko Uchida's Mozart

Mozart: Piano Concerto No. 18 in B-flat major, K456 (Mitsuko Uchida, piano and conductor)
Mozart: Symphony No. 23 on D major K.181 (William Preucil, leader)
Mozart: Piano Concerto No. 19 in F major, K459 (Mitsuko Uchida, piano and conductor)

If there's one thing the nicer weather has me less than crazy about its the effect spring has on my allergies. And indeed, if my sinuses are any indication, it seems spring hath most certainly sprung. That and my general apathy for Ms. Uchida (its worth nothing that the lack of empty seats in the hall may indicate I may be alone in that apathy) didn't pit me in the best mental frame for tonight's concert.

In the end...or before the end... I didn't even make it to intermission -- finding myself completely unmoved. As Piano Concerto No. 18 droned on I found the rational version of myself promising the impatient version of myself that even if Symphony No. 23 were to be intolerable, with a running time of 10 minutes and no Uchida to speak of I could use Intermission as an escape.

However, Concerto No. 18 continued for what felt like hours (in reality, only about 35 minutes) and felt completely distant and unengaging. Though I've felt apathetic about other pieces, I can't recall having this much flat-out hatred of a Cleveland Orchestra performance. Finding myself unwilling to offer even tepid applause, and with a growing headache [I'm more inclined to blame this on flickering house lights than the music -- and to be fair, house management was looking into that issue and offered reseating--but I had made my decision] I left quickly and quietly before the second piece had started.

Lincoln

Cleveland Orchestra: Cristoph von Dohnanyi Conducts Schumann

Schumann: Symphony No. 4 in D minor, Op. 120
Schumann: Symphony No. 2 in C major, Op. 61
Christoph von Dohnanyi, conductor.

Rachel and I made it back from London over the weekend -- I will conclude that series this weekend, time allowing -- and while I was pleasantly  surprised that thee affects of the time change were not particularly felt, my internal clock is *yawwwwwwnnnnnn still a few hours off.

A Cleveland Classical Guitar society concert for Saturday pushed me into Severance Hall this evening for a pleasantly short (by orchestra standards) 90-minute concert of Schumann lead by Cleveland's prodigal conductor, Christoph con Dohnanyi.

As the compile beyond me in my box tonight commented just before intermission, "well, he can certainly make them sound good!" -- and I must say I like the more balanced sound of dividing violins across both sides of the stage versus the more common modern staging (a helpful commenter mentioned tube more usual staging was a product of stereo recordings and broadcasts)

First on the program was Schumann's Symphony No. 4 and while I didn't fond it emotionally evocative, I could certainly feel the music pulsing through my veins and I found a tender violin solo part (played by William Pruecil) a highlight of the piece.

The second and last piece on the program was Schumann's Symphony No. 2 which once again was a delight to listen to (leaving the hall a fellow patron commented that "He (Dohnanyi) and the Orchestra always have such vitality when he comes back to Cleveland") despite not evoking particular imagery -- particular highlights came from the explosive energy at the culmination of the second movement and then after a short breath starting the third movement on a slow, tender mood. 

Lincoln

Cleveland Orchestra: Rachmaninoff's Rhapsody, Britten's Spring Symphony

Sibelius: Lemminkainen's Return, No. 4 from Legends, Op. 22
Rachmaninoff: Rhapsody on a Theme of Paganini, Op. 43 (Rudolf Buchbinder, piano)
Wigglesworth: Locke's Theatre
Britten: Spring Symphony, Op. 44 (Kate Royal, soprano; Jamie Barton, mezzo-soprano; John Tessier, tenor; The Cleveland Orchestra Chorus, The Cleveland Orchestra Children's Chorus)

Brett Mitchell, conductor

Though I do not wish Mr. Welser-Most any ill, I would be lying on an epic scale if I were to claim I look forward to hearing him conduct a concert -- so I must admit my mood was significantly lightened when I found the (admittedly unknown, to me) Brett Mitchell would be conducting the performance.  

Opening the program, the short fourth movement from Sibelius's Legends, (name) had a cinematic energy of a ship rising and falling while charging forward on the waves, culminating in a triumph was easy to get pulled into. On the other hand I found it difficult to get into the second piece on the program initially--that is until an extended piano solo wherein my eyes fixated on Mr. Buchbinder's fingers waltzing across the keyboard and stayed so fixated until the signature soaring strings broke my attention free and herald it through the end of the piece -- romance, anticipation, excitement. A musical summation of all of my feelings for Rachel and my upcoming trip to London next week, celebrating our third anniversary. 

On the basis of the first half of the program alone, this one of the most enjoyable concerts at Severance this season. On the basis of the titles of the second half I was hoping that feeling would increase. While there was nothing wrong with the final two works on the program I didn't find them at all as compelling or engaging. 

Ryan Wigglesworth's Locke's Theatre, receiving its United States premiere at this evening's concert was far more musical than many of his contemporaries atonal works--and nicely succinct with three movements in about 10 minutes. Except for basses clearly conveying the sound of gathering storm clouds in the third movement, there were no real themes that sparked the imagination or captured my interest. 

Likewise, Britten's Spring Symphony was well done -- particularly on the part of the at times ethereal Cleveland Orchestra Chorus and Cleveland Orchestra Children's Chorus, but for most of the twelve movements the piece, the music was used to punctuate the verse or vice versa, not really leaving many opportunities to just sit back and enjoy either the music or the verse. 

Lincoln

Cleveland Orchestra: Nikolaj Znaider - Mozart, Mendelssohn, and Elgar

Mozart: Violin Concerto No. 3 in G major, K. 216 (Nikolaj Znaider, violin)

Mendelssohn: Symphony No. 4 ("Italian") in A major, Op. 90

Elgar: Enigma Variations, Op. 36.

Nikolaj Znaider, conductor.

As I prepare to head out of town again, so does -- it seems -- the Cleveland Orchestra, making this my only Cleveland Orchestra concert in the month of February (I can't really complain though -- I'll be spending the next week in the relative warmth of Southern California) 

Opening the program, Nicolaj Znaider both conducted and preformed the solo part of Mozart's Violin Concerto No. 3. Though somewhat unique -- and I'm sure a challenging feat -- the performance came off as effortless and featured a tender second movement (adagio) in a sandwich of energy with the fist movement (allegro) having a more refined feeling with the third movement (rondo: allegro) having a more relaxed energy and some folksy influences.

Mendelssohn's Symphony No. 4 is, or course anchored by an insistent but simple theme and catchy in the first movement, with more of a processional feel in the second movement. 

The final piece on the program were Elgars Enigma Variiations I through XIV -- fourteen variations in the span of a bit more than thirty minutes gave quite the whirlwind tour of sounds and emotions -- from the romantic, to the languid, to the energetic and passionate. 

Lincoln

Cleveland Orchestra: Franz Welser-Most Conducts Mozart, Wndmann, and Beethoven

Mozart: Symphony No. 38 ("Prague") in D major, K.504
Widmann: Teufel Amor; Symphonic Hymn after Schiller
Beethoven: Piano Concerto No. 4 in G major, Op 58 (Yefim, Bronfmam, piano)
Franz Welser-Most, conductor. 

Tonight's concert was an interesting concert -- no doubt in part due to the orchestra's impending flight south for the winter. Likewise, it was interesting comparing my seat for this week's concert, at virtually dead center, versus last weeks house left experience -- but with that centrism comes a small loss of intimacy with the musicians; I don't think the difference was that significant.

Mozart's Symphony 38 ("Prague") bad a delightful beginning to the concert but seemed as if it were being treated a bit too delicately by Mr. Welser-Most, particularly the first movement which had festive undertones but seemed more a wallflower than a willing participant in the goings on. The second movement was likewise measured and delicate but smoothly flowing, reminding me in some places of the precision of a ballet and the third movement was a dignified frenzy that was enjoyable but passed on the ballet ambiance from the second movement.


For the 25 minutes of enjoyment the Mozart brought, Jorg Widmann's Teufel Amor was 30 minutes of musical agony. Sounding like a lumbering swamp creature that just would not die while lumbering around an entirely atonal environment, it could not have been over fast enough. While I am not a fan of Mr. Widmann (and quite frankly wish the orchestra would stop programming his works and perhaps try another young composer) his other pieces at least have the advantage of being relatively short minimizing the suffering inflicted upon the paying audience.

Following intermission, certainly the most enjoyable piece on the program was Yefim Bronfman's interpretation of  Beethoven's Piano Concerto No. 4... From a 35 minute piece, the first movement was the meatiest at about 20 minutes, and may be best described as the evolution of a romantic relationship between piano and orchestra -- from the tentative and restrained words of a first date to the more comfortable later stages to completing each others thoughts. The later movements were a bit more passionate and empotional outbursts.

Lincoln

Cleveland Orchestra: Franz Welser-Most and Julia Fischer: Brahms Violin Concerto and Symphony No. 2

Brahms: Tragic Overture, Op. 81
Brahms: Violin Concerto in D major, Op. 77 (Julia Fischer, violin)
???: 3rd movement from Sonata in G (Julia Fischer, solo violin)(Encore)
Brahms: Symphony No. 2 in D major, Op. 73
Franz Welser-Most, Conductor.


Despite United Airlines best attempts to both kill me and leave me naked over the past two weeks -- long story -- my clothing and I survived. And I  made it into Severance Hall for a delightful concert, although slightly under the weather from a bug I no doubt acquired at one of the airports I passed through.


My seat for this evening was in the front of  Box 19 -- much further "house left" from my usual perch, and given the horseshoe design of Severance Hall, also much closer to the stage then I believe I've been in a very long time. While in was concerned this would affect the acoustical balance, that effect was barely noticeable. What was noticeable was the incredible intimacy one has with the orchestra -- peering over the violinists shoulders -- if you will.


This angle provided a bit more immersion -- and with it a heightened sense of the minute details that come together to make for a delightful concert.


Ms. Fisher's performance of Brahm's violin concerto was technically excellent, but the first movement was somewhat lacking in the "passion" department -- and passion is what makes the Cleveland orchestra so compelling -- this recovered, however, by the third movement and with a festive, gipsy-ish flare that I find hard to resist.


Leaving the hall, it seemed like the question on everyone's mind was "who was the composer for the encore?" -- no one (including yours truly) had an answer better than "It started with a P", but that didn't dampen its reception -- and time seemed to stand still while she was playing.


While I am wary of "all the same composer" programs -- and I need not hear any more Brahms for a while -- the program concluded with a captivating performance of his Symphony No. 2 with a variety of orchestral colors and flavors -- from the bold introduction and tender ending of the first movement and irresistible sentimentality of the cellos in the second movement, to the pastoral colors giving way to drama of the third movement, and finally the festivities lurking amongst the fourth movement.




Lincoln

Cleveland Orchestra: Leon Fleisher and Jonathan Biss: Beethoven Piano Concertos No. 2 and 3.

Mendelssohn: Overture: The Hebrides
Beethoven: Piano Concerto No. 2 (Jonathan Biss, piano)
Beethoven: Piano Concerto No. 3 (Jonathan Biss, piano)
Leon Fleisher, conductor

[For health reasons combined with general disinterest I departed the concert during Intermission; therefore I have no opinion on the performance of Beethoven's Piano Concerto No. 3]

Occasionally there comes a concert where I am reasonably sure that my feelings towards the concert are not necessarily those of the majority of the audience. Tonight's is one such concert. 

This weekends concerts were programmed with Mitsuko Uchida as soloist. As a result of Ms. Uchida bowing out due to a thumb injury, Leion Fleisher and Jonathan Biss took up the program. While Ms. Uchda seems to have a strong following in Cleveland, I haven't been able to connect with her interpretations nor have I found the performances compelling -- so I had every intention of giving this weekend's concerts a pass until I learned of the substitution. That, somewhat surprisingly, was a sentiment held by many of the patrons I chatted with prior to the start of the concert. 

Opening with Mendelssohn's Overture to The Hebrides which had a beautiful clarity and texture, particularly a repeating motif that started in the violins and migrated through the lower strings through the first half of the piece before an impressive climax. 

I had high hopes for Messrs. Biss and Fleisher's rendition of Beethoven's Piano Concerto No. 2. And while I felt the performance much more compelling than those with Ms. Uchida at the keyboard, I didn't connect with the first two movements at all; and while I enjoyed the third movement and observing Mr. Biss's fingerwork, the end of the piece couldn't come quickly enough. 

I spent the first few minutes of intermission weighing my reaction to the piece and my general feeling of malaise versus "throwing away" roughly half of my ticket purchase. In the end (and with an acquaintance mentioning that I "didn't look as well as usual") I elected I'd be happier not hearing another Beethoven piano concerto and after bidding new years wishes, I departed the hall. 

Lincoln

Cleveland Orchestra: Marin Alsop Conducts Barber Schumann, and Copland

Barber: Essay No. 2, Op. 17
Schumann: Piano Concerto in A minor, Op. 54 (David Fray, piano)
Copland: Symphony No. 3
Marin Aslop, conductor.

Although it has been nearly a month since my last Cleveland orchestra concert, I can hardly think of a program I've so thoroughly enjoyed in recent memory, not to mention one of the more adventurous programs by Cleveland Orchestra standards... I can only home for more.

The program opened with Samuel Barber's Essay No. 2 from the early 1940s. A beautiful piece, of starts with the wide open planes before shifting to a very angular and somewhat punchy scene that clearly evokes images of the hustle and bustle of an active city in constant motion, while near  the end  tapping from and timpani bring premonitions of marching to war.

I wasn't quote as captivated by Schumann's Piano Concerto -- partially because the couple in front of me were both texting through most of the piece though the first movement was delightfully light and wispy like freshly baked bread and pianist David Fray matched the orchestra's passion. Upon taking his seat in the and adjacent box following the Schumann, Mr. Fray graciously posed for photos with a few box holders, and upon learning that they were donors to the orchestra encouraged "Keep supporting the orchestra - it is a gem; nothing like it in the world".

The third and final piece on the program was one I've been hoping for for quite a while and looking forward to for several months -- Aaron Copland's Symphony No. 3 including a reformulation of the prolific Fanfare for the Common Man. Before beginning the piece Ms. Aslop touched briefly but humorously on a few key aspects of the piece, including snippets played by the orchestra -- I sincerely hope that the orchestra considers incorporating these few minutes of wisdom into future classical concerts.

On to the music -- the first movement was played with and conveyed a sublime passionate energy. The second movement was no less passionate, but was more evocative of a buoyant small-town celebration. The third movement began with a high register -- Ms. Aslop referred to it in her opening remarks as one "only dogs can hear" -- and very reserved compared to the brash end of the second movement. I could be mistaken, but I could swear I also picked up hits of Appalachian Spring wafting around. The third movement seamlessly gave way to the third where the Fanfare emerges in brilliant beauty, and is passed around the orchestra tansformed and fades away while the music remains strong and festive with the strong image of soaring gulls.

Lincoln