CIM Faculty Recital: Rose/King/Mo/Gonzalez/Chiang

Beethoven: Sonata for Violin and Piano No. 2 in A Major, Op. 12*
Arensky: Trio for Violin, Cello, and Piano in D Minor, Op. 32**
Brahms: Trio in E-flat Major, Op. 4 [sic]***
*- Stephen Rose, violin; Pi-Ju Chiang, piano
**- Boson Mo, violin; Josue Gonzalez, cello; Pi-Ju Chiang, piano
***- Richard King, horn; Stephen Rose, violin; Pi-Ju Chiang, piano


(Please see the audience courtesy note at the bottom of the post; it's a bit rantish and I may be alone in my irritation, but the lack of courtesy amongst certain [older] audience members really bothered me tonight)


To tell the truth I wasn't sure if I was going to make tonight's recital, but it was a most satisfying recital. Beethoven's sonata, like the pieces that followed it alternated between what I would characterize as distinctly 'happy' and 'sad' movements with not much gray space between. The first movement sparkled like few I've heard in Mixon hall, the second movement seemed mournful, and the third movement brought a return of happiness but without the champagne sparkle.


The middle piece on the program was composed by Anton Arensky, a name I am not familiar with. The first movement was beautifully lyrical, and the scherzo had a unusual and intriguing method that I can best call a bounced bowing that spent most of the time in Mr. Mo's violin but made an occasional visit to Mr. Gonzalez's cello. While listening to the third movements it stuck me as if I were listening to a somber eulogy for a dearly loved one, glancing at my program, I noticed the movement is identified as Elegia. Adagio. Well played. Mid-movement the tone changes from that of an eulogy to a respectful but less somber tune, striking me as delightful actually, before returning to the general mood of an eulogy. I'm not sure what to say about the finale.

Brahms's Trio also intrigued me--while Brahms's name is no doubt more familiar than that of Arensky, I can think of few chamber music examples that include a horn. Beautifully played by Richard King it did not disappoint (though, again--audience courtesy note--the gentleman in front of me kept feeling the need to declare that "he really should stop dumping the spit out" which kind of made embracing the entire work difficult). The andante first movement was depressing, but the following scherzo had a lighter, happy but not fully joyous sense to it. While I can't pinpoint a particular passage that evoked the feeling,

the impassioned third movement (adagio mesto) started to water my eyes, and the alegro con brio finale brought a sense of joy back and was the perfect note to end the recital on.

And Now I Start To Rant:

Audience Courtesy Note: I feel kind of bad saying this, but I'm afraid if I don't vent now I'm going to snap in a most unflattering and YouTubeable way during a recital or concert: When musicians are doing their thing, particularly during a quiet passage, show your respect by not (a) Repeatedly tell your neighbor how beautiful the music is or how so-and-so stopped by this afternoon, (b) do (a) even if you think you're whispering, (c) unwrap cellophane candy excruciatingly slowly--leaving no crinkle uncrunckled, (d) crinkle your program endlessly, (e) jingle the change in your pocket, or (f) repeatedly zip, unzip, Velcro, unvelcro, snap, or unsnap your bag. Do not continue to do (a)-(f) while several audience members are glaring at you. When one is completely immersed in the music these are a most jarring and rude return to the real world.

Lincoln

Cleveland Orchestra: The Planets: An HD Odyssey

Saariaho: Asteroid 4179: Toutatis
Mozart: Symphony No. 41 in C major, K. 551 ("Jupiter")
Holst: The Planets*
* - With the women of the Cleveland Orchestra Chorus
Hans Graf, conductor.

"We have standing-room available" is a phrase I'd love to hear from the Orchestra's box office more frequently... of course as was the case today, preferably, after I've purchased my tickets!

Having gone through a bit of orchestral withdrawal over the past few weeks, I was eagerly awaiting my return to Severance Hall. I am a bit curious as to how this concert earned the Musically Speaking caption, as unlike other Musically Speaking concerts this one didn't really provide an educational background to the music. Semantics aside, during the second half of the concert I'm not sure of an appropriate adjective (but I'll sure try!).

But before I get ahead of myself, the first part of the program: Saariaho's Asteroid 4179 was pleasantly short and evoked sounds typical of "space music"; so familiar sounding was it that I could have sworn that I had heard it before; checking my notes however it seems I had not. I would be interested in hearing it again.

Mozart's Symphony 41, known in the English-speaking world as Jupiter sounded beautiful--particularly the first movement--but some of the themes were a bit repetitive for my taste, and the overall sound struck me as a bit too sentimental: Fine in short bursts but a bit wearing for an entire symphony.

Following an intermission where I caught up with some familiar faces in an adjoining box, was Holst's The Planets beautifully paired with high definition imagery from NASA. Sitting in the darkened hall I was both spellbound and mesmerized. Some movements the music was breathtaking, other movements the imagery stole my air, but the net result was that at the end of the 7 movements (Earth and Pluto omitted) my instinct to breathe had been suppressed long enough that I was gasping for air. Of the seven movements, I particularly enjoyed the contrast between the first two (Mars, The Bringer of War, an aggressive, unbalanced bit of music and Venus: The Bringer of Peace where my eyes slipped between the grace of the orchestra and the beauty of the imagery) the circus-like feeling brought along with Uranus: The Magician, but I think my favorite movement was Jupiter: The Bringer of Jollity, light, playful, triumphant, cinematic, and bold without being brash, I can't think of anything missing.

Though the final movement, Neptune: The Mystic didn't excite me to the same level, it's worth noting the fantastically ethereal, indeed mystical, sense lent to the movement by the off-stage (presumably from the organ chamber if my ears are to be trusted) voices of the women of the Cleveland Orchestra Chorus.

Lincoln

Pickwick & Frolic: Cruise Ship Killer

"The best kind of ship is a friendship"

A fitting line from the production, and also the best advice for anyone considering attending. I found myself at the show with a small cadre of friends--when I had been invited I intentionally didn't ask any questions. I figured I'd give it a whirl.

An evening of firsts, this was my first venture into Pickwick & Frolic's facility on East 4th. This was also my first foray into the "Dinner Theater" genre and I was struck with some fear when a relative suggested that the dinner murder mystery format was highly interactive. Thankfully, all audience participation was strictly voluntary with a couple from my group participating in some pre-show karaoke.

To avoid ruining any surprise for future audiences (I'm not aware of any scheduled voyages at the moment), per the program's request I'm not going to say much about the plot or ending aside from the ending being a bit of a left field surprise.

The production quality wasn't the highest (the audio processing was distracting from the beginning and only seemed to get more noticeable as the show progressed) but the cast was enthusiastic and kept their over-the-top characters throughout; the pacing was reasonable. The audience was comfortable, and the waitstaff reasonably attentive without being intrusive.

The wine--in my case an unspecified Riesling--was likewise good, and the cheesecake dessert was delectable. The entree--at least the prime rib, however, was one of the more disappointing and unfufilling meals I've had recently: Cold and nearly flavorless I contemplated stopping along the way home to eat again.


It's not a show I'd do alone, but if you have a group of friends looking for an amusing night it's not a bad choice.

Recognize the friendships in your life and let the voyage last long.

Lincoln

Cleveland Play House: This Wonderful Life

(Through December 19th at the Cleveland Play House, 8500 Euclid Ave)

Complimenting the beautiful display of Christmas Trees in the lobbies, the Cleveland Play House is presenting a fresh take on a seasonal classic with This Wonderful Life (an adaptation of Frank Capra's It's A Wonderful Life).

I wasn't really sure what I had purchased a ticket for (a ticket acquired on pure impulse--"One for the next show, please" during the Light Up The Night festivities earlier this week) and had some fear when I learned it was a one-man show. The theatrical Christmas show is just about as hackneyed as a department store's Black Friday sale. The one-man show is a risky venture for both theatres and audience: Inexpensive to produce, if the audience hates that one-man they hate the entire cast.

This Wonderful Life, though, is a risk that pays dividends. The one man, James Leaming inhabits his characters. Arriving a bit early I caught the tail end of a talkback he was hosting; as talkback gave way to the audience invocation gave way to the action the transition was seamless; Mr. Leaming greeted arriving audience members, gave the cellphones-and-exits speech (though he didn't mention if seat cushions could be used for floatation) and then the real entertainment began. Though not roll-on-the-floor funny there are plenty of asides, tongue-in-cheek references, restrained sight gags, and double entendres sprinkled throughout to keep things amusing.

One challenge I often have with one-man/one-woman shows is filtering through the noise of over-the-top costume changes or accents and to keep track of who is whom. There are no costume changes, though the occasional accent is sparingly used to add depth.

Though the general plot is unlikely to surprise anyone even vaguely familiar with the film, looking at it in a wholly new context brings fresh clarity and relevance to the classic, and that ultimately selflessness reaps bountiful harvests and true friends are of immeasurable value.

This holiday season value your loved ones and friends...and seek always to make new friends.

Lincoln

Quick Update: Contemporary Youth Orchestra State of Independence

Just a quick update for anyone who's interested (and based on traffic, it seems like a lot of people are interested!)

I received the below press release with regards to Jon Anderson & The Contemporary Youth Orchestra's State of Independence concert that I blogged about back in May. The highlight is that for seemingly everyone except Time Warner* customers the concert will debut on HDNet Sunday, November 28th at 8pm.

If you are an aforementioned liberated person in the greater Cleveland area and interested in having a random stanger join you in your living room to watch... you know how to find me!

DALLAS (November 22, 2010) - HDNet Concert Series debuts "State of Independence: Jon Anderson and the Contemporary Youth Orchestra," Sunday, November 28 at 8:00 p.m. ET.

Anderson says, "Working and singing with the youth orchestra and chorus was a wonderful blessing in my life. These teenagers love music and perform as well as any adult orchestra that I've worked with around the world."

In 2004, English musician Jon Anderson - best known for his lead vocals with the band, Yes, and his collaborations with Oscar-winner Vangelis - appeared with the Contemporary Youth Orchestra of Cleveland. The concert was recorded but was only released to the orchestra members. Now, HDNet Concert Series will premiere the reunion performance of Anderson and the Contemporary Youth Orchestra which was filmed in May 2010 at Severance Hall in Cleveland, Ohio.

In this performance Anderson shares the stage with the 112 member Cleveland Contemporary Youth Orchestra and 60 member student chorus in an exhilarating performance that exudes energy and joy.

This special HDNet premiere showcases the collaborative effort between Anderson and the Orchestra, presenting a unique take on some old favorites such as, "Starship Trooper," "Show Me," "Long Distance Runaround," and "Owner of a Lonely Heart." The lineup also includes songs that were previously unreleased including "Music is God," and "Big Buddha."

A sneak preview of the concert can be found at the following link:

http://www.youtube.com/watch?v=7OKMyKKhWPY

Don't miss this vibrant performance as "State of Independence: Jon Anderson and the Contemporary Youth Orchestra," makes its HDNet debut - Sunday, November 28 at 8:00 p.m. ET.

Lincoln
*- I really don't think Time Warner realizes how much of my money they owe to TiVo... If I could use TiVo's unique features (e.g. suggestions) with Uverse (or Dish, DirecTV, or anyone else) I would have cut that coax years ago.

Cleveland Play House: Festival of Trees Lighting (And Happy Thanksgiving!)

The weather outside isn't frightful (yet), there's no fire but still inside is delightful at Cleveland Play House's Festival of Trees.

It's hard to believe that we're at the tail end of November and that this coming Thursday is Thanksgiving but here we are. An annual tradition for the Cleveland Play House is their festival of trees where the lobbies and corridors of the Play House's complex are filled with Christmas trees sponsored and decorated by a variety of local organizations.

Tonight was the official lighting of the trees and in the beauty of the trees, the joy of the music, and the energy in the rooms one couldn't really help but to slip into the holiday spirit.

So on your next visit to the Cleveland Play House this season, take a few moments to stare in awe at the beautifully decorated trees. The centerpiece of the festival is a giant 25-foot-tall tree in the main rotunda decorated with program covers from the Play House's 95 seasons -- showing the evolution in graphic design (what I wouldn't give to thumb through some of the early programs!), theatrical tastes, and the Play House itself. But at the same time enjoy the scrappy but lovingly decorated tree nearby.

A variety of factors are conspiring to keep me from making the trip home to spend Thanksgiving with my family, but be your loved ones physically near or far may they be close and safe this holiday season.

Lincoln

Chamber Music Guild: Trio Unnamed (Britton/Atherton/DeMio)

Beethoven: Trio, Op. 70 No. 1 (Ghost)
Schoenfield: Cafe Music (Andante moderato movement only)
Smetana: Trio, Op. 15
Susan Britton, violin; Linda Atherton, cello; Elizabeth DeMio, piano.
at Lyndhurst Community Presbyterian Church.

It's interesting -- I've heard the three musicians in tonight's (as yet, after 15 years, unnamed) trio but in varied contexts: Ms. Britton as my teacher, playing for Opera Cleveland, and new music with Cleveland Chamber Symphony; Ms. DeMio in collaboration with others at CIM; and Ms. Atherton in the pit for various Broadway-series shows at PlayhouseSquare -- but never in this context.

The audience was also interesting -- it seemed like I was the only person there who didn't know everyone else in attendance and it was one of the most social concert atmospheres I can recall outside of the house concert format giving a very welcoming atmosphere.

Full of variety, the program started with Beethoven's Ghost trio. Though the piano's tone was a bit bright to my ear it provided a glimpse of the wonderful musicality that we had to look forward to from tonight's musicians. The opening movement immediately stuck me as sweet but full flavor, while the third movement gave me a very Jekyll-and-Hyde vibe. The piece earned the Ghost nickname by way of its second movement, and while a person sitting behind me asked rhetorically "How could anyone miss the ghost?" it didn't strike me as such... Dark, certainly, but more sentimental than ghostly.

The next two pieces on the program were by composers that I'm not familiar with -- that should be expected, given my relative newness to classical music. Tonight I was not alone as many, if not most, of the audience announced a lack of familiarity; the same majority could later be heard offering compliments.

Closing the first half of the intermission we found one movement of Paul Schoenfield's Cafe Music. A bit on the mellow side, every instrument had a chance to shine as an extraordinarily lyrical song moved throughout the instruments, starting with the piano moving to a beautiful cello where it was matched on the violin, then the two bowed instruments had a chance at a bit of a duet. I'd certainly like to hear the other movements, particularly since Mr. Schoenfield resided in Cleveland Heights for a period of time.

Last, but certainly not least Smetana's Opus 15 trio. Lyrical throughout, as introduced by Ms. DeMio, the piece was composed shortly after his daughter's death. Opening with a bold statement from the violin, eventually joined by piano and later cello, in the first movement the composition held my interest throughout, but I loved the third movement. The third movement starts with almost an explosion of coordinated energy and quickly evokes the sense of a gallop; in this sense it's easy to imagine youthful energy playing about -- but this energy fades and is replaced with a somber and introspective feeling lead by the cello and an almost audible cry in the violin.

The galloping energy from earlier in the movement returned, though with slightly less clarity -- perhaps signaling a recovery -- only to end abruptly and the dark feeling returns, this time with a distinct cloud of mourning which hangs over the majority of the end of the movement. The end of the movement, though, is a burst of energy with a bit of the gallop mixed in: Perhaps to signify the end of Mr. Smetana's mourning or his daughter's freed spirit.

This program will be repeated Wednesday, December 8th at Noon at Trinity Cathedral, downtown Cleveland.

Lincoln